The List Festival Week 1

FESTIVAL

COMEDY | DANCE | KIDS | MUSIC | THEATRE | VISUAL ART

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SOFIE HAGEN LOUIS CK DEEP TIME DAPHNE MONUMENTAL FAMILIE FLÖZ HAROON MIRZA KIERAN HURLEY

Maybe is year...

JAMES ACASTER’S BACK – WILL 2016 FINALLY BRING HIM A COMEDY AWARD?

150+ SH PREVIE OWS WED + HITLIST RECOMM ENDATION

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4–11 AUG 2016 | WEEK 1 LIST.CO.UK/FESTIVAL

AT THE EDINBURGH FESTIVAL FRINGE

We will EXCHANGE your Foreign Currency into £££s COMMISSION FREE! FIND US HERE! St. James Centre

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Harvey Nichols The Dome

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Edinburgh Castle

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Festival

CONTENTS

FRONT Top 20 Offers News

FESTIVAL 2016 | ISSUE 1 | LIST.CO.UK/FESTIVAL

FEATURES

12 12 19 23

He’s been nominated annually for an Edinburgh Comedy Award since 2012. Now James Acaster is back with another onslaught of comedy good times. Reset has already had Melbourne audiences in stitches, and his intricate storytelling style and genre-hopping humour is set to do the same in Edinburgh, as we found out when we spoke to him on page 12.

32

COMEDY

35

DANCE monumental Hitlist Dance Base Éowyn Emerald

KIDS Puzzle Hitlist Mark Thompson Bedtime Stories

MUSIC COVER & FEATURE PHOTOS: ED MOORE

Barry Humphries Hitlist Nothing Ever Happens Here Michael Griffiths: Cole Melbourne Ska Orchestra

19

26

GREAT OFFERS

PHOTO: 59 PRODUCTIONS

Win tickets to Art Late

DEEP TIME

Following 2015’s spectacular Harmonium Project, the International festival kicks off with another epic light and sound show, with music from Mogwai.

CIRCUS AT THE FRINGE There’s more and more of it every year. We take a closer look at Elixir and Only Bones, plus a few more of 2016’s top shouts for circus fans at the Fringe.

6

Win tickets to Museum After Hours

6

Win tickets to The Money Fish

7

Win tickets to Kate Tempest

7

Win a tour of the Caledonian Brewery

8

Win tickets to Rebel Bingo hosted by RSV

8

Win a bottle of Caorunn Gin

32

Dram & Smoke

Louis CK Hitlist Arthur Smith on socks Sofie Hagen Daphne Day Planner

JAMES ACASTER

4 6 10

James Acaster Deep Time People of the Eye

FOOD & DRINK

COVER STORY

2

35 36 42 46 53 60

61 61 62 63 64

67 67 68 69 72

73 73 74 75 77 78

THEATRE

81

Makin’ it Rain Hitlist Theatre as gig Teatro Delusio Faslane Day Planner

81 82 83 88 100 102

VISUAL ART Surreal Encounters Hitlist Art gardens

EVENTS Art Late

103 103 104 108

110 110

INDEX

111

COMIC REVIEW

112

Bucket List

8

THIS WEEK ON LIST.CO.UK/FESTIVAL Check out our interviews with festival stars Alan Cumming, Mary Lynn Rajskub, Doug Anthony All Stars and more, plus a closer look at the first ever Edinburgh Digital Entertainment Festival.

We’re still accepting Big Fat Bribes too – turn to page 4 for more on that special tradition.

112

A Tale of Two Cities: Bloo d for Blood

Festival

MAILBOX

CONTRIBUTORS EDITORIAL Editor Yasmin Sulaiman Senior Digital Editor Scott Henderson Research Manager Rowena McIntosh Senior Researcher Murray Robertson Research Alex Johnston, Rebecca Monks, Henry Northmore, Kirstyn Smith, Louise Stoddart Subeditors Paul McLean, Tracy Taylor Editorial Assistants Louise Stoddart, Arusa Qureshi

You lot don’t even care that our first issue comes out before any shows have really started – there’s plenty of commentary going on online. To add your voice to the mix, join us at list.co.uk/festival or by tweeting us at @thelistmagazine

Preview: A Tale of Two Cities ‘Fantastic preview here of @TwoCitiesPlay courtesy of @thelistmagazine with wise words from @JHollowayPlays’ (read it on page 96) Comment posted by @seabrightprods.

Edinburgh Festival Fringe: bribe us, we’re gagging for it ‘Bribe sent to @thelistmagazine. Hope you like latex! #edfringe #bribery’ Comment posted by @ FonmanuCreative (it was very NSFW) Interview: Janis Claxton ‘So so happy to get be tiny part of all of this very beautiful Xxxxxxxxxxx’ Comment posted by @kathrynjoseph

some edinburgh fest ideas. @thelistmagazine has done research for me! Phew...’

Comment posted by @angribird

Edinburgh Festival: Top 25 to watch 2016 ‘A few people at #afpsummer asked for

Interview: Éowyn Emerald ‘Great preview from @thelistmagazine to start the weekend!!’ (it’s here on page 64)

BRIBE

EK E W E OF TH

Comment posted by @EowynEmerald Edinburgh Festival Fringe: Gala for Mental Health Returns ‘Fantastic you have my support in every way.’

Comment posted by @drcarlpatrasso

SWEETEN THE DEAL Our annual shout-out for bribes got under way a few weeks ago cos we like to get in early with our (definitely legal) doings.

The first Bribe of the Week for 2016 combines some of our favourite things: poetry and dodgy sweets. Yes, we will gorge ourselves on outof-date, half-eaten banana Twinkies cos that’s how low we journalists sometimes sink. Anyway, they were from Beattie & Scratchmann, whose show Edinburgh in the Shadows #2 takes you down the dark side streets of our fair city via storytelling and spoken word. n Edinburgh in the Shadows #2, Cowgatehead, 6pm, 18–27 Aug, 6pm, free.

To win our favour, send some of your best swag to Big Fat Bribe, The List, 14 High Street, Edinburgh, EH1 1TE 2 THE LIST FESTIVAL 4–11 Aug 2016

SALES & MARKETING Media Sales Manager Chris Knox Senior Media Sales Executive Debbie Thomson Media Sales Executive Rachel Cree Promotions Executive Jade Regulski Sales Support Executive Jessica Rodgers Digital Business Development Director Brendan Miles Partnership Director Sheri Friers PRODUCTION Senior Designer Lucy Munro Designers Stuart Polson, Carys Tennant DIGITAL Senior Developer Andy Carmichael Digital Designer Sharon Irish Software Developer Iain McCusker Senior DBA Andy Bowles ADMINISTRATION CEO Simon Dessain Publisher Robin Hodge Accounts Manager Sarah Reddie SECTION EDITORS Comedy Brian Donaldson Dance / Kids Kelly Apter Food & Drink Donald Reid Front / Music Kirstyn Smith News Rebecca Monks Theatre Gareth K Vile Visual Art Rachael Cloughton

Published by The List Ltd HEAD OFFICE: 14 High Street, Edinburgh EH1 1TE Tel: 0131 550 3050, Fax: 0131 557 8500, list.co.uk, email editor@list.co.uk GLASGOW OFFICE: at the CCA, 350 Sauchiehall Street, Glasgow G2 3JD Tel: 0141 332 9929, glasgow@list.co.uk ISSN: 0959 - 1915 ©2016 The List Ltd. Reproduction in whole or in part is forbidden without the written permission of the publishers. The List does not accept responsibility for unsolicited material.

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Use of magazine content is at your own risk.

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DIGITAL ENTERTAINMENT FESTIVAL 04 – 28 AUG 2016

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4–11 Aug 2016 THE LIST FESTIVAL 3

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Festival

TOP 20

The number of acts performing at this year’s Festival might seem a trifle overwhelming, so here’s a round-up of 20 unmissable shows PHOTO: JASSY EARL

COMEDY

THEATRE

James Acaster: Reset

Kieran Hurley’s exploration of how we’d react if we found ourselves at the end of the world. See feature, page 93. Summerhall, 3–28 Aug (not 4, 15, 22).

The multi-Comedy Award nominee is back with a show about having something he’s always wanted to look forward to. See feature, page 12. Pleasance Courtyard, 3–28 Aug.

MUSIC

COMEDY

OPERA

Edinburgh’s Afrobeat rockers join up with singers from the original Paul Simon album to play Graceland in its entirety, to mark the seminal album’s 30th anniversary. The show was performed at Celtic Connections in January this year and its rousing reception convinced them to bring it to the Fringe. See preview, page 77. The Liquid Room, 5 Aug.

The comedian, actor, writer, director and editor brings his highly individual brand of stand-up to the Fringe for one night only. See preview, page 35. Playhouse, 11 Aug.

Cecilia Bartoli stars in Bellini’s opera of lust, love and betrayal. Directed

by Moshe Leiser and Patrice Caurier, and conducted by Diego Fasolis.

Festival Theatre, 5, 7 & 9 Aug.

PHOTO: HANS JÖRG MICHEL

Heads Up

Bwani Junction: Graceland

Louis CK

THEATRE

PHOTO: YANNICK GRANDMONT

PHOTO: PIERRE BORRASCI

PHOTO: MARK ROBSON

KIDS

Norma

DANCE

Bedtime Stories

Teatro Delusio

monumental

Upswing presents a magical journey in a bedroom setting, exploring the time of day just before bed through circus, theatre and dance. See preview, page 72. Underbelly’s Circus Hub on the Meadows, 4–22 Aug (not 15).

Proving that puppetry and masked performance can often say more than spoken scripted theatre, Familie Flöz return with a comedic look at life backstage in the theatre. See preview, page 88.

Pleasance Courtyard, 3–29 Aug (not 17).

The Holy Body Tattoo and Godspeed You! Black Emperor come together in an International Festival performance that blends contemporary dance and rock soundscapes. See preview, page 61.

Playhouse, 8 & 9 Aug.

4 THE LIST FESTIVAL 4–11 Aug 2016

PHOTO: KARLA GOWETT

PHOTO: COURTESY OF THE ARTIST AND KURIMANZUTTO, MEXICO CITY

PHOTO: TRÉ

VISUAL ART

COMEDY

MUSIC

Alan Cumming Sings Sappy Songs

Sofie Hagen: Shimmer Shatter

Seductive songs and intimate stories in a cabaret feast from Alan Cumming, inspired by his dressing room parties. The Hub, 6–27 Aug.

Comedy Award Best Newcomer Sofie Hagen’s self-deprecating new show. See feature, page 46. Liquid Room Annexe, 6–28 Aug.

An explosion of music, lighting and animation screened against Edinburgh Castle, soundtracked

by Mogwai. See feature, page 19.

Castle Terrace Viewing Area, 7 Aug.

CABARET

Damián Ortega: States of Time The Mexican artist explores the link between the natural world and mankind. See review, page 107.

Fruitmarket Gallery, until 23 Oct.

Deep Time

PHOTO: STEVE ULLATHORNE

COMEDY

The Doug Anthony All Stars Live on Stage A trip down memory lane to the heyday of Australian comedy in the 80s and 90s, as Paul McDermott, Tim Ferguson and Paul ‘Flacco’ Livingston team up again, bringing their provocative brand of humour back to the Fringe.

Pleasance Courtyard, 3–14 Aug (not 8 & 9).

PHOTO: MATT CROCKETT

PHOTO: REBECCA PITT

In Fidelity

COMEDY

Daphne’s Second Show

KIDS

An exploration of our brain activity when we’re in love, from the always entertaining Rob Drummond. Expect to be asked probing questions.

Traverse, 4–28 Aug (not 8, 15, 22).

Last year’s Edinburgh Best Newcomer nominees, Daphne are back with a brand new sketch show.

See feature, page 53. Pleasance Courtyard, 3–28 Aug (not 15).

Exploding elephant toothpaste, disappearing beakers and vortex-generating dustbins are just some of the spectacular experiments kids can expect from astronomer, author and TV presenter Mark Thompson, who aims to encourage his audience to explore the wonders of science. See feature, page 69. Gilded Balloon at the Museum, 4–14 Aug.

MUSIC

THEATRE

VISUAL ART

Landmark show featuring work by Dali, Magritte and Picasso. See review, page 103. Scottish National Gallery of Modern Art, until 11 Sep.

THEATRE

Mark Thompson’s Spectacular Science Show

PHOTO: MICHAEL J LUTCH

PHOTO: GEMMA TWEEDIE

THEATRE

Only Bones

Rachel Sermanni

The Glass Menagerie

Award-winning and beautifully lo-tech mix of body manipulation, physical theatre and clowning. See feature, page 26. Summerhall, 3–28 Aug (not 4, 8, 15, 22).

The Scottish folk-pop singersongwriter gigs as part of Summerhall’s Nothing Ever Happens Here series. See feature, page 75.

Summerhall, 10 Aug.

Cherry Jones and Michael Esper star in this Tennessee Williams classic, a Broadway hit from Harry Potter and the Cursed Child co-creator, John Tiffany. King’s Theatre, 5–21 Aug.

Surreal Encounters: Collecting the Marvelous

4–11 Aug 2016 THE LIST FESTIVAL 5

READER OFFERS WIN TICKETS TO EDINBURGH ART LATE

Art Late is a series of specially programmed late openings and events, taking in live music, performances, artist talks and tours. This year offers even more opportunities to enjoy our programme by night.

The tour starts at Edinburgh Sculpture Workshop, followed by visits to Ciara Phillips’ Every Woman Dazzle Ship at the Prince of Wales dock, Rhubaba, Inverleith House, Edinburgh Printmakers, Helen McCrorie’s The Clock in Commune exhibition at the Glasite Meeting House and finishing with music from The Spook School at Leith Theatre.

WIN TICKETS TO MUSEUM AFTER HOURS: FRIDAY FRINGE TAKEOVER

Win a pair of tickets to the hugely popular Museum After Hours, at the National Museum of Scotland on Fri 12 Aug. Enjoy a unique flavour of the Fringe and explore the museum after hours with hand-picked performers, music, comedy, bars and exclusive entry to the exhibition Celts, organised with the British Museum.

Ten innovative new galleries will set a dramatic scene to complement this year’s performances. Opened this summer, these incredible spaces showcase over 3000 extraordinary objects.

The List are giving away two pairs of tickets to Art Late on Thu 11 Aug plus Dazzle Ship merchandise. To be in with a chance of winning just log on to list.co.uk/offers and tell us:

Guest-programmed by the festival gurus at The List, this adults-only extravaganza offers an unmissable take on the Fringe. To be in with a chance of winning, just log on to list.co.uk/offers and tell us:

What Scottish city are The Spook School from?

How many new galleries have opened at the National Museum of Scotland this summer?

Art Late Edinburgh Sculpture Workshop 21 Hawthornvale, Edinburgh, EH6 4JT Thu 11 Aug, 6–10.30pm, Tickets £7.50 plus complimentary drinks

edinburghartfestival.com/whats-on/art-late TERMS AND CONDITIONS: COMPETITION CLOSES MON 8 AUG. ENTRANTS MUST BE OVER 18 YEARS. THE LIST’S USUAL RULES APPLY.

Museum After Hours National Museum of Scotland Fri 12, 19 & 26 Aug, 7.30–10.30pm £18, £16 Members and concessions

nms.ac.uk/afterhours TERMS AND CONDITIONS: COMPETITION CLOSES MON 8 AUG 2016. COMPETITION OPEN ONLY TO THOSE OVER 18 YEARS OF AGE. THE LIST’S USUAL RULES APPLY.

£10 TICKETS TO THE RAUNCH AT UNDERBELLY’S CIRCUS HUB ON THE MEADOWS

Welcome to the The Raunch, a whip-cracking, high-flying, all-twerking, rodeo-rocking night out, starring the Most Wanted of the international cabaret and circus scene and featuring a toe tapping, disco-hoedown soundtrack.

Starring legendary cabaret performer Empress Stah as The Bad Sherriff, with her trigger-happy laser aerial act, featuring Light in Places – a song especially composed for the act by Peaches.

Quote RAUNCH10 when booking online or at the box office.

Offer valid for performances on 4–11 Aug.

The Raunch Underbelly’s Circus Hub on the Meadows 4–11 Aug, 6.30pm

underbellyedinburgh.co.uk TERMS AND CONDITIONS: OFFER ENDS THU 11 AUG 2016. SUBJECT TO AVAILABILITY. THE RAUNCH IS SUITABLE FOR AGES 16+. THE LIST’S USUAL RULES APPLY.

6 THE LIST FESTIVAL 4–11 Aug 2016

READER OFFERS WIN TICKETS TO SEE THE MONEY FISH AT PARADISE IN THE VAULT

The Money Fish is a critically acclaimed true story of one man’s harrowing experience as a commercial fisherman on the Bering Sea. As he overcomes dire circumstances in this volatile and cut-throat environment, he becomes obsessed with the fortune he gains. Written and performed by American playwright John Cox The List have five pairs of tickets up for grabs to see The Money Fish during its international premiere at Paradise in the Vault on 10, 11, 12 August.

To be in with a chance of winning just log on to list.co.uk/offers.

The Money Fish Paradise in the Vault Venue 29 11 Merchant Street Edinburgh EH1 2QD

Show dates: Fri 5–Sun 28 Aug Show time: 3.55pm–5.05pm

themoneyfishplay.com @moneyfishplay

TERMS & CONDITIONS: Competition closes Mon 8 Aug 2016. The List’s usual rules apply.

WIN TICKETS TO SEE KATE TEMPEST AT EDINBURGH BOOK FESTIVAL

One of the highlights of last year’s Festival was Kate Tempest’s trancelike, incantatory performance of her poetry. This year, the playwrightrapper-poet has extended her narrative voice once again, with a novel that explores the dreams, memories and everyday lives of a cast of characters living in London.

The List are giving away five pairs of tickets to see Kate Tempest at the Edinburgh International Book Festival on Sat 13 Aug. To be in with a chance of winning log on to list.co.uk/offers and tell us:

What is Kate Tempest’s debut novel called?

Kate Tempest Baillie Gifford Main Theatre Charlotte Square Gardens Edinburgh, EH2 4DR Sat 13 Aug 8.15–9.15pm

edbookfest.co.uk @edbookfest

The Book Festival is on: 13–29 August 2016 TERMS & CONDITIONS: Competition closes Wed 10 Aug 2016. The List’s usual rules apply.

FREE £20 VOUCHER for CaféPod Nespresso® compatible coffee capsules CaféPod is the home of good, strong coffee for your Nespresso® machine. You can save £20 when you spend over £50 on your first order.

Enter the code LISTCOFFEE at the checkout.

To claim, visit www.cafepod.com/thelist

Nespresso® is the registered trademark of Société des Produits Nestlé SA.

T&C’s apply. Visit list.co.uk/offers.

4–11 Aug 2016 THE LIST FESTIVAL 7

READER OFFERS WIN A BEHIND THE SCENES BREWERY TOUR AND TASTING AT CALEDONIAN BREWERY

Caledonian Brewery have been brewing world-class beers for over 140 years but now their focus is on the future.

The List have teamed up with Caledonian Brewery to offer 10 lucky readers plus a friend each a behind the scenes tour of the famous brewery with tasting. You and a friend will get an exclusive chance to have a peek at their brewing secrets with top tasting experts on Fri 23 Sep. To be in with a chance of winning just log on to list.co.uk/offers and tell us:

What is the name of Caledonian Brewery’s IPA beer?

Caledonian Brewery 42 Slateford Road Edinburgh, EH11 1PH Fri 23 Sep, 6.30pm

caledonianbeer.com @caledonianbeer TERMS AND CONDITIONS: COMPETITION CLOSES WED 31 AUG 2016. THE PROMOTION IS OPEN TO UK RESIDENTS 18 AND OVER. THE LIST’S USUAL RULES APPLY.

WIN A BOTTLE OF CAORUNN GIN & MINI PRINT BY LITTLE DOT CREATIONS

Caorunn Gin is thrilled to announce the launch of the Caorunn Artists’ Garden, a vibrant sanctuary brimming with apple trees, live art from a collection of talented Scottish artists, scrumptious Scottish street food which will be locally sourced and cooked fresh on-site, not to mention a collection of delicious Caorunn Gin cocktails, naturally!

WIN TICKETS TO REBEL BINGO HOSTED

BY RUSSIAN STANDARD VODKA

Set to take Edinburgh Festival Fringe by storm, Russian Standard Vodka is bringing two of the UK’s most loved immersive experiences to Edinburgh for the first time. Kicking off from 4 Aug and running for the duration of the festival, Rebel Bingo and PingTron will be bringing their high octane sell out shows exclusively to Russian Standard House Of DAVAI at Assembly George Square Gardens and Gilded Balloon Teviot, both iconic mainstays of the Edinburgh Festival Fringe.

The Russian Standard House Of DAVAI, meaning “let’s go”, is the place to be at this year’s Edinburgh Festival Fringe, with plenty of delicious Russian Mule cocktails on hand to enhance the fun.

The List is offering you the chance to win a pair of tickets to the Rebel Bingo show of you choice. Enter for a chance to experience bingo as you’ve never seen it before. To be in with a chance of winning just log on to list.co.uk/offer and tell us:

What drink will Russian Standard Vodka be serving?

Rebel Bingo Assembly George Square Gardens, 4–28 Aug Tickets from £8

rebelbingo.com TERMS AND CONDITIONS: COMPETITION CLOSES WED 10 AUG 2016.

WINNERS MUST BE OVER 18 YEARS OF AGE. THE LIST’S USUAL RULES APPLY.

SPECIAL OFFER: SAVE £2 ON TICKETS TO SEE BANG! TO THE HEART AT ZOO SOUTHSIDE

Caorunn’s Artists’ Garden will be situated within the garden of Royal Bank of Scotland at 36 St Andrew Square and will be open noon till 9pm from 1–28 Aug.

Be one of the first to see the dance spectacular BANG! To the Heart at Zoo Southside brought to you by Nue Dance Company. List readers can save £2 on full price and concession tickets.

In celebration of this unique event The List are giving away a 70cl of Caorunn Gin and mini print of the hand drawn ‘Charlotte’ hummingbird by Little Dot Creations. To be in with a chance of winning log on to list.co.uk and tell us:

Immerse yourself in this incredible show featuring 10 dancers, an everchanging stage design enhanced by video projections, special live effects and an original soundtrack.

Where is the Caorunn Artists’ Garden?

Caorunn Artists’ Garden Mon 1–Sun 28 Aug

Visit facebook.com/caorunngin to find out more TERMS AND CONDITIONS: COMPETITION CLOSES SUN 28 AUG 2016. MUST BE 18 YEARS OLD OR OVER TO ENTER. THE LIST’S USUAL RULES APPLY.

8 THE LIST FESTIVAL 4–11 Aug 2016

This offer is valid for performances on Sat 6 and Sun 7 Aug only. Offer can only be redeemed by booking in person at the venue box office or by calling 0131 662 6892 and quoting THE LIST BANG! To the Heart Zoo Southside, 5–29 Aug, 10.20pm, full price tickets £14

zoofestival.co.uk TERMS AND CONDITIONS: OFFER ENDS SUN 7 AUGUST 2016. VALID 6-7 AUG ONLY. THE LIST’S USUAL RULES APPLY.

fRINGE BENEFITS Travel between Edinburgh and Glasgow for £10 with a Smart Super Off-Peak day return ticket.

Sign up for your free smartcard: scotrail.co.uk/smart

GET SMART & get ahead

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FRONTLINES Diary

• According to a new survey, Edinburgh’s festival audiences are now ‘on par’ with those of the World Cup. Independent research found that 12 big events in the city (including the Fringe and the International Festival) attracted an audience of more than 4.5 million last year, while the FIFA World Cup had 3.4 million attendees in 2014. Probably fewer vuvuzelas in Auld Reekie, too.

• The Edinburgh Mela will not take place this summer due to funding reasons. Plans are being made for an autumn edition, though, so watch this space (or Leith Links, where it takes place).

• Slaves guitarist Laurie Vincent has a solo gallery exhibition at Flaubert Gallery as part of the Festival. It features a range of brand new, unseen pieces, alongside some collaborative paintings created with his studio partner, Daisy Paris.

• Performers, writers, politicians and members of the public are set to read all 2.6 million words of the Chilcot Report, as part of the Fringe show Iraq Out Loud. Ian Rankin, Tommy Sheppard, Stewart Lee and Tony Law are just four of those involved

FESTIVAL NEWS IN A NUTSHELL with the project, which sees two readers per hour performing to an intimate audience of four per show.

• The Boy With Tape On His Face (pictured) is delivering the participants’ welcome address at Fringe Central.

Comedian Sam Wills (as he’s also known) is a Fringe veteran, and as such he knows the score, from where to eat to how to relax.

He’ll be leading the event on Fri 5 Aug, which familiarises acts with all things festival.

• A Gala for Mental Health, programmed by the Mental Health Foundation, returns to the Fringe for a second year. Hosted by Felicity

THE WORD ON THE TWEET IS . . .

As Edinburgh gets ready for the Fringe, performers, promoters and audience members take to Twitter to share their excitement @alanflanagan Rehearsals for #EveryonesDead descended into madness last night as we sang “shit on my chest” to the tune of 12 Days Of Christmas #EdFringe @ThatCatLoud I’m not going out out on Saturday nights at the moment because I’m going to #edfringe, which is a month of Saturday nights.

Pacing myself.

@fayebedding I can’t wait to go to Edinburgh next week to catch more Pokemon… I mean... go to #Edfringe! #PokemonGO @columtyrrell Anyone know if this is early or late to be regretting every decision leading to my Edinburgh Fringe show? @matthewoingram Let’s face it, the tinder

10 THE LIST FESTIVAL 4–11 Aug 2016

game @edfringe this year is gonna be on point @kiripritchardmc 1 week till I arrive @ edfringe and I’m sure that has nothing to do with the regular palpitations I’m having @110marc I love the @edfringe but can we just skip it this year?

I’d like to hold onto my money

NEWS AND GOSSIP FROM ACROSS THE FESTIVALS

HEAD IN THE CLOUD Forensic mind reader Colin Cloud is going to give himself a ‘lethal injection’ on stage every night during his Fringe show.

We caught up with him before he does What’s the best thing about the Fringe?

It’s the one festival in the world that’s pretty much right on my doorstep. I get to stay at home for the month and live like a normal person when my friends are travelling from around the UK and the rest of the world.

And the worst thing?

Because it’s on my doorstep, everyone tries to crash at mine and get my spare room for the month.

Also, you have to try and write a new show that’s better than the year before.

Ward, this one-night-only show sees comedians Chris Gethard, Susan Calman, Richard Gadd and Martha McBrier tackle the ‘funny side of mental health’ at the Pleasance Dome on Wed 17 Aug.

WHAT A SELL OUT Don’t end up on the fringe of the Fringe: get your tickets before they’re gone. Here’s what’s selling fast at the fest, and what’s already sold out* (4–11 Aug).

GOING, GOING...

Daniel Sloss: So? • Ed Gamble • James Acaster: Reset • Katy Brand: I Was A Teenage Christian • Louis CK • Mark Watson: I’m Not Here • Nina Conti: In Your Face • Pete Firman: TriX • Seann Walsh: One For The Road

GONE • Daniel Kitson Presents an Insufficient Number of Undeveloped Ideas Over Ninety Testing Minutes Starting at Noon • Katherine Ryan: Work In Progress • Susan Calman: The Calman Before The Storm *Correct at time of going to press

What’s your strangest Fringe experience?

When I did the first show three years ago, I had no idea how it was going to be received. I remember I had a 90-seater room and after the first two shows, Twitter went mental and the run sold out. I was delighted there was such a great buzz. Strange is the wrong word, but when you’re totally unknown, it’s a good feeling.

What’s the best thing a reviewer has said about you?

I’ve had lots of amazing comments comparing me to a real-life Sherlock Holmes, that one comes up a lot. But I think the funniest thing is when a reviewer saw The Illusionist show in London. She loved the show, but she wasn’t sure of my crows nest haircut.

And the worst?

Delightfully, I’ve really not had a bad review. I got a three star when I was in Adelaide, but actually it was one of the best written reviews. I’ve had so many four and five star reviews, I’m just so happy that everyone has gotten into what I’m doing.

Describe your show in four words.

Intellectual, funny, philosophical, deadly.

Colin Cloud: Exposé, Underbelly Med Quad, 6–28 Aug (not 15), 9pm, £10–£12 (£9–£11). Previews 3–5 Aug, £7.

Pic of the

WEEK

BINARI

Presented by AtoBiz in partnership with Assembly, Binari uses Korean mask play, movement, music and humour to explore shaman tradition and soul. When an old lady dies alone, she winds up telling her complicated (and often heartbreaking) story to shaman Mudang. See feature, page 29 for more on the Korean Season.

Assembly Hall, 6–29 Aug (not 22), noon, £12–£13 (£11–£12). Previews 4 & 5 Aug, £8.

4–11 Aug 2016 THE LIST FESTIVAL 11

FESTIVAL FEATURES | James Acaster

‘This is just normal comedy!’

As James Acaster prepares for another comedic onslaught upon the Fringe, he tells Ben Williams about award nominations, audience perceptions and how lucky he feels

12 THE LIST FESTIVAL 4–11 Aug 2016

James Acaster | FESTIVAL FEATURES

list.co.uk/festival

‘I

think I can draw both a mainstream audience and an alternative audience to my shows,’ says James Acaster as I ask about his increasing fanbase.

‘I also have the ability to disappoint both.’ Over the last six years, the Kettering-born stand-up has steadily become one of the biggest names at the Edinburgh Fringe. He fills larger venues each year, his six solo hours have garnered dozens of glowing reviews and the last four of those shows received nominations for the top prize in live comedy, the Edinburgh Comedy Award.

But that doesn’t mean the Edinburgh Fringe has become routine for Acaster.

With bigger crowds, increased TV exposure and heightened expectations come greater challenges. ‘If someone’s seen me on Mock the Week and expects me to be like Michael McIntyre, then they get annoyed when I start the show on my knees,’ he says. ‘And if someone comes because of critical acclaim and nominations, then they get annoyed when I do an observational routine about massage: “what the fuck is this? This is just normal comedy!” I can annoy purists on either side.’

But those are the extremes. Acaster’s also built up a large, loyal following who can’t get enough of his quizzical, fanciful stand-up. The 31-year-old comic has spent years defining his persona and perfecting a style, and his intricately written shows usually feature a relatable truth masked behind mischievous, fabricated tales about being an undercover cop, for instance, or the biscuit-eating habits of Yoko Ono. ‘I’m almost able to be more honest by lying,’ he explains. ‘By making everything up I’m able to say what I really want to. It’s all based on truth – on something I actually feel or think – but I package it in a different way to get the laugh through more.’

That hasn’t always been Acaster’s tactic. When he started performing standup on the open-mic circuit in 2008, he regarded dishonesty as cheating. ‘I thought: anyone can make up a lie, but making the truth funny is really hard.

But I actually had more problems with people believing me when I told the truth on stage.’

Acaster’s early Edinburgh runs weren’t plain sailing, either. Audience numbers were low for his second show, Prompt, until it was nominated for the Edinburgh Comedy Award, and his third solo offering, Lawnmower, was a particularly taxing experience. ‘People don’t put pressure on you for the 4–11 Aug 2016 THE LIST FESTIVAL 13

FESTIVAL FEATURES | James Acaster

AND THE NOMINEES WERE . . .

It’s not only James Acaster who has made the main Edinburgh Comedy Award shortlist but not quite got over the line yet. Here are a few folks appearing this Fringe who haven’t let the disappointment of not scooping that trophy get in the way of pursuing a fine old comedy career

DOUG ANTHONY ALL STARS You have to go all the way back to 1988 when the DAAS received their sole nomination, yet this was clearly a year when philosophical contemplation was the order of the day rather than raucous songs about bodily functions, as Jeremy Hardy won the Perrier. Pleasance Courtyard, 4–14 Aug (not 8 & 9), 10pm, £15 (£14). Preview 3 Aug, £10.

14 THE LIST FESTIVAL 4–11 Aug 2016

RUSSELL HOWARD The hugely popular (not just with girls in their early 20s) t-shirted comic got his one nomination in 2006 for an if.comedy award, the first year of its postPerrier life. Russ might have energy to burn but even he couldn’t keep pace with eventual victor, the one-man juggernaut that is Phil Nichol. Howard’s in town this year doing work-in-progress stuff with pal Steve Williams.

Assembly George Square Studios, 623 3030, 3–21 Aug (not 10), 6.40pm, £5.

PHOTO: EDWARD MOORE

James Acaster: Reset, Pleasance Courtyard, 556 6550, 6–28 Aug, 7.30pm, £11–£14 (£10–£13). Previews 3–5 Aug, £8.

PHOTO: GILES SMITH

third show,’ Acaster claims, ‘and actually it’s a lot more stressful. You think that you now know what your pattern and method is, and no one tells you that every year is different. I thought that there was going to be an expectation on me because of the nomination, but there wasn’t: that’s all in your head. So I had a year of thinking: everyone’s going to think last year was a fluke and this is shit.’

Three Fringes (and three more award nominations) later, and Acaster is a lot more relaxed about the festival and looks forward to it more each year.

‘You realise you enjoy coming up with new material and saying new things on stage, and when you realise that, it’s just great. I’m really not doing it for any other reason.’

Another reason? Those award nominations, for instance? Acaster doesn’t have much to say about his four gong noms. ‘It’s very nice,’ he manages. ‘That’s it, really.’ But he must feel something about being officially namechecked as one of the best comics at the Fringe for four years in a row? ‘It’s really nice that four groups of people have said that,’ he elaborates, slightly. ‘But I do believe that if you took a different group of panellists each year there’s every chance that I would have never been nominated.’

Acaster is the first comedian to have ever clocked up four consecutive nominations. Surely he must feel pressure to win the thing this year? ‘No one is going to base their opinion on me from what happens with the awards this year,’ he reckons. ‘Last year, people thought I was going to be disappointed about it [not winning]. To me, that’d be insane. People asked, “are you OK?” and I was like, “I’ve been nominated four times! What are you talking about?

Who gets nominated four times and then gets grumpy about it?”’

Being an Edinburgh Comedy Award nominee has helped put bums on seats in Edinburgh, he admits, but it’s hard to say whether it’s made much more of an impact on his career. ‘The first time I was nominated it definitely didn’t help. The Melbourne Comedy Festival rejected me, I couldn’t sell my tour, I couldn’t get on any TV shows. It definitely didn’t help me then.’

These days, of course, Acaster has achieved all of those things and more.

After this year’s Fringe, he’s taking the new show, Reset, on tour including dates in Glasgow, Edinburgh and Aberdeen. After pretending to be an undercover cop in 2014 and tales of jury service last year, Reset is the third in a ‘sort of trilogy’, says Acaster. ‘The show is about how I’m set to go into the witness protection programme and about how we all want a fresh start in life.

It’s also about something else, a personal thing, my own reasons for wanting a fresh start. So it’s a crime-themed trilogy that is actually all about uncertainty.

And it’s the third one that begins with “re”.’

After six years of Fringe success, it must become easy to take sell-out shows and critical acclaim for granted. But for James Acaster, he’s constantly grateful for his success. ‘Every year in Edinburgh I end up waiting behind the curtain about to go on stage and I have a moment of thinking: no one’s told me what to do with this show, I’ve done exactly what I wanted. This is the biggest arts festival in the world and all these people have shown up. Aren’t I lucky? It really is amazing.’

JOSIE LONG Having won the Best Newcomer gong in 2006, Ms Long racked up a mere three nominations in a row during the Foster’s years, being joined on shortlists

by Claudia O’Doherty (2012) and Sarah Millican (2010) in an era when more females were being recognised by the judges. The Stand, 16–29 Aug, 5.30pm, £12 (£9).

SIMON MUNNERY The anarcho-man, who is in his 30th year at the Fringe, could technically still win given that he’s continuing to do full runs while steering clear of the bigger rooms on the Fringe. His moment in the shortlisted sun came in 1999 for his League Against Tedium project when Al Murray got the nod.

Munnery was in good company though, alongside the Boosh boys, Terry Alderton and Ross Noble. The Stand, 5–29 Aug (not 15), 4pm, £12 (£10). Preview 4 Aug, £9.

SARAH KENDALL Notable for enjoying two nominations over a decade apart (2004 and 2015), the Aussie stand-up gained one for straight stand-up and the other for a more storytelling mode. There are some who reckon her day might be dawning. See interview, page 55. Assembly George Square Studios, 623 3030, 6–28 Aug, 6.45pm, £10.50–£12.50 (£9.50–£11.50). Previews 3–5 Aug, £7.

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Deep Time | FESTIVAL FEATURES

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TIME AND SPACE After the phenomenal success of its opening event in 2015, the Edinburgh International Festival is kicking off with another big bang.

Yasmin Sulaiman chats to the creative behind the epic Deep Time

T

and so organic that it sort of owns us. The biggest challenge for this one is a creative one – finding a way to celebrate Edinburgh, the festival, the people. We’re trying to make it as epic an experience as we can, but that in itself is challenging.’

Deep Time will last 18 minutes and is inspired

by Edinburgh’s geological heritage – a theme that hit Warner, his team and EIF director Fergus Linehan when driving around the city looking for a site for this year’s event. ‘We want to celebrate the fact that Edinburgh has inspired radical thinking and changed humanity’s perception of the Earth,’ explains Warner. ‘In a sense, we are abstracting those themes into something which is visual and musical and celebratory, but actually is an inspiring story for us.’

Where Harmonium was soundtracked to a classical piece, this year the team made a conscious contemporary choice: the music of Scottish rock giants Mogwai. Deep Time will feature a range of their material, spanning tracks from 2011’s Hardcore Will Never Die, But You Will to 2014’s Rave Tapes.

‘I love that extraordinary, layered, epic sound,’ says Warner. ‘I’ve been looking for an opportunity to work with them for years. It was important to us that it would be something with real rhythm, pace and scale. It’s easier to do that

to an extent with rock instruments and heavy percussion, heavy guitar than it is to go back to more classical sounds. Having said that, the tone does change quite significantly – one of the pieces is very minimal and quite gentle and very beautiful. Others are very high octane and much more energy and rhythm driven.’

Part of the show will involve projecting a series of photographs submitted by members of the public who have called Edinburgh home, and it’s this human element that makes Deep Time such a fitting start to festival season.

‘We are celebrating the landscape and architecture of Edinburgh,’ says Warner, ‘but the people are what make Edinburgh the city that it is. It’s what makes it a cultural capital, a vibrant place to be and inspiring from an intellectual and academic point of view as well.

We wanted to incorporate a sense of the people who make the city what it is: both visitors and residents, contemporary and historical, this idea that where we are and what we are looking at has been formed over many centuries.

Ultimately, it’s about us.’

Deep Time, Castle Terrace Viewing Area, 7 Aug, 10.30pm, free but ticketed. Final ticket release on 6 Aug from 10am in person. See eif.co.uk/deeptime for more information.

PHOTO: 59 PRODUCTIONS

en thousand people were expected to show up on Lothian Road last year for the International Festival’s landmark opening extravaganza, The Harmonium Project.

Instead, twice the number came out, proof if any were needed that public spectacles of this kind have a massive, and deeply proud, local audience.

That event, which celebrated the 50th anniversary of the Edinburgh Festival Chorus, displayed a series of kaleidoscopic projections onto the façade of the Usher Hall, inspired by the neural patterns of the chorus themselves. This year, 59 Productions, the company behind The Harmonium Project, are back for another EIF opening event of mind-boggling scale. 2016’s music and animation spectacular, Deep Time, will be projected onto the west-facing side of Edinburgh Castle: not just the castle buildings but the rocks and foliage below too. 59 have had plenty of success already, having worked on War Horse, the London Olympic Opening Ceremony, and winning a Tony for their work on Broadway musical An American in Paris, but Deep Time will be one of the largest architectural mapping projects they’ve ever done.

‘It’s very easy to transform a building because the surfaces are comparatively flat and even,’ says 59 creative director Leo Warner, who’s working on the event. ‘But this is so complex

4–11 Aug 2016 THE LIST FESTIVAL 19

FESTIVAL FEATURES | Flit

on the move

Composer Martin Green is joining forces with artists from different disciplines and traditions for Flit, a collaborative project using music and animation to explore migration. Fiona Shepherd meets some of the key players

A

ll across the Fringe, comedians have been amending their gags in the wake of Brexit. But over at the International Festival, composer Martin Green, best known as accordionist and sound manipulator in folk trio Lau, had no idea how topical his show Flit would become when he first decided to develop a collaborative project about migration.

‘I don’t know that I would start this right now,’ he says. ‘It’s quite hysterical at the moment. The word “migration” seems so inflammatory, any way you present it. But it’s certainly not a subject to shy away from, and it becomes more poignant the more stories you hear about real individuals.’

The roots of Flit are in the stories of migration which Green has collected over the last couple of years, beginning very close to home with ‘one of the most memorable afternoons of my life sitting on the sofa with my granny’.

Green’s grandparents originally hail from Vienna but both left as children before the onset of World War II and settled in London, where they later met socially as part of the Jewish émigré community. Growing up, Green had only a partial understanding of their circumstances, and has retained some of that cultural warmth along with the socio-political harshness of their story.

‘The material I collected wasn’t all heavy Holocaust-related stuff. That was certainly something that I didn’t feel I wanted or was able to tackle,’ he says. ‘But this increasing pressure that people find themselves under in the countries they have made their lives in, where they very quickly and very suddenly are made to feel so insecure that they need to leave, that is an unfortunate repetition throughout history.’

Green hopes that Flit is more timeless than timely in its exploration of the phenomenon of movement around the planet. He chose to remove specific references to time and place to create a more universal meditation on migration, and then handed these rich testimonies over to a crack bunch of lyricists, including Anais Mitchell, Sandy Wright, Aidan Moffat and Karine Polwart, who will also be mounting her own EIF show, Wind Resistance, on the subject of (avian) migration.

At the same time, Green was developing the music in collaboration with Portishead’s studio whiz Adrian Utley. The pair have worked together before on Crows’ Bones, a theatrical compendium of musical ghost stories which, like Flit, was commissioned by Opera North. One of the voices of that project, Becky Unthank, will also lend her breathy, 20 THE LIST FESTIVAL 4–11 Aug 2016

haunting tones to Flit. ‘It’s quite natural what comes out of Becky,’ says Green. ‘She’s a beautiful music tap, and one of Adrian’s great skills is putting in walls of darkness behind fragile voices.’

Unthank will be partnered with the equally instinctive Edinburghbased singer / songwriter Adam Holmes for the performance, while Mogwai bassist Dominic Aitchison is set to build on Utley’s dark vibrations.

Their evocative, impressionistic contributions will be complemented by visuals created by award-winning animation duo Will Anderson and Ainslie Henderson, aka Whiterobot, who have produced a narrative film that will be threaded throughout the performance.

Known for their handcrafted, humorous work, the Edinburgh-based pair warmed to the challenging theme by first using cardboard boxes, then brown parcel paper as the vehicle to tell their story.

‘Brown paper has got such a quality about it,’ says Anderson. ‘You wrap things and send it round the world, it’s got this symbolism of travel, which just seemed fitting. We’ve used boxes in the show and we like the idea that when people pass on they leave behind them a box of their belongings. We thought that was a very moving thing visually.

There are moments of real sweetness as well as some tear-jerking moments.’

Anderson and Henderson share a love of the homemade with Green, who has been known to build his own instruments. ‘It feels a little bit like a band, the three of us,’ says Green, ‘which is interesting because we don’t actually do our work in the same room, but it does feel quite united. The humanity they put into inanimate objects is really remarkable and it happens so slowly. They have to think at a 25th of a second at a time which is really different to making music which happens instantly.’

With artists from different disciplines and traditions coming together to create an integrated artistic whole, it seems like the process of making Flit only demonstrates the principles explored in the show.

‘Migration is not a problem, it is something that occurs naturally,’ says Green. ‘Animals have always moved to the place that they will flourish, so that was what we wanted to look at. If there is a message at all in this thing, that’s what we were trying to get at.’

Flit, EICC, 473 2000, 10 & 11 Aug, 9pm (10 Aug), 7pm & 9.30pm (11 Aug), £25.

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Flit | FESTIVAL FEATURES PHOTO: MIKE GUEST

‘It’s quite hysterical at the moment.

The word “migration” seems so inflammatory, any way you present it’

4–11 Aug 2016 THE LIST FESTIVAL 21

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People of the Eye | FESTIVAL FEATURES

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Good Vibrations Merging sign language, video projection, sound and physical theatre, People of the Eye takes a trip into a world more often seen than heard. Gareth K Vile talks to the creative force behind the show

P

erhaps one of the most important functions of theatre is to present perspectives and experiences that would otherwise be consigned to the margins.

For People of the Eye, Erin Siobhan Hutching draws on her own family experiences to present a vision of the world that is rarely discussed outside of a specific community.

‘My sister is deaf and I grew up using sign language with her,’ she says, ‘but I didn’t have much to do with the deaf community apart from my relationship with my sister. In 2014, I was back home in New Zealand for her wedding and I had a wonderful experience with the deaf community. The wedding was attended by both deaf and hearing and was accessible to both sides, being interpreted by an amazing sign

language interpreter. For some of my extended family, this was the first time they had really been able to see my sister’s personality due to an inability to easily and fully communicate with her when we were growing up.’

Inspired by this experience, Hutching decided to create a world that is, partially, a remedy to a personal ambition. ‘My sister had never had the opportunity to see me in a performance which was fully accessible to her.’ However, People of the Eye evolved into a work that integrates sign language to explore wider matters.

As well as sign language, Hutching engages the full panoply of theatre’s visual strategies to conjure a story that explores the difficulties of communication. Hutching’s autobiography is an important source – the action revolves

around a family similar to her own, attempting to raise a deaf child – but the use of video projection, sound and physical theatre promises an immersive journey into an unfamiliar yet beautiful environment.

‘We hope that the audience will see the world from a new perspective,’ she continues, ‘or perhaps feel they’ve finally seen themselves and their experiences on the stage.’ This double intention – both showing the deaf experience and addressing a deaf audience – is ingrained in the production and the process. ‘We’d love for the audience to experience the feeling of “otherness” and celebrate that. But we wanted to make sure both the deaf and hearing audience have an equal, although perhaps different, experience.’

4–11 Aug 2016 THE LIST FESTIVAL 23

FESTIVAL FEATURES | People of the Eye PHOTOS: DAVID MONTEITH-HODGE

‘To ensure this, we embedded access for both into the creative process from the start, allowing the projected captions and video to add texture and layers to the piece rather than just conveying straight meaning,’ Hutching observes. ‘Much of the piece is quite abstract to keep the audience thinking about what is going on and allowing them to tease out meaning and interpretation for themselves.

‘Once the rules of access and communication are set up, there are points where they deliberately break down. There are many reasons for this, one being to give the non-BSL (British Sign Language) users in the audience the experience of not understanding and feeling on edge. We also use a bit of audience participation, both to challenge the audience and as a tool for them to engage on an active level.’

Even the sound design by Emma Houston captures the nature of the deaf experience, using subwoofers and infrasonic tones that are felt rather than heard. Samuel Dore, a deaf filmmaker, provided visuals, and Hutching 24 THE LIST FESTIVAL 4–11 Aug 2016

developed her script with deaf performers and crew, including George the hearing dog, who ‘upstages everyone!’

In common with much work that is coming from ‘disabled theatre’ – an awkward term that does not do justice to the imagination and power of the performers and performances – People of the Eye refuses easy categorisation and sits equally within ‘experimental’ genres. Birds of Paradise’s Wendy Hoose had a similar and intelligent approach to accessibility, creatively incorporating sign language and captioning, while Robert Softley’s direction in pieces like Purposeless Movements challenges lazy assumptions about disability in theatre with a sardonic wit and a brilliant theatricality.

‘This piece draws on a mix of theatrical traditions, from physical theatre and mime to realism,’ notes Hutching. ‘The projections are so important in the piece that you could describe it as mixed media. I enjoy moving between genres and performance styles to ensure the audience isn’t allowed to get too comfortable, and to find

the best way to tell the story. In this sense, the piece is very modern and experimental.’

Whether People of the Eye belongs to disabled or avant garde theatre, it has been made with an awareness of the audience and a sensitivity to deaf culture. The compassion of the process is reflected in the story, and its combination of personal autobiography and social issues provides intimacy and relevance.

‘We want this experience of the deaf world to be portrayed in a real, meaningful way. To do this we drew upon many of our experiences growing up as deaf people, siblings of deaf people or siblings of disabled people,’ Hutching concludes. ‘Of course, we hope people engage with the material, the characters and the story.

The experience of the piece will hopefully be transformative, encouraging them to approach the world with a bit more joy and empathy.’

Northern Stage at Summerhall, 560 1581, 8–27 Aug (not 10, 17, 24), 1pm, £11 (£9).

Previews 6 & 7 Aug, £9.

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FESTIVAL FEATURES | Circus PHOTO: AURELIA TASSAFI

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26 THE LIST FESTIVAL 4–11 Aug 2016

Circus | FESTIVAL FEATURES

list.co.uk/festival

Circus has become big business at the Fringe and its resurgence continues apace in 2016. Gareth K Vile explores the extremes of the genre through two shows coming direct to Edinburgh from France’s famous Avignon festival

T

he revival of circus at the Edinburgh Fringe – from the creation of Underbelly’s Circus Hub last year to the inclusion of more intimate shows in venues like Summerhall – reflects an international trend towards the incorporation of the art form into theatre and dance.

With Elixir and Only Bones both arriving fresh from the Avignon festival, the extremes of contemporary circus are represented at this year’s Fringe. Elixir has a populist energy, a simple and clear narrative and plenty of dynamic set-pieces. Only Bones offers a smaller scale and precise ‘body manipulation’, in which a single performer displays an incredible ability to use his physique as if it were a puppet, forming weird and entrancing shapes.

Thomas Gorham, performer and director of Elixir, champions an accessible and humorous approach, against what he calls the ‘deep and meaningless’ style. ‘The current circus trend is to present a show that has an absence of narrative,’ he says. ‘Often only the performer themselves has any idea of the story or meaning of the work, the rest is left up to the individual audience member. We are going against this trend. Our show is a fully narrative and action-packed hour.’

Taking cues from the fashionable enthusiasm for zombies, Elixir rapidly explains its premise of three men attempting to find a cure for a virus, then reveals the skills of the cast.

Referencing popular culture, including a sequence from Michael Jackson’s ‘Thriller’ video, it is a spectacular hour, trading on bold tricks and the physical beauty of the men. Characterisation is revealed within the routines: Gorham himself comes across as a sensible leader, attempting to control the japery of his co-stars, until he inevitably succumbs to the virus which he is trying to cure.

Despite the themes of decay and mutation, Gorham wants to entertain. ‘Our show is very much a comedy show, there are equal parts physical comedy as there is physical prowess.’

Much of this comedy comes from the interaction between the trio, and their sure touch in addressing the audience. It’s clear that the company are not precious about their skills, willing to put their remarkable feats at the service of fun and humour.

Yet the highlights of Elixir do come from the acrobatics. Whether flinging each other into the air from a teeterboard, juggling atop a ladder, or balancing on their heads, the trio understand the power of spectacle.

The plot does weave the routines together, and allows each acrobat a personality. Gorham’s background as a break-dancer is evident not only in the energy and enthusiasm of the show, but in the willingness to remember that Elixir is a performance and not merely a street display.

Above all, as Gorham explains, Elixir celebrates giving the audience ‘an immensely joyful and uplifting feeling for an hour where they get to laugh, gasp in amazement and leave raving about what they saw.’

Without losing that sense of amazement, Only Bones focuses the attention onto a single figure. Thomas Monckton is alone on stage, and his only prop is a lamp. He introduces his body slowly into the space, his head replaced by the lamp and his fingers and toes becoming independent characters. Once he has established the atmosphere through a brief interlude that conjures exotic fish in a submarine landscape, using only his hands and a blue light, he reveals how dramatic the body can be.

In contrast to Elixir, however, Monckton abandons storytelling. Only Bones is more abstract and alludes to clowning. His character becomes vulnerable: his head and torso refuse to act together, each of his muscles straining against each other in a battle of will and flexibility. The visual comedy – especially when Monckton tries to control his wobbling neck – hides an almost absurdist crisis of a body not just in conflict with the world, but against itself.

Monckton has a background in classic circus entertainment. ‘I learned to juggle at about eight years old. Through juggling I became more interested in circus skills,’ he says. ‘Through circus I discovered clowning and through clowning I discovered physical comedy, and new wave clown.’ This is not the clown of red nose and audience participation, but the kind of precise choreography that plays on emotional vulnerability and recognition. Humour and spectacle collide to expose a deeper meditation on the human condition.

Monckton’s work is produced by Aurora Nova, a company which became known for high quality experimental and cross-genre physical performance through its Edinburgh venue and, latterly, a strand within the Fringe. Their collection of artists has included Red Bastard and Circa, who paved the way for many contemporary circus shows through their mix of intelligence and trickery.

Monckton, talking about his other Fringe show The Pianist (Summerhall, 4–29 Aug), recognises how his artistic development fits with the Aurora Nova brand in its fusion of influences. ‘When I started it was definitely within a circus format. I created short skills-based acts, normally tightly glued to a piece of music. Now I am more interested in contributing to the progression of contemporary physical comedy.’

Elixir and Only Bones may come from a similar tradition, and do share respect for skill, entertainment and audience engagement. However, their diversity of style and distinctive intentions only emphasise the scale and scope of contemporary circus, and it is perhaps this range that has driven the revival.

Elixir, Underbelly’s Circus Hub, 0844 545 8252, 6–22 Aug (not 15), 10pm, £11–£12 (£10–£11).

Previews 4 & 5 Aug, £9.

Only Bones, Summerhall, 560 1581, 5–28 Aug (not 8, 15, 22), 8.30pm, £11 (£10). Preview 3 Aug, £7.

5 MORE CIRCUS SHOWS Our top picks for your fill of jugglers, acrobats and cyr wheels galore

GANDINI JUGGLING: WATER ON MARS The talented team behind Smashed and 4x4 Ephemeral Architectures return with a new show made in collaboration with Plastic Boom. Three jugglers keep their hands busy with all manner of items, and even manage to throw in a few backflips. Assembly Roxy, 623 3030, 6–14 Aug, 5.30pm, £12–£14 (£10–£12). Previews 3–5 Aug, £8.

OCKHAM’S RAZOR: TIPPING POINT Easily one of the best circus companies at last year’s Fringe, Ockham’s Razor follow up the sensational Arc and Every Action with this new show, making playful, poetic use of 5m metal poles.

C scala, 0845 260 1234, 3–25 Aug (not 9, 16, 23), 3pm, £14.50–£16.50 (£10.50– £12.50).

JOLI VYANN: IMBALANCE Mixing atmospheric dance, circus and a bit of social commentary, Vyann explores our increasing obsession with technology, as a couple struggle to connect offline. Underbelly’s Circus Hub, 0844 545 8252, 6–22 Aug (not 10, 15), 7.30pm, £11–£12 (£10–£11). Previews 4 & 5 Aug, £9.

SILVER LINING & JACKSON’S LANE: THROWBACK In a genre dominated by Australian and Canadian talent, British contemporary circus company Silver Lining is climbing the ranks. Here they fuse acrobatics, aerial work and a whole lot of fun to explore our nostalgia for things past.

Underbelly’s Circus Hub, 0844 545 8252, 6–22 Aug (not 15), 4.30pm, £15–£16 (£14–£15).

Previews 4 & 5 Aug, £11.

DRIFTWOOD Casus Circus, the Australian company behind Knee Deep, return with a new show taking a close look at our need for human contact. Assembly George Square Gardens, 623 3030, 6–28 August (not 10, 15, 22), 3.30pm, £13–£15 (£12–£14).

Previews 4 & 5 Aug, £10.

(Kelly Apter)

4–11 Aug 2016 THE LIST FESTIVAL 27

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Every weekend in August and September, book an unforgettable experience with ScotRail as steam trains return to the Scottish countryside. Your journey begins at Edinburgh Waverley where you’ll board vintage, luxury carriages before setting off to discover Scotland’s beautiful countryside and culture.

Passengers can choose from two unique trips. Head south on the Borders Railway for magical views of green landscapes on your way to Galashiels and Tweedbank.

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In August travellers will take a ride with No 46100 Royal Scot, a 1927 LMS railway locomotive that wouldn’t look out of place on the set of a film noir. In September passengers will experience the unique No 60009 Union of South Africa, one of only six remaining LNER Class A4s.

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28 THE LIST FESTIVAL 4–11 Aug 2016

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Korean Season | FESTIVAL FEATURES

list.co.uk/festival

Chef: Come Dine with Us

THEY GOT

SEOU L Assembly’s second Korean Season is an impressive revelation of the country’s cultural talents, discovers Yasmin Sulaiman

S

hows from South Korea have been coming to the Fringe for years, but this year marks the second outing of an official Korean Season at Assembly. A showcase of the country’s diverse theatrical talents, 2016’s Korean programme spans dance, magic, music, physical theatre and slapstick comedy, all across five energetic shows.

The biggest is Chef, which some eagle-eyed Fringe-goers may recognise as having visited the festival in 2010. This version of the non-verbal performance – which has been a long-running hit in the South Korean capital Seoul – has been revamped, and it’s a lively mish-mash of world class beatboxing, first rate breakdancing and zany fun and games. Ideal family entertainment at the Fringe, no matter what language you speak.

Created by veteran Korean director Chul Ki Choi (who’s previously brought Cookin’ and Jump to the Fringe), there is – as the title suggests – a food-theme running through it. Two teams of chefs compete to create the best dishes, with a little help from audience volunteers, and in the final round an audience member gets to

decide which team wins by tasting the traditional Korean rice dish bibimbap – the Green Chef’s team or the Red Chef’s.

I was lucky enough to see Chef in Seoul (where it’s called Bibap: Delicious Musical) on a trip organised by the Korean Season team earlier this summer. Speaking to the cast and crew after the show, they insist they’ve never heard of long-running BBC cookery show Ready, Steady, Cook (which also pits a green team against a red one), so the choice of team colours is apparently just a coincidence.

Unlike that show, no actual cooking goes down here (though the final audience volunteer does get to taste real bibimbap); instead, expect skilfully farcical routines with fake food and kitchen equipment, all soundtracked by two world class beatboxers, and plenty of opportunities to take part in the fun. At one point in the Korean version of the show, the audience gets pelted with pillows of ‘dough’, which you get to gleefully throw back on stage. There’s a strong gaming atmosphere to proceedings too: the two female characters may first appear stereotypical (they’re labelled ‘Sexy Chef’ and 4–11 Aug 2016 THE LIST FESTIVAL 29

FESTIVAL FEATURES | Korean Season

Tago: Korean Drum II

Singsing Bathtub and Fernando, the Space Elephant

‘Cutie Chef’), but they occasionally break out into fits of uncontrolled and well choreographed rage, creating a winningly silly tone that’s part Hello Kitty, part Mortal Kombat.

In Seoul, the Chef team occasionally plays up to five performances a day, two for the public and an additional three for school outings. But when I joke that Edinburgh (with only one performance a day) will be a ‘break’ for them, they disagree: the additional slog of flyering and promoting your show makes things more exhausting, but exciting too. Whether the gloriously batshit antics of Chef will win over Fringe audiences is yet to be seen but, with the 500-seater George Square Theatre at their disposal, they’ve got a great arena to play to.

Elsewhere in the Korean Season, there’s Singsing Bathtub and Fernando, The Space Elephant, a musical show for kids age four and up that’s won awards in Korea for its heartwarming tale of friendship and interstellar travel. For its Edinburgh run, it’s being translated into English. Binari also joins the bill; told through the Korean tradition of ‘gut’, it uses masks, songs and dance to tell the story of a woman who dies alone without feeling any resolution in her life. And if you were at the Edinburgh International Magic Festival last month, you might have caught a few of the performers in SNAP at the Magic Gala; in this Fringe offering, eight illusionists showcase a variety of tricks and feats, with plenty of humour thrown in as well.

The fifth show in the Korean Season this year is Tago: Korean Drum II. Note the number at the end – if you were at the Fringe in 2011, you might remember Tago’s first outing which involved a cast of several dancers and drummers. This year’s show has been stripped back to just seven drummers, but it’s just as loud and more powerful. I caught a sneak preview in Seoul and, even in the unadorned confines of Tago’s rehearsal space, it’s an onslaught of primal beats and mesmerising dance that drips with the charm of its sensational performers. This team, who practice 12 hours a day, make some of their own instruments and have decades of drumming experience behind them – one of them has even played in the Edinburgh Military Tattoo. It’s a smooth combination of traditional and contemporary rhythms and choreography that displays – alongside the other shows in the season – just how much artistic talent Korea is bringing to the festival this August.

Chef: Come Dine With Us, Assembly George Square Theatre, 623 3030, 6–29 Aug (not 15), 4pm, £12.50–£14.50 (£10.50–£12.50). Previews 4 & 5 Aug, £8.50.

Singsing Bathtub and Fernando, the Space Elephant, Assembly George Square Studios, 623 3030, 6–29 Aug (not 15, 22), 12.15pm, £10–£11 (£9). Previews 4 & 5 Aug, £7.

Binari, Assembly Hall, 623 3030, 6–29 Aug (not 22), noon, £12–£13 (£11–£12). Previews 4 & 5 Aug, £8.

SNAP, Assembly George Square Theatre, 623 3030, 6–29 Aug (not 15, 22), 1.20pm, £12–£14 (£11–£13). Previews 4 & 5 Aug, £7.

SNAP

30 THE LIST FESTIVAL 4–11 Aug 2016

Tago: Korean Drum II, Assembly Hall, 623 3030, 6–29 Aug (not 17), 2.55pm, £12–£13 (£11–£12). Previews 4 & 5 Aug, £8.

THE RADICAL URBAN CIRCUS WHERE STREET MEETS ELITE

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COOKIE MONSTERS Food specialists Dram & Smoke are popping up at the Biscuit Factory with a pretty tasty deal. Louise Stoddart finds out more

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By importing artisan products from Italy and combining them with produce from Scotland, Locanda de Gusti serves unique dishes in the tradition of Southern Italy. Pair with Moretti Regionale alla Toscana or alla Siciliana. locandadegusti.com 32 THE LIST FESTIVAL 4–11 Aug 2016

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D

uring August, Edinburgh ups its food game to get people through hours of viewing back-to-back shows. Whether it’s grabbing a burger in George Square Gardens, tasting all sorts of weird and wonderful street food or participating in a show by eating a three course meal (thanks to Faulty Towers: The Dining Experience), hunger ain’t a thing during the Fringe.

What is new this year, however, is a pop-up restaurant at the Biscuit Factory in Leith, for the entire month of August.

Transformed into an arts and fashion hub in April last year, the renovated Biscuit Factory is still a relative newbie to the goings-on of the Edinburgh Festival. With several performance spaces nestled in beside a community of creatives, the factory (which stood derelict for eight years) is sure to be a muchdesired venue for the festival in years to come. This August, the entire top floor has been snapped up by hospitality professionals Dram & Smoke, who have converted the space into a restaurant for dinner and ‘general flumgummerie’.

Edinburgh born and bred, Paul Ross and Nick Fulton started Dram & Smoke with a focus on celebrating Scottish produce. For the past couple of years, the duo have hosted several events down south in a range of quirky venues from steelyards to leather CREMA CARAVAN A touring retro food truck dishing out crunchy, custardy crème brûlées.

St Andrew Square

LOV MEXICAN Traditional Mexican grub made with a fine selection of Scottish produce.

St Andrew Square

tanneries, feeding hoards of hungry foodies. With a series of successful pop-ups under their belt, they have brought their expertise back to the motherland to be part of the world’s largest arts festival.

So what can ticket holders expect? ‘We nod to the past by using traditional ingredients like haggis and whisky but we try to present our dishes in new and interesting ways,’ Ross and Fulton tell us. ‘Our heather honeycomb dessert is served as a giant slab on a board with a hammer for guests to smash and get stuck into.’

Each evening, table plans are drawn up around large communal tables so diners can gather round for a feast. Four courses championing the best of Scottish produce are served from an open kitchen alongside plenty of wine, beer, and gin and whisky cocktails.

Making use of the acts in town for the festival, there is also live music every night.

Although the main dinners take place from Wed– Sun at 7pm, Dram & Smoke have other plans in the pipeline, including meet-the-supplier events and daytime sessions at weekends because, you know, hair of the dog and all.

Dram & Smoke Pop-Up Dining, The Biscuit Factory, 5–28 Aug (not Mondays & Tuesdays), 7pm, £40.

SECTION 33 Pop-up dining specialists serving reasonably priced, tasty, Scottish treats.

Assembly George Square

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LOUIS CK A global reputation and comedy talent to die for So, you wait ages for some of the biggest names in comedy to appear on your doorstep and then what happens? Yep, three of them arrive in the very same month. Sandwiched between Bill Burr’s four gigs in the Pleasance Grand (8 & 9 Aug) and Amy Schumer’s gracing of the Playhouse (30 Aug) comes the return to Scotland of Louis CK. When he last performed here in 2008, he was already big enough to sell out two shows in one of the Pleasance Courtyard’s biggest rooms (a very healthy number of US comics who were in town that month were especially keen to see their master at work), but in 2016 his reputation is off the scale.

Of course, his CV is swelling with movies (from The Invention of Lying to The Secret Life of Pets), he has five series of his lauded sitcom Louie under his belt, while he launched web series Horace and Pete at the start of the year in which he stars alongside Steve Buscemi, Edie Falco and Alan Alda. And CK will merrily show up on chat shows or comedy podcasts to discuss just about anything. But he knows, and we know, that up on the live stage in front of a crowd which he will warmly bait from time to time is where his art is at its strongest. (Brian Donaldson) n Playhouse, 0844 871 3014, 11 Aug, 7pm, £40.

4–11 Aug 2016 THE LIST FESTIVAL 35

FESTIVAL COMEDY | Hitlist

Brian Donaldson picks some of the best comedy as the Fringe kicks off BILL BURR You might not agree with everything that comes out of this American’s mouth, but you’ll surely concur that Burr is one of the top comedians of his generation. Almost goes without saying but catch him while you can.

Pleasance Courtyard, 556 6550, 8 & 9 Aug, 3.45pm, 11.40pm, £25.

SOFIE HAGEN Last year’s Best Newcomer (curiously the second Scandinavian to scoop that gong in recent times after Daniel Simonsen’s 2012 win) is back with a show about lonely people. See interview, page 46. Liquid Room Annexe, 226 0000, 6–28 Aug, 7.50pm, free.

JAMES ACASTER After four consecutive nominations for the main Edinburgh Comedy Award, will Reset be the one to push the Kettering comic over the line?

See interview, page 12. Pleasance Courtyard, 556 6550, 6–28 Aug, 7.30pm, £11–£14 (£10–£13).

Previews 3–5 Aug, £8.

36 THE LIST FESTIVAL 4–11 Aug 2016

PHOTO: KOURY ANGELO

COMEDY HITLIST SPENCER JONES He may look a little scary, but Mr Jones has one of the warmest hearted shows on the Fringe. His Herbert character delivers a new slice of fun with Eggy Bagel at the Hive. See interview, page 50. Heroes at the Hive, 226 0000, 4–28 Aug (not 15), 8.50pm, £6 in advance or Pay What You Want.

LOUIS CK Arguably the biggest comedian on the planet, Mr CK drops by to show everyone else in town how to do this stand-up game. See profile, page 35.

Playhouse, 0844 871 3014, 11 Aug, 7pm, £40.

DOUG ANTHONY ALL STARS It’s been a long while coming, but the Aussie musical-comedy threesome return to the Fringe with more lewd, rude and (no doubt) very good songs and dangerous chat. See interview online at list.co.uk/festival Pleasance Courtyard, 556 6550, 4–14 Aug (not 8 & 9), 10pm, £15 (£14). Preview 3 Aug, £10.

SARAH KENDALL Another popular Australian act in town, Kendall gained her second

Bill Burr

Edinburgh Comedy Award nomination last summer proving that the move into longer storytelling has worked a treat. See interview, page 55.

Assembly George Square Studios, 623 3030, 6–28 Aug, 6.45pm, £10.50–£12.50 (£9.50–£11.50).

Previews 3–5 Aug, £7.

DAPHNE A trio who helped reinvigorate the sketch form in 2015 are back in Edinburgh trying to beat off that awkward second-show syndrome.

See q&a, page 53. Pleasance Courtyard, 556 6550, 6–28 Aug (not 15), 5.45pm, £9.50–£12 (£8–£11).

Previews 3–5 Aug, £6.

DOUGLAS WALKER One of last Fringe’s under-the-radar hits, the Scottish member of the Racing Minds improv gang seeks to find that tricky spot between dark and daft. See interview, page 56. Just the Tonic at the Caves, 0330 220 1212, 4–28 Aug (not 15), 5pm, £5–£7 in advance or Pay What You Want.

KATY BRAND The TV star and character comic brings us a debut stand-up hour, all about her years as a committed Christian. See feature, page 37.

Pleasance Courtyard, 556 6550, 6–29 Aug (not 15), 4.45pm, £10–£13.50 (£9–£12.50). Previews 3–5 Aug, £7.

list.co.uk/festival

Teen Religion | FESTIVAL COMEDY

HEAVENLY PURSUITS There’s a swarm of Fringe comedy shows this August with stand-ups reflecting on their heavily religious teenage years. Claire Sawers talks to a trio about their conflicted views and what made them leave the faith

A

black Christian, a gay Baptist and a radical evangelist all walk into a bar. Well, they had to, they were booked to do a stand-up gig in there. They’re not the only ones either: this year’s Fringe programme reveals a clutch of comedians whose shows are inspired by their childhoods growing up in religious households.

Shazia Mirza returns to the Fringe for a ten-night stint, continuing her quest to make sense of her experiences as a British-Asian woman raised in multi-faith Birmingham by a Muslim mum who is now ‘strongly anti-burka’. Tom Ward was raised by a fundamentalist Christian dad and Catholic mum who banned Christmas and fashionable trainers in the house. His show Sex, Snails and Cassette Tapes looks at how he found personal salvation through girls, surf-rock bands and charity shops. Elsewhere, Ali Hassan examines his Muslim heritage in Man Interrupted, if only to answer his four children’s knotty questions about modern-day Islam.

And who knew that Katy Brand, star of Katy Brand’s Big Ass Show, was once a radical fundamentalist Christian? ‘My local church seemed really cool and vibrant to me as a 13-year-old,’ she remembers. ‘It was one of those Church of England ones that got hit by a trend which came over from America in the 90s, and suddenly we were speaking in tongues and praying out demons.’

It didn’t hurt that Brand had a crush on the worship leader, and there was a gospel rock band that she could sign up for. ‘I felt like a celebrity,’ she winces, before confessing the whole thing gives her ‘the massive, deep cringe’ now. ‘Suddenly I felt important and I could show off.

We’d go into supermarkets on Saturdays and preach, and I’d tell all my friends they’d go to hell if they didn’t go to church . . . Looking back, I was an obnoxious dick.’

She’s grateful that her self-imposed radicalisation was short-lived, but now, as stepmother to a teenage daughter, she can see exactly why it 4–11 Aug 2016 THE LIST FESTIVAL 37

FESTIVAL COMEDY | Teen Religion John Pendal

Shazia Mirza

Njambi McGrath

Tom Ward

Katy Brand

happened. ‘Teenagers are ripe for radicalisation,’ says Brand, whose young dabblings in the right-wing waters of Christian extremism provides inspiration for her debut stand-up show, I Was a Teenage Christian. Her parents were laid-back and liberal, so she imagines her attempts at rebellion were probably ‘Saffy Syndrome’, like Julia Sawalha’s militantly sensible, teetotal 16-year-old bookworm in Absolutely Fabulous.

‘You feel valuable, which is appealing,’ Brand explains. ‘Plus, maybe you’re interested in the afterlife and ghosts and mortality at that age, too. It all depends what religion gets you first really: it could have been dangerous. If I’d been 13 during the Crusades, I’d probably have been off on a horse, slaughtering people.’

Like Brand, it was the social aspect of religion that sucked comedian John Pendal in. As a shy, awkward child of devout Baptist parents whose lives revolved around prayer meetings and church trips, he was bullied at school. After attending a holiday camp for fundamentalist Baptists at Butlins when he was 16, and joining the church’s theatre and youth group around the same time, Pendal suddenly felt popular. ‘I was allowed onstage, with a mic! As the bullied kid, it felt like heaven. Religion did a lot for me; God was like this invisible friend when I didn’t have any.’

Pendal became involved with his church in Watford, and enjoyed feeling respected in the Baptist community. Until, that is, he mentioned to a church leader that he was turned on by a muscly male bodybuilder he’d seen in an episode of Neighbours. ‘The church sent me for counselling.

I was told “gay” didn’t exist. They tried to convince me there were no homosexuals in Africa. I was very confused and considered abstaining from sex, like celibate Catholic priests do.’

38 THE LIST FESTIVAL 4-11 Aug 2016

It wasn’t enough though. When Pendal formed a platonic friendship with a gay man from the Metropolitan Community Church – dubbed the ‘Inclusive Church’ because of its doors-open policy to the LGBT community – he was kicked out of his youth group and stonewalled by many old friends. ‘I got handwritten hate mail from members of my old church, saying I was on the path to hell.’

In fact, those formative experiences within the Baptist church sent Pendal on a very different road. In 2003, he entered the 25th International Mr Leather contest in Chicago, and became the first Brit to win. ‘The contest involved me giving a speech, so I basically got up and joked that I’d been raised in the strict teetotal bubble of the Baptist church, then got kicked out for going for a drink with a man. It got a huge round of applause and I won.’

Winning meant he spent eight years touring the world, giving speeches to the BDSM community, and discussing kinks and fetishes. It was a perfect training ground for stand-up comedy and supplied plenty material for his debut show, John Pendal: International Man of Leather.

‘I had no self-confidence in my looks: I still don’t. But coming out aged 22 – whilst in the Baptist church, and with everything that’s happened since – has definitely given me an outsider’s view on the world, which every comedian needs.’

Pendal now has ‘mixed feelings’ about his religious upbringing. On the one hand, he made friends through his church, but he is deeply confused by certain hypocrisies. ‘I still never buy lottery tickets: the indoctrination is so strong. But after being condemned by the very people who had welcomed me, my faith was gradually kicked out of me.’

Religion also remains a double-edged sword for Njambi McGrath,

list.co.uk/festival

Teen Religion | FESTIVAL COMEDY PHOTOS: KARLA GOWLETT (KATY BRAND), DAVID HARRIS (JOHN PENDAL), DAVE MCGRATH (NJAMBI MCGRATH), LINDA NYLAND (SHAZIA MIRZA), STEVE ULLATHORNE (TOM WARD)

‘Suddenly we were speaking in tongues and praying out demons’

a Kenyan-born comedian who has lived in the UK for over 20 years.

The Kikuyu tribe that her family belongs to was heavily influenced by Glasgow-born missionary Doctor John Arthur, who brought Church of Scotland teachings to Africa.

‘Doctor Arthur labelled many ethnic practices as “morally repugnant” and banned our traditional clothes and jewellery,’ says McGrath.

‘But he also spoke out against female genital mutilation and helped it become a criminal offence. Some girls began performing circumcisions themselves; the psychology behind that is incredible, but as we know, cultural and religious beliefs can become so deeply ingrained.’

McGrath has first-hand experience of the complicated, controversial effects of Christian evangelism: her mother was ordered to spend time in the room below their church, as ‘purification’ and punishment for the sin of divorcing Njambi’s father. Her Fringe show, 1 Last Dance With My Father, is McGrath’s attempt to confront her past, and the father who beat her.

‘It’s hard for me even now to condemn God: I grew up surrounded

by Sunday school, religious songs, morning prayers, evening prayers that went on so long your dinner was stone cold! I used to read the Bible before bed. But seeing preachers behaving like Casanovas, impregnating teenage children, taking bribes: I became totally disillusioned.’

For Katy Brand, it took something far smaller to call her faith into question. Being asked to sign an anti-Harry Potter petition finally pushed her over the edge. ‘It just seemed totally absurd and childish.

I don’t approve of censorship (maybe if I thought Harry Potter was really shit I might have), but when they tried to pressure me into

signing that, my eyes rolled into the back of my head. Since quitting, I’ve not been back.’

That said, she admits to still being fond of her unofficial uniform as a Christian radical. ‘Jeans and a fleece are still a natural choice for me.’

Katy Brand: I Was a Teenage Christian, Pleasance Courtyard, 556 6550, 6–29 Aug (not 15), 4.45pm, £10–£13.50 (£9–£12.50).

Previews 3–5 Aug, £7.

John Pendal: International Man of Leather, The Stand 4, 558 9005, 5–28 Aug (not 15), 4.45pm, £8 (£7). Preview 4 Aug, £7 (£6).

Njambi McGrath: 1 Last Dance With My Father, Laughing Horse at Espionage, 477 7007, until 27 Aug, 2.30pm, free.

Shazia Mirza, The Stand 5, 558 9005, 5–13 Aug, 6.15pm, £9 (£8). Preview 4 Aug, £8 (£7).

Tom Ward: Sex, Snails and Cassette Tapes, Pleasance Courtyard, 556 6550, 6–28 Aug (not 15), 9.45pm, £8–£9.50 (£7–£8.50). Previews 3–5 Aug, £6.

Ali Hassan: Man Interrupted, Gilded Balloon at the Counting House, 622 6552, 6–28 Aug (not 15), 9.15pm, £6–£7 in advance or Pay What You Want. Previews 3–5 Aug, £5 (or PWYW).

4-11 Aug 2016 THE LIST FESTIVAL 39

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FESTIVAL COMEDY | Arthur Smith Socks

42 THE LIST FESTIVAL 4–11 Aug 2016

Arthur Smith Socks | FESTIVAL COMEDY

list.co.uk/festival

happy feet

As Arthur Smith puts on an exhibition dedicated to the world of socks, we set him a test. Could he identify the owners of some cosy footwear from a longlist of high-end Fringe acts and a selection of pictures? Frankly, no, but he gave it a good old shot

Those Superman socks: well, Barry Cryer IS Superman.

Arthur:

The owner is Lucy Porter:

‘This pair was bought as a gift for my son but they were too big so I nabbed them. They’re really comfy but they’re from BHS so I don’t know whether I’ll be able to get another pair.’

Arthur: The black & white stripey socks look a bit like school sports socks, so probably Daniel Sloss as he only left school last month.

The owner is Puddles: ‘I’ve had these socks for a long time. They’re pretty rugged considering I’m such a big softee. They always stay up even when I’m feeling down.’

Arthur: The black socks look boring but as an expert I know them to be worth £700 each as they’re made from a special type of cashmere wool which only becomes available every 200 years. So they must belong to Puddles the Clown.

The owner is Daniel Sloss: ‘I chose these because they don’t have cum all over them.’

Arthur: Those scabby grey socks were the ones used by Stewart Lee as a contraceptive during the Vietnam war.

The owner is Phil Nichol:

‘These knee-high socks have helped carry me up Ben Nevis, through the rainforests of Queensland, down the slopes of Méribel, and have canoed through the lakes

of Algonquin Park. They have protected my feet which are the most important part of an adventure. Also, I love a good knees-up.’

The red socks with blue spots are very clean so they most likely belong to Jo Caulfield who has rigorous standards in both comedy and cleanliness.

The owner is Nicholas Parsons: ‘I like bright and colourful socks. There are not many areas of clothing in which a man can be a bit of a peacock, but when it comes to socks you can really show off.’

Arthur Smith: Mindlessness – A Beginner’s Guide, Pleasance Courtyard, 556 6550, 6–21 Aug, 1pm, £10–£12.50 (£9–£11).

Preview 5 Aug, £7.

Arthur:

Those colourful socks on the rugby ball and tartan pyjamas? Definitely Rula Lenska as you could recognise those pyjamas anywhere and I know she once played rugby

Arthur:

for Poland.

‘Here’s my foot in the socks I kick my footy with: these are my footy socks. I also eat crumpets with Vegemite in my socks.’

The owner is Sam Simmons:

The multi-patterned pair on a duvet with pictures of elephants must be Simon Munnery’s, as he brought back that duvet cover after his last yoga retreat in Croydon.

The owner is Eurobeat’s Rula Lenska: ‘I love these. Warm, cosy and ethnic.’

Arthur:

Arthur Smith: The Arturart Museum of Socks, Pleasance Dome, 556 6550, 3–29 Aug, free.

Daniel Sloss: So?, EICC, 0844 847 1639, 6–28 Aug (not 15, 23), 8.40pm, £10–£17.50 (£10–£15). Previews 4 & 5 Aug, £8.50–£10; 12 & 13, 19 & 20, 26 & 27 Aug, 10pm, £14.50–£17.50 (£12–£15).

Eurobeat, Pleasance Courtyard, 556 6550, 6–29 Aug (not 16, 23), 9.45pm, £15.50–£17.50 (£13–£15). Previews 3–5 Aug, £8.50.

Lucy Porter: Consequences, Pleasance Courtyard, 556 6550, 6–28 Aug (not 15, 22), 5.30pm, £10–£14 (£8–£12). Previews 3–5 Aug, £7.

Nicholas Parsons’ Happy Hour, Pleasance Courtyard, 556 6550, 6–14 Aug (not 8 & 9), 5.10pm, £12.50–£13.50 (£11–£12.50).

Preview 5 Aug, £6.

Phil Nichol: Twenty, Assembly Checkpoint, 623 3030, 6–28 Aug (not 15), 9.45pm, £12.50–£14 (£11.50–£12.50). Previews 3–5 Aug, £6.

Puddles Pity Party: Let’s Go!, Assembly George Square Gardens, 623 3030, 6–29 Aug (not 15, 22), 7.25pm, £14–£16 (£13–£15). Previews 4 & 5 Aug, £10.

Sam Simmons: Not a People Person, Underbelly Potterrow, 0844 545 8252, 6–28 Aug (not 15), 8.15pm, £13–£15 (£12–£14). Previews 3–5 Aug, £7.50.

4–11 Aug 2016 THE LIST FESTIVAL 43

FESTIVAL COMEDY | Funz and Gamez Go Solo

THE FUNZ NEVER STOPS PHOTO: MARTA JULVE

As alternative children’s entertainers in the award-winning Funz and Gamez, Phil Ellis, James Meehan and Will Duggan proved a hit for kids as well as their sniggering guardians. With all three going solo this Fringe, Marissa Burgess wonders if it will all end in tears

James Meehan

F

or the last three years, Phil Ellis, James Meehan and Will Duggan have been sharing the same hot, sweaty dressing room. They first teamed up in Ellis’ 2013 debut ‘solo’ show Unplanned Orphan, then for the following two years in the awardwinning kids’ show Funz and Gamez. This year, they’re all going their separate ways.

But don’t worry Funz fans, there’s no truth in the rumour that both Duggan and Meehan are sleeping with Ellis’ ex, Leanne. They’re all still the best of pals.

Not that Phil’s gone entirely solo as this year he has Mat Ewins and Fin Taylor on board.

‘This is what I do for “solo”,’ he laughs. ‘I always work with my friends. I can never do an hour purely of stand-up. An hour of my standup is just too grim . . . ’ However for the other two it will be purely solitary, as Meehan notes: ‘The thing about group shows is if one of the gigs isn’t going as well as others, you can share that sense of defeat. With this, it’ll be me on my own crying into my pint.’

44 THE LIST FESTIVAL 4–11 Aug 2016

As they’re both performing at the same time, Meehan and Duggan will probably team up afterwards. ‘This is the first time it’s just my name on a poster and I’m not dressed as a Dalmatian,’ states Duggan. ‘But when the first one goes wrong this year, I’ll miss going for a pint with the others. I’ll have to sit in the dressing room on my own.’

Talking about moving on and crying into pints, Ellis’ whole show this year is devoted to banging on about Leanne again. But he is trying to change . . . ‘I realised that my standup and all of my Edinburgh shows always seem to be affected by my divorce with Leanne so I need to deal with it. This one is all about the technique I use in order to forget her, get used to my own company and to get ready to find love again. And all of the wacky adventures I had along the way.’

As ever with Ellis, he will fly by the seat of his pants and plenty will probably go wrong in the process. One guarantee is that it will be gloriously funny (somehow it always is).

Another is that the 1970s jacket will appear,

an emblem of Ellis’ problem with holding on to the past, standing in for the hair that escaped him. ‘I always wanted to hold onto my Oasis haircut but, as it turned out, I got a receding hairline and it ran away from me.’

Meanwhile, Duggan’s show was still forming when we spoke, literally, as he was taking a break from tapping away on his laptop. ‘It’s called A Man Gathering Fish, which is a clever title that makes me seem intelligent but when I came up with it I had no real theme,’ he confesses. ‘It’s a sort-of love letter to comedy, it’s the first and really only thing in my life that I’ve put everything into. I really wanted to be a comedian and the show is basically me going “am I?” Which is dangerous because a reviewer could just say “no”,’ he laughs.

As a seasoned Fringe performer, Duggan’s hopes for his solo year are modest and levelheaded. ‘If I could make one respectable, distinguished gentleman nod and go “very good”, I’ll feel like I’ve achieved something.

And if they hate it, I’ll whack the dog suit on at the end.’

Funz and Gamez Go Solo | FESTIVAL COMEDY

list.co.uk/festival

PHOTO: DUNCAN ELLIOTT

Phil Ellis

‘If they hate it, I’ll whack the dog suit on at the end’ Meehan has a similar outlook: ‘I’m hoping I can make people think “oh that was good, I never thought of it that way”, which is all I really want out of the show.’ His Class Act is both an examination of social status, especially in an industry dominated by people with middle-class backgrounds, and a homage to his working-class background.

‘The show isn’t about me having a chip on my shoulder,’ Meehan is keen to stress. ‘But most working-class people think it’s not really a legitimate career. Being a comedian or an actor: that’s not “legitimate” even at an amateur level.’

But Meehan’s own family were incredibly supportive: ‘A lot of the show is celebrating

the working class, celebrating my childhood, my life growing up. There were difficult parts, but the only reason I’m doing comedy is because I’ve got two great parents who are very supportive.’

It’s a good job that Will Duggan and James Meehan are taking a measured approach as they’ll probably have to bail Phil Ellis and his jacket out of some cell / ditch / illegal drinking den at some point during the festival.

Phil Ellis is Alone Together (But Mostly Alone), Underbelly Cowgate, 0844 545 8252, 6–28 Aug (not 15), 5.40pm, £10–£11 (£9–£10). Previews 4 & 5 Aug, £6.

James Meehan: Class Act, Just the Tonic at the Tron, 0330 220 1212, 4–28 Aug (not 15), 6.20pm, £5.

Will Duggan: A Man Gathering Fish, Pleasance Courtyard, 556 6550, 6–28 Aug (not 15), 6.45pm, £8–£9.50 (£7–£8.50).

Previews 3–5 Aug, £6.

Will Duggan

SOME FRIENDLY ADVICE Phil’s advice to Will and James: ‘Don’t get above your station, you’ll come crawling back soon enough.’

James’ advice to Phil: ‘Although we aren’t in the same show for the first time in four years, don’t forget that I’m there for you.

Not emotionally or physically but because you still owe me £8.’

James’ advice to Will: ‘Remember that in the grand scheme of things none of this matters. So don’t be angry when I try and poach your audience members.’

Will’s advice to James: ‘You’re gonna be great but if you take any audience members away from my show I will break your legs.’

Will’s advice to Phil: ‘Please just write a joke Phil. Just one joke.’

4–11 Aug 2016 THE LIST FESTIVAL 45

FESTIVAL COMEDY | Sofie Hagen

PHOTO: ANDREW MCGIBBON

THE TRUTH IS OUT THERE Introverted Scandi comic Sofie Hagen shot to Fringe fame last year with an award-winning debut set. On her return, Jay Richardson gets the lowdown on a stand-up making comedic waves with brutal honesty

A

mid all the plaudits Sofie Hagen garnered for last year’s Best Newcomer award-winning Bubblewrap, the Danish comic was most gratified by that of a teenage girl who approached her after the first show. ‘This feels like such a self-indulgent story,’ Hagen apologises. ‘But this tiny girl came up and said: “I’ve always felt wrong but I watched your show and it made me feel less alone”.

And I was like: “oh my God, I’m going to cry forever now”. Even if I never do comedy again, that was all I wanted, one 15-year-old girl. I remembered being that age and unable to function so it felt like the circle was complete, like I’d fixed it. That was the only thing that mattered.’

Hagen’s mental illness struggles were at the core of her 2015 hour and she’s inviting audiences to even darker places with a follow-up, Shimmer Shatter, which the 27-year-old describes as ‘a call to battle for anyone who feels alone. We’re a lot of people, we’re not alone’.

Although she started out as a shock comic, filling early sets with ‘stupid rape and incest jokes that had nothing to do with reality’, chuckling that she was one of those young stand-ups who shouldn’t be allowed near an audience, Hagen has built a reputation as searingly candid and honest, to the extent that she often wonders if she overshares.

Shimmer Shatter explores social anxiety, ‘about being sad, about not feeling like you fit in, about those people who go to parties and hate it, who hide in public toilets so they don’t have to deal with other people’.

Previewing it, she came to the thrilling realisation that she can’t lie on stage. Counter-intuitively, she feels a need to be open about her introvert personality and its counterpart, an ungracious, contrarian nature that prevents her backing down in an argument.

46 THE LIST FESTIVAL 4-11 Aug 2016

Stand-up gave her a mirror on herself that her teenage friends couldn’t provide. ‘They would find that what I was saying was too much, leading me to pull back into myself and apologise for sharing my thoughts,’ she recalls. ‘Comedians were OK with me being so brutally honest. But I guess I still have this idea that some people out there prefer a kind of shield, some things that you keep to yourself.’

Whether performing a routine about sexism in the comedy industry, podcasting on the day-to-day challenges of being a good feminist or blogging about sexual assault, Hagen rarely represses. ‘The first place I go to in my head when something bad happens is to think: “oh, eventually I’ll be able to take this on stage and work it through up there”.’

Her candour hasn’t always proved so cathartic though. After a relationship ended, she broke down in front of fellow comic Alfie Brown who she describes as ‘the last person in the world you want to cry in front of because he reeeeally cannot handle it’.

Intriguingly, Hagen can discuss self-harming, psychiatric hospital and peeing on a man for his sexual peccadillo. But talking about falling in love is one area where she admits to pushing her own limits. ‘I find it really, really terrifying talking about it, way more personal than mental health,’ she reflects. ‘Telling an audience that I opened up to someone? And them thinking: “well, that’s stupid, why would you do that?” That’s real vulnerability: an audience knowing immediately that it wasn’t going to work out when you didn’t.’

Sofie Hagen: Shimmer Shatter, Liquid Room Annexe, 226 0000, 6–28 Aug, 7.50pm, free.

The Pleasance, Nick Mohammed and United Agents present

++++

“TRULY RIDICULOUS

AND BARNSTORMINGLY GOOD FUN” THE TELEGRAPH

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“RICHLY FUNNY.. PURE KNOCKABOUT FUN” THE GUARDIAN

++++

JOYOUS ”

“

ANARCHY THE SUNDAY TIMES

++++ ++++ “IMMENSELY ENJOYABLE” THE TIMES

THE INDEPENDENT

++++ METRO

++++ THE LIST

++++ “EXQUISITELY SILLY…

A SENSATION” WITH DAVID ELMS & KIERAN HODGSON DIRECTED BY MATT PEOVER

19:00 3 – 28 August

pleasance.co.uk

0131 556 6550

Quotes refer to Mr. Swallow’s last show

EVENING STANDARD

4–11 Aug 2016 THE LIST FESTIVAL 47

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FESTIVAL COMEDY | Lynne Jassem

RENAISSANCE WOMAN At the age of 70, multi-talented Lynne Jassem makes her Fringe debut with an hour about showbusiness and sexuality. Here she tells Murray Robertson about her mother, aka Muriel the Terrible, the ‘very nice’ Perry Como and an alter ego called Billy

L

istening to native New Yorker Lynne Jassem describe her career with barely a pause for breath, it’s easy to forget that the tap dancer, mime artist, physical comedian and storyteller is a (recent) septuagenarian. In From Como to Homo, the Jewish multi-threat brings to the stage her remarkable life story, from child performer on The Perry Como Show to international Latin ballroom dance champion, plus plenty in between.

While relating her fascinating tale, Jassem calls to mind a favoured relative, the kind with an endless array of fascinating tales and the chutzpah to bring them all to florid life.

‘Perry Como was a very famous singer back in the 50s and 60s,’ she explains. ‘And I was fortunate enough – at least I think it was fortunate – to be on the show, one of six little girls who were called “Comoettes”.

And that was probably a take-off of the Rockettes who performed at Radio City.’

The correlation between the Comoettes and the Rockettes is a significant one as Jassem’s mother was a member of the latter, a renowned precision dance company that prides itself on an unforgiving audition process and an exhausting rehearsal regime. When Jassem’s mother lost her place as a Rockette, she was determined that her children would follow in her footsteps. ‘At first she pushed my two brothers,’ she remembers. ‘But they would do nothing. And then she pushed me and she got a live one in me! So I think I joined AFTRA [the American Federation of Television and Radio Artists] when I was ten and paid $15 a year. My mother took me to all the auditions and I had a manager who put me on a soap opera – The Edge of Night – to see how I looked on television. And I did what they called the Borscht Belt, where all the Jews went to the Catskill Mountains to spend the summer in bungalows by the lakes. So that’s how all that started with my mother: Muriel the Terrible.’

After propelling her daughter into showbusiness, Jassem’s mother continued to have a profound impact throughout her career. ‘Oh it was love / hate, you know. I mean my mother had me totally in her grip. And I loved her and I hated her. She died about five years ago at 94 and she was still asking me to teach her tap steps! And then she said: “that was not hard enough! Give me a hard one!”’

Happily, the two reconciled their differences towards the end. ‘The last months of her life were absolutely wonderful. All façade and everything disappeared and it just became “love”: thank God for that.’

She has fond recollections, too, of her time working with the legendary Como. ‘He was very nice. Back then they had the laid-back singers who never moved: you couldn’t even tell if they were breathing. He was just very charming and very nice and had a dry sense of humour. I think I saw him get angry maybe once. So he was pretty delightful.’

Aged just 11, Jassem’s burgeoning showbiz dreams were shattered when she developed ulcerative colitis, the diagnosis of which was fumbled by the medical profession.

Jassem also realised she was gay and grew increasingly confused about her gender orientation, something that her family – and post-war American society in general – struggled to comprehend. She describes ‘Billy’ as the bad boy who lives inside her. ‘Billy actually started in my life when I was about three. I was wearing my brother’s hat with earmuffs and sitting in the back of the car when this man at the gas station came up to me and said: “what’s your name son?” And without even thinking I said: “Billy”. And that’s the basis for my character Billy who is my alter ego. Which ain’t easy to have when you’re a kid in showbusiness! You gotta really get rid of that Billy character . . . ’ Over six years in therapy with one of New York’s first child psychiatrists, Jassem learned to accept Billy as a positive facet of her personality. Asked about her present association with Billy, she laughs. ‘Oh, I think I’ve completely integrated with Billy so I don’t have any problem with him anymore.’

Jassem is still a passionate dancer and hopes to bring her skills to the streets of Edinburgh. ‘I was planning on getting a piece of masonite, putting it down in the centre of town and teaching a five-minute tap class to get people excited and say: “I was just performing right down there! You can have more!” The whole show is told through tap dance, physical comedy, mimes, song and story. ‘And let me tell ya,’ she says in that mellifluous New York twang, ‘it never stops! I need a long nap after it.’

‘My mother had me totally in her grip. I loved her and I hated her’

Lynne Jassem: From Como to Homo, Sweet Grassmarket, 243 3596, 5–28 Aug (not 10, 15, 22 & 23), 2.15pm, £8 (£6).

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Lynne Jassem | FESTIVAL COMEDY

list.co.uk/festival PHOTO: KELI SQUIRES TAYLOR

GOLDEN YEARS

PHOTO: ADAM LOXLEY

Lynne Jassem might be one of the most senior Fringe comedy debutantes of all time, but these guys shouldn’t feel ashamed at being newcomers merely in their 40s and 50s

THIS GLORIOUS MONSTER Two of the quartet who make up this first-time sketch act have just entered their 40s. Signed up by Hat Trick in 2014 to develop telly work, their darkly comic routines have been compared to the League of Gentlemen and the Boosh. Very little pressure, then. Pleasance Courtyard, 556 6550, 6–29 Aug, 4.30pm, £9–£11 (£8–£10).

Previews 3–5 Aug, £7.

PHOTO: ANDY HOLLINGWORTH

ANDY ASKINS Circuit stalwart Askins (52) played the Royal Albert Hall in April for a charity gig alongside the likes of Stewart Lee, Josie Long and Romesh Ranganathan, so it’s unlikely that he’ll be especially fazed at making his Fringe debut. Gilded Balloon at the Counting House, 622 6552, 3–28 Aug (not 15), 7pm, £5 in advance or Pay What You Want.

PHOTO: STEVE ULLATHORNE

LEWIS MACLEOD You’re more likely to know this 46-year-old guy’s voice rather than his face as he’s fronted his own impersonation shows on the radio, such as Lewis Macleod’s Wired News and Lewis Macleod Is Not Himself. His Barack Obama and George Galloway take-offs are pretty special. Frankenstein Pub, 226 0000, 4–21 Aug, 6.40pm, free.

PAUL MCMULLAN At 48, this ‘cockney raconteur’ has clearly assembled a strong back-story to unleash on the Fringe. Alcopop is a fearless portrayal of a man who has been through the mill. Pleasance Courtyard, 556 6550, 6–28 Aug (not 15), 9.15pm, £10–£12 (£8–£10). Previews 3–5 Aug, £6.

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FESTIVAL COMEDY | Spencer Jones

H

as Spencer Jones created the most lovable comedy character of recent years?

The Herbert, his joyful, garishly attired, dickhead alter ego, had the feelgood hit of last year’s Fringe, with a mix of cheeky prop comedy, daft songs and physical lunacy.

That 2015 hit, Proper Job, gets another airing while a brand new show, Eggy Bagel, follows in its anarchic footsteps. The Herbert’s childlike charm is infectious, and soon Jones’ show was a wordof-mouth hit. But it all came as something of a surprise.

‘I didn’t realise it was going well until the last two days of the festival,’ Jones tells me, when we meet in a London café. ‘I think people liked it because it wasn’t nasty. There was a genuine surprise on my face, and I think people like that: “oh, he’s pleased to be here!”’

After attempting various other styles of comedy, Jones settled on the Herbert because it was a brand new way of writing. ‘It was a nice way of going on stage and saying: “here’s me, I’m a bit of a prat”.’

The character – who dons bright white tights and luminous tops – started as a prop-less clowning act, but Jones needed something to interact with. ‘I realised going on stage with a stupid outfit on wasn’t enough,’ he explains. ‘We had the builders in at home, so I just started nicking stuff from the site like pipes and drills; that’s how the prop thing started.’

Jones creates characters and contraptions from household items and impulse eBay purchases.

Some are throwaway gags, others are more integral to the show’s narrative. Some, though, don’t even make the final cut. ‘I bought all this Duplo thinking I was going to do something with it but that’s not happened!’ he laughs. ‘I have 20 or 30 kilos of Duplo at home!

I’m trying to hide it from my son.

If he finds it he’ll get it all out and then that’s an hour and a half just putting it away.’

With props comes baggage.

During our chat, Jones is armed with a heavy suitcase of items – a 50 THE LIST FESTIVAL 4–11 Aug 2016

TOP OF THE PROPS

Spencer Jones follows up his 2015 hit with another slice of the Herbert. This increasingly in-demand actor tells Ben Williams about the crazy stuff he carries around in his bags

leaf blower, a loop pedal, a headless doll – ready for a gig later that night. Does he ever wish he hadn’t chosen prop-comedy? ‘Every single day!’ he admits. ‘It’s really annoying. Sometimes I daydream about other ideas for shows: “my life in adverts” or something. But not yet . . . ’ Jones has featured in a fair few TV ads and has become an increasingly in-demand actor.

Most recently, he channelled his inner Ricky Gervais for a role in Ben Elton’s Shakespearean sitcom, Upstart Crow. ‘I know it’s a cliché, but the cast were fucking brilliant,’ says Jones. A starry cast it was, too, with David Mitchell, Harry Enfield and Liza Tarbuck: it must have been a bit intimidating? ‘Oh yeah, insane,’ he admits. ‘I used to do impressions of Harry Enfield every single day, and then suddenly he’s there. It took me two weeks to actually have a chat with him.’

With the acting career going strong, does that mean we might see less of the Herbert in future? ‘If I’m honest, this year’s show might be me moving away from it,’ he replies. ‘I’m certainly not saying this is the last show the Herbert will ever do, but I’m definitely trying to mix it up this year.’ But Jones’ plans for the character aren’t totally through. There’s at least one harebrained idea he’s yet to try. ‘In my head, I’d love to put on a rave as the Herbert. A proper rave! Where everyone goes crazy, no chairs, and with weird visuals.

For me, variety is the main thing and not getting bored. If I get bored of the Herbert, I’ll stop. But I can’t walk on stage in the white tights forever . . . ’ Spencer Jones Presents The Herbert in Eggy Bagel, Heroes at the Hive, 226 0000, 4–28 Aug (not 15), 8.50pm, £6 in advance or Pay What You Want; Spencer Jones is The Herbert in Proper Job, Underbelly Cowgate, 0844 545 8252, 6–28 Aug (not 15), 5.20pm, £11–£12 (£10–£11).

Previews 4 & 5 Aug, £6.

17 SHOWS 9 VENUES EDINBURGH 2016

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5 - 28 AUG (WED -SUN) 4–11 Aug 2016 THE LIST FESTIVAL 51

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List Co-Promotion

Set to take Edinburgh Festival Fringe by storm, Russian Standard Vodka is bringing two of the UK’s most loved immersive experiences to Edinburgh for the first time. Kicking off from 4 August and running for the duration of the festival, Rebel Bingo and PingTron will be bringing their high octane sell-out shows exclusively to Russian Standard House Of DAVAI at Assembly George Square Gardens and Gilded Balloon Teviot, both iconic mainstays of the Edinburgh Festival Fringe.

The Russian Standard House Of DAVAI, meaning “let’s go”, is the place to be at this year’s Edinburgh Festival Fringe, with plenty of delicious Russian Mule cocktails on hand to enhance the fun.

House Of DAVAI presents Rebel Bingo at Assembly George Square Gardens 4–28 Aug Tickets from £8 rebelbingo.com House Of DAVAI presents PingTron at Gilded Balloon Teviot 4–28 Aug Tickets from £10 pingtron.com

52 THE LIST FESTIVAL 4–11 Aug 2016

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Daphne | FESTIVAL COMEDY

list.co.uk/festival

‘The vomiting really puts people off’ After a storming 2015 Fringe debut, the Daphne trio of Phil Wang, George Fouracres and Jason Forbes are back. We probed them with questions that involved answers about sound effects, practical jokes and the Michelin-star meal that went wrong

You’re now on that difficult second show.

Which film sequel would you compare Daphne’s Second Show to and why?

The Dark Knight, because it’s got a white guy, a black guy, and a Chinese guy in it.

What’s your effect ever?

all-time

favourite

sound

The splat.

Presumably choosing a name for the team was a heated debate over a period of days and weeks if not months / years. Can you reveal one of the close contenders?

We considered Sum Lumps: a confusing play on the word ‘lumpsum’ and an accurate description of how collectively physically abhorrent we are.

Question for George: what’s the one thing you like most about Jason as a performer?

He is very meek and obedient.

Question for Jason: what’s the one thing you like most about George as a performer?

Sometimes he’s offstage.

Question for Phil: what’s the one thing you like least about yourself as a performer?

The involuntary projectile vomiting. It really puts people off, even if they’ve been enjoying the show up to that point. Hard to bring people back onside after that.

What’s the closest you’ve come to being mortally wounded while on stage (in Daphne or elsewhere)?

During Jason’s slapstick moments in every show last year.

PHOTO: MATT CROCKETT

Your Radio 4 show is entitled Daphne Sounds Expensive. Obvious question, then: what’s the most expensive gift you’ve ever shelled out for? And was it suitably appreciated by the recipient?

Phil bought his mother a £400 Michelin-star dinner for her 60th birthday. She had so much wine that the next day she couldn’t remember the meal. As an example of how irrelevant this question is to George, one Christmas, he had £20 to spend on his family of 14. They each got a Freddo and a letter of apology. The most

expensive gift Jason has ever bought is a pair of £600 shoes. The recipient was very grateful.

The recipient was Jason.

What is your favourite comedy trio ever?

The Two Ronnies + Mr Bean.

Name one Edinburgh show that you’re most looking forward to seeing in August?

Phil: Jon Pointing’s comedy show Act Natural.

George: The Fizzogs.

Jason: Telenovela by Emma Sidi.

If you were spending the month of August in London while ALL of the London comedians were in Edinburgh, would it make you really sad or very, very happy?

Really happy. We’d perform at all the gigs and slag all the comedians off, so when they come back everyone will be sniggering at them and they won’t know why.

What’s the set-up favourite punchline?

to

your

‘Ain’t they funny people, them Chinese?’

(Search ‘Racist Comedian Bombs’ on YouTube).

Who’s your favourite Daphne of all time?

Daphne Moon from Frasier.

What’s the finest practical joke you’ve been on the receiving end of?

Someone once cut George’s ears off and threw them in a ‘guess how many beans there are in this jar?’ jar. He was a bit annoyed at the time but we all laugh about it now, which of course George can’t hear.

Daphne’s Second Show, Pleasance Courtyard, 556 6550, 6–28 Aug (not 15), 5.45pm, £9.50–£12 (£8–£11).

Previews 3–5 Aug, £6.

From top: George, Phil, Jason

4-11 Aug 2016 THE LIST FESTIVAL 53

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Previews | FESTIVAL COMEDY

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NICK MOHAMMED The man behind Mr Swallow tells us his favourite Harry Houdini adventures

ESCAPING FROM THE BELLY OF A SEA MONSTER A quick search online will yield, amongst other things, that one of Houdini’s more eccentric escapes was from the belly of a sea monster. The sea monster in question was in fact constructed from half a whale and half an octopus (I don’t know their names) but it’s fair to say not only was this one of Houdini’s more noteworthy stunts, it also goes down as one of the messiest and smelliest performances in history.

SARAH KENDALL

Making the move from stand-up to storytelling pays off for this popular Aussie Last year, Sarah Kendall was nominated for her second Edinburgh Comedy Award with A Day in October, a shaggy dog story with a heart-wrenching twist. Its success has emboldened the Australian performer to focus on storytelling over stand-up as she embarks on her third narrative-led piece, Shaken. ‘It’s a story within a story about a lie that I told when I was a teenager, a lie which spiralled out of control. The show is also very much about storytelling.’

An ambiguous distinction between fact and fiction was also at the heart of last year’s show and its resurgence suggests Kendall still relishes the dichotomy. ‘It’s an examination of storytelling and the line between storytelling and lying, because you could argue that really good storytellers are just kind of dangerous liars in a sense, so it toys with that.’ Although Kendall has been performing at the Fringe since 2003, she still dreads the process of conjuring up an idea. ‘I never go, “the ideas are just pouring out of me!” At the beginning of the process I think, “my God, how am I gonna do this? I’ve got nothing!”’

Kendall has previewed her show in the run-up to Edinburgh and she believes it has grown much stronger as a result. ‘I don’t know why this is but no matter what I do with my laptop, whenever I do it in front of a roomful of people, so many things become much clearer in terms of where things aren’t working and what needs to be finely tuned and what needs to go together. I just can’t figure that out on my own at a laptop. There’s this weird alchemy that when you say it out loud to people you just get a sense of the bits that don’t feel right. It makes me hugely respectful of novelists.’

(Murray Robertson) n Assembly George Square Studios, 623 3030, 6–28 Aug, 6.45pm, £10.50–£12.50 (£9.50–£11.50). Previews 3–5 Aug, £7.

Controversial Canadian comic doesn’t care if you’re offended by his material or not Mike Ward’s Fringe show has something to offer that no other one does: an $80,000 gag. Sued by the Canadian government for a joke he told, Ward decided that he may as well get his money’s worth and bring it to Edinburgh. ‘I talked about a dying Canadian boy whose last wish was to sing for the Pope. I made fun of the fact that, eight years later, the kid isn’t dead yet. The family contacted the Human Rights Commission who, in turn, sued me for $80,000.’

Obviously, personal taste dictates whether you’ll find the gag objectionable, but Ward isn’t one to shy from controversial material and he honestly doesn’t care if you take offence. ‘As long as I think it’s funny I’ll do it. My type of humour isn’t for everyone, but people who like it seem to like it a lot. If a comedian is afraid to say what pops in his head he’ll never come up with something daring, something original, something brilliant.’ (Kirstyn Smith) n Gilded Balloon Teviot, 622 6552, 6–28 Aug (not 25), 8.45pm, £10–£12. Previews 3–5 Aug, £5.

In 1904, the Daily Mirror challenged Houdini to escape from a special set of handcuffs that it claimed had taken locksmith Nathaniel Hart five years to make. Quite why Hart had worked so slowly on these handcuffs is unclear. Either way, Houdini was able to escape from the restraints in just under an hour, causing Nathaniel to question his skills and, indeed, his whole existence.

PRISON ESCAPE

PHOTO: GEORGES FOK

MIKE WARD

THE MIRROR CHALLENGE

That same year, Houdini was challenged with escaping from the notorious ‘Murderers’ Row’ of Washington DC prison.

Not only did Houdini succeed in getting out of his cell, he also proceeded to open the doors of eight other cells and shuffle the prisoners about. This resulted in an administrative nightmare for the wardens involved who, to be fair, were just trying to do their jobs and protect the general public from some of the world’s most nasty criminals.

THE CHINESE WATER TORTURE CELL Many believe that this is the escape that killed Houdini. Sadly, it was the slightly less flamboyant condition of severe appendicitis that finished off the great Harry Houdini. Needless to say, for the sake of authenticity, I too will attempt to perform the show every night with severe appendicitis. (As told to Brian Donaldson)

n Pleasance Courtyard, 556 6550, 6–28 Aug, 7pm, £11–£14 (£10–£13). Previews 3–5 Aug, £6.

4–11 Aug 2016 THE LIST FESTIVAL 55

FESTIVAL COMEDY | Previews

DOUGLAS WALKER

Improv troupe member striking out as a distinctive solo performer Last year’s Fringe was a very good one for fresh Scottish talent like Richard Gadd, Fern Brady and the Best Newcomernominated Larry Dean. Meanwhile, their compatriot Douglas Walker’s success was the very epitome of flying under the radar. His Möglich (German for ‘possible’) featured him holding his head in a bucket of water to make a point about artistic sensitivity, delivering a routine on torture and producing some satire of the comedy industry in a show that was compelling or knockabout one moment, and uncomfortably icky the next. This year, he’s giving us Komischer (German for ‘strangely’).

But first things first. Why has he chosen German as the source tongue for his solo show titles? ‘I like German because it has connotations of the uncanny and off-kilter, which suits my comedy: French for sophistication, Spanish for adventure, German for weird.’ Weird is certainly one word to describe his solo material (he’s also part of the Racing Minds gang, doing their improv thing this year at the Pleasance Dome). Many acts weakly equate oddness with humour, and it’s clear that delivering a strange show which hits the target is a lot harder than it looks.

Walker hit the target time after time during Möglich.

‘That show was sort of about how comedy and tragedy are the same thing, just seen from different perspectives. So there had to be some tragedy as well as some comedy, and I tried to slide from one to the other, in both directions, to play with how a tiny change could make you see it totally differently. Komischer is not as dark. I don’t think so anyway. It asks the question, “why would you write a comedy show unless you think you’re the funniest person around?” If you’ll forgive the mild spoiler, the answer is mostly to do with Müller Corners.’ (Brian Donaldson) n Just the Tonic at the Caves, 0330 220 1212, 4–28 Aug (not 15), 5pm, £5–£7 in advance or Pay What You Want.

THE MMORPG SHOW

VIV GROSKOP

NAZEEM HUSSAIN

Before we delve into the details of The Massively Multiplayer Online Role-Playing Game Show, it’s probably best to let you know how to say that clumsy acronym, in case a fear of getting tonguetied prevents you from asking for a ticket. ‘The MMORPG Show, pronounced “Ma-morpa-ga”, is a live, improvised role-playing game,’ explains its creator, Paul Flannery. ‘Players take on the role of characters within a narrative. They take actions and make decisions on behalf of their character, the success of which depends on the roll of a 20-sided die.’

Flannery is something of an old hand when it comes to audience participation and his last project was the rather ace Knightmare Live, which returns for a run at the Pleasance Dome.

‘There are some obvious crossover elements in this show, mostly its sense of fun and escapism,’ Flannery says. ‘One of the things that drew me to writing MMORPG was the opportunity to play all the fun characters, something I don’t get to do in Knightmare Live.’ (Niki Boyle) n Gilded Balloon at the Counting House, 622 6552, 6–28 Aug (not 15), 9.30pm, £8 in advance or Pay What You Want. Previews 3–5 Aug, £6 or PWYW.

When in doubt, Viv Groskop draws strength from her ultimate role model: Margo Leadbetter from 1970s sitcom The Good Life. ‘She was confident, forthright, strong, a bit obnoxious, yes, but also a beacon of common sense. She’s a horrible person but being less like Margo is what got us in this terrible mess in the first place.’

In Be More Margo, the ‘self-consciously middleclass’ Groskop will tackle snobbery, class and Britishness, three extra-provocative themes in these post-Brexit times. ‘Most people have increased in prosperity in the last 20 or 30 years,’ chirps Groskop, sounding dangerously sure of these, er, facts. ‘My material on Waitrose shoppers and quinoa eaters used to sound twee and sweet, now it’s a bit toxic, almost like a nuclear bomb!’

For anyone not onboard with Groskop’s politics, she can certainly take a heckle. ‘I’m personally quite self-loathing, which works well if there’s any antiEnglish or anti-middle class sentiment in the room: I embrace it. I’ll bring my boxing gloves and we can slug it out.’ A notion that Margo would surely have found just ghastly. (Claire Sawers) n The Stand 4, 558 9005, 5–28 Aug (not 15), 5.55pm, £8 (£7). Preview 4 Aug, £7 (£6).

One half of comedy duo Fear of a Brown Planet and creator of TV series Legally Brown, Aussie Nazeem Hussain derives a fair amount of his humour from confronting racism and discussing his Muslim heritage.

His debut solo hour takes its name from that TV show and will be, he says, a mixed bag of tricks.

‘There’s definitely stuff in there about politics and race, and living in a perpetual state of paranoia as a Muslim in the west, but there’s also stuff about buying cool pants and becoming a little bit famous in Australia.’

Hussain is a patron of RISE: Refugees, Survivors and Ex-Detainees, the only refugee and asylum seeker organisation in Australia run and governed by refugees and ex-detainees, and it’s clear immigration is an important subject to him. ‘In Australia, we’re witnessing the rise of hard-right white nationalist groups, including the comeback of our own redneck, redhead politician Pauline Hanson, so I’ll be taking notes to report back to my people back home.’ (Kirstyn Smith) n Assembly George Square Studios, 623 3030, 6–28 Aug (not 16), 8pm, £10.50–£12 (£9.50–£11).

Previews 3–5 Aug, £7.

Live improvised role-playing with an emphasis on escapist fun

56 THE LIST FESTIVAL 4–11 Aug 2016

The self-loathing, self-consciously middle-class comic prepares to take on all-comers

This big star in Australia delivers a mixed bag of tricks for his debut solo hour

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Previews | FESTIVAL COMEDY

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JAMES WILSON-TAYLOR On his favourite fellow redheads, and one he's not quite so keen on PHOTO: STEVE ULLATHORNE

MASUD MILAS

Newcomer tackling Brexit and his roots while talking about the Bard What with all the current talk of national identity post-Brexit, Masud Milas’ solo Fringe debut couldn’t have come at a better time. The dapper young comic is half-Kenyan, half-English, and lived in Hong Kong and New Zealand before settling down in London. His 2016 show, Routes, tackles ‘growing up on the other side of the world and coming home to find it’s just as bizarre here too’.

Yet, for all the artform’s appearance of off-the-cuff wit and topical response, stand-up comedy does require a lot of planning and writing in advance. Did he anticipate that there’d be such an EU furore? ‘I happen to be talking about the referendum in my show so I’m very lucky that happened,’ says Milas. ‘Ultimately, I think you have to be flexible. I don’t mean block out a section of your show for “upcoming hot topics”, but if it affects you then give it a shot. What you don’t want to do is try and crowbar it in because it’s current: put it in if you have something to say about it. It could end up being quite jarring otherwise.’

In addition to comedy, Milas also dabbles in radio (his Late Breakfast Show on Soho Radio will be podcasting from the Fringe) and cinema where he’ll soon be appearing in Wyrdoes, a Shakespeareinspired short film from fellow comic Nat Luurtsema. ‘I’d say I do stand-up comedy first and everything else branches off that,’ says Milas. ‘For Wyrdoes, I know Nat through comedy and she gave me a ring and asked if I was keen to do it. I’d never been to Cheddar Gorge and it looked like a lot of fun. You get to meet a lot of cool people working on stuff like that.’ (Niki Boyle) n Underbelly Med Quad, 0844 545 8252, 6–28 Aug, 6.50pm, £9–£10 (£8–£9). Previews 3–5 Aug, £6.

NICK CODY

Follows up a savagely funny 2015 debut hour with a tale about unlocking his heritage This prank-loving, beer-appreciating, self-deprecating Australian stand-up is often described as blokey or laddy, but Nick Cody isn’t sure those particular labels tell the whole story. ‘I’m only considered an alpha / macho bloke because I’m in the arts,’ he shrugs.

‘Outside of comedy, I’m a soft-handed manchild with no actual skills other than stand-up.’

After last year’s bro-friendly debut, Beard Game Strong, Cody is returning with Come Get Some!, his take on the ancestry TV show, Who Do You Think You Are?. He wrote it after discovering his ancestral home in Ireland, and realising, ‘your heritage is more impressive than you actually are’.

And hey, while others despaired about Brexit, Cody was showing off his #GlassHalfFullOfBeer outlook on life via Twitter: ‘It’s a sad day for the UK but froffs [beers] at #EdFringe just got cheaper for me.’

(Claire Sawers) n Assembly George Square Studios, 623 3030, 6–28 Aug (not 15), 9.20pm, £10–£12.50 (£9–£11.50).

Previews 3–5 Aug, £6.

RON WEASLEY When I was a kid, JK Rowling came to my school and signed my book: ‘to James, who could be a Weasley, love JK Rowling’.

And yet she still didn’t cast me in the film!

I do love Ron though; it’s a shame he gets a bit trampled over. He’s the kind of guy girls would take to the Hogwarts dance, but after a couple of butterbeers they’re off round the back of the Quidditch pitch letting some Slytherin shove his wand in her leaky cauldron.

SIMBA My first ever red-headed hero. I’m convinced the only reason I ever get girls is if they loved this film as a kid. ‘Can you feel the love tonight?’ is my go-to chat-up line.

That or ‘Hakuna Matata’.

PRINCE HARRY A genuinely nice chap. Plus, he’s like a real-life Simba – he just can’t wait to be king and he never got to know his REAL father (the ginger one).

CILLA BLACK Blind Date was like Take Me Out without all the morons. With Cilla, you genuinely cared about the people finding love. Now you just watch them and wonder if they’re an estate agent or just from Croydon. Or both.

ED SHEERAN To be honest, it’s not that I dislike Ed Sheeran, I just think what he does is very easy and repeatable. He’s basically the 2016 version of Mick Hucknall and we didn’t ask for that. Plus, there’s something uncomfortable about watching a ginger white man rap. Unless it’s me.

(As told to Brian Donaldson) n Underbelly Cowgate, 0844 545 8252, 6–28 Aug, 5pm, £9.50–£10.50 (£8.50–£9.50).

Previews 4 & 5 Aug, £6.

4–11 Aug 2016 THE LIST FESTIVAL 59

FESTIVAL COMEDY | Day Planner

PHOTO: STEVE ULLATHORNE

Needing laughs from the moment your brekkie has gone down to just before you slip right back into your jammies? Brian Donaldson helps map out your comedy-laden itinerary from early til late

11AM Bridget Christie She was all set to bring

us a show about death and mortality and whatnot, but then Brexit happened. So, behold a brand new show featuring fresh material about the torment she’s been experiencing since 23 June. The Stand, 558 9005, 5–29 Aug (not 15 & 16), 11am, £12 (£10).

Dirty White Boys The north / south divide is breached by double act Jack Robertson and Chazz Redhead as their anticipated Fringe sketch debut arrives.

Just the Tonic at the Caves, 0330 220 1212, 4–20 Aug (not 15), 11.50am, £5 (or Pay What You Want).

NOON Fern Brady After a tremendously successful 2015 Fringe debut, the Yorkbased Scots lass delivers show number two, Male Comedienne, about gender, class and religion. The big stuff, basically.

The Stand 2, 558 9005, 5–28 Aug (not 15), 12.10pm, £9 (£8). Preview 4 Aug, £8 (£7).

Richard Brown His 2014 Glasgow Comedy Festival and Edinburgh Fringe show, This is Not for You, signalled an intriguing new talent. Let’s see if his new hour enhances that reputation. Just the Tonic at the Caves, 0330 220 1212, 5–28 Aug (not 15), 12.40pm, £5 (£4; or Pay What You Want).

1PM Doors to Manual Rhiannon Vivian breaks out from the Maydays improv team for a multi-character solo show. Just the Tonic at the Mash House, 226 0000, 8–28 Aug (not 15), 1pm, £5–£6. Previews 4–7 Aug, £5.

Ahir Shah A passionate and committed political performer, Shah truly stormed it with last year’s Distant. His new one Machines will no doubt crank up the wry ire to 11. Laughing Horse at Cabaret Voltaire, 247 4704, 4–28 Aug, 1.30pm, free.

2PM Erin McGathy US performer and

podcaster brings us Love You Loudly, a highly personal show about divorce, cakes and despair. Gilded Balloon at the Counting House, 622 6552, 3–29 Aug, 2pm, £5 (or Pay What You Want).

Worst Show on the Fringe Quite an enticing title that one, as it introduces us to some acts who have received a thunderous one-star review in their time and seek to show their detractors the error of their reviewing ways. Movement, 226 0000, 6–28 Aug, 2.30pm, free.

3PM Kill the Beast ‘The League of Gentlemen meets Hammer (horror not MC) as scripted by Roald Dahl’ is how some have pitched this group, and here they launch Don’t Wake the Damp, a parodic 75-minute theatrical tour de force.

With some excellent wigs. Pleasance Dome, 556 6550, 6–28 Aug (not 15, 26), 3pm, £10–£12 (£9–£10.50). Previews 3–5 Aug, £6.

Ed Gamble A very talented British comic with a taste for running and appearing in spoof shows about the monarchy (Almost Royal), Gamble is becoming something of a safe Fringe bet. Gilded Balloon at the Counting House, 622 6552, 3–29 Aug, 3.15pm, £5 (or Pay What You Want).

60 THE LIST FESTIVAL 4–11 Aug 2016

PETE FIRMAN Modern magic stuff from the Middlesbrough conjuror celebrating a decade at the Fringe. He’ll have plenty up his sleeve, both metaphorically and the other way. n Pleasance Courtyard, 556 6550, 6–28 Aug, 8pm, £11.50–£15 (£10– £13.50). Previews 3–5 Aug, £8.50.

4PM Katherine Ryan ‘TV’s Katherine Ryan’,

as she likes to introduce herself on stage these days, has a work-in-progress to lay on us this month. Will be better than most comics’ polished hours, that’s for certain.

The Stand 6, 558 9005, 4–13 Aug, 4.05pm, £12 (£11).

Olaf Falafel Rolling us his Cheese of Truth, the Swedish comedian (he’s in that nation’s top ten apparently) unveils his winning brand of stupidity. Laughing Horse at City Cafe, 220 0125, 4–28 Aug (not 16), 4.15pm, free.

Radio Active Angus Deayton, Helen Atkinson Wood, Philip Pope and Michael Fenton Stevens get Radio Active at the Fringe for the first time in more years than they’d care to remember. Their fictional radio station is open for business once more. Pleasance Courtyard, 556 6550, 6–28 Aug (not 15), 4.20pm, £12–£15 (£11.50–£13.50). Previews 3–5 Aug, £6.

5PM Thrones! The Musical! There’s never a

shortage of gags or acolytes to lap up those gags when a Game of Thrones-themed musical dances into town. Happily this is from the Baby Wants Candy lot who know what they’re doing. Assembly George Square Studios, 623 3030, 6–29 Aug, 5pm, £13–£14 (£12–£13). Previews 3–5 Aug, £10.

David Mills A catty, chatty and snappy hour of cocktail lounge banter with more acerbic wit than you can shake a popcultural reference at. Underbelly George Square, 0844 545 8252, 6–28 Aug (not 15), 5.20pm, £10.50–£11.50 (£9.50–£10.50).

Previews 3–5 Aug, £6.

Lewis Schaffer One of the true cults of modern-day Fringeing, this American ‘legendary failure’ insists You Are Beautiful. The hour is probably not as easy-going and carefree as that suggests.

Just the Tonic at the Community Project, 0330 220 1212, 4–28 Aug (not 15), 5.35pm, £10 (£8).

6PM Michael Brunström He’s won a Malcolm Hardee Award for Originality.

And that’s probably all you need to know

when deciding whether to pop along or not. Heroes at Dragonfly, 226 0000, 4–13 Aug, 6pm, £5 (or Pay What You Want).

Susan Calman We dubbed her ‘the wee lassie with a big future’ back in the 17th century and she is continuing to prove us right, incredibly. Brace yourself for The Calman Before the Storm. Which is a pun.

Pleasance Courtyard, 556 6550, 6–28 Aug, 6.20pm, £10–£14 (£9–£13). Previews 3–5 Aug, £7.

Liz Miele With viral hit ‘Feminist Sex Positions’ behind her, New Yorker Miele recalls her journeys through Europe for Mind Over Melee. Which might be a pun, not sure. Underbelly Cowgate, 0844 545 8252, 6–28 Aug (not 15), 6.40pm, £9.50–£10.50 (£8.50–£9.50). Previews 4 & 5 Aug, £6.

7PM Geoff Norcott There will be many

post-Brexit comedy routines in town this month, but few will be from the ‘victors’.

Norcott brings us his Conswervative views amid the personal story of his upbringing.

Underbelly Med Quad, 0844 545 8252, 6–28 Aug (not 15), 7.10pm, £10–£11 (£9–£10). Previews 3–5 Aug, £6.

Tommy Tiernan After his improv experiment of last year, the Navan legend comes Out of the Whirlwind with a show which may be more of a scripted variety but should be no less as fluid. Gilded Balloon Teviot, 622 6552, 6–28 Aug (not 12), 7.30pm, £15–£16 (£14–£15). Preview 5 Aug, £9.

Paul Currie A Marmite comedian to end them all as the Northern Irishman chucks his particular brand of physical mayhem all over us. Heroes at the Hive, 226 0000, 5–28 Aug (not 10, 17, 24), 7.40pm, £5 (or Pay What You Want).

8PM Shappi Khorsandi The new president of the British Humanist Association gets back to where she belongs and brings us a show about her feelings for her adopted land. The Stand, 558 9005, 5–28 Aug (not 15), 8.30pm, £12 (£10). Preview 3 Aug, £11 (£9).

Mark Nelson Quietly doing his thing year after year, the inaugural Scottish Comedian of the Year explores

genuine happiness in a world full of self-obsessives. Gilded Balloon Teviot, 622 6552, 5–28 Aug (not 15), 8.45pm, £7.50–£12.50 (£5–£10). Previews 3 & 4 Aug, £5.

9PM Amir Khoshsokhan Plenty of plaudits

abound for this rising star and he aims to push all that over the line with Shhhhhh, a show about political and personal manipulations which somehow touches on Nintendo and Tupac. Laughing Horse at Dropkick Murphys, 225 2002, 4–28 Aug, 9pm, free.

Kieran Hodgson A comedy award nomination arrived at Hodgson’s door last Fringe for his Lance Armstrong show, but will he keep up that momentum as he delivers an hour about stretching beyond your natural abilities in the pursuit of something amazing? Voodoo Rooms, 226 0000, 6–28 Aug, 9.30pm, free.

Garrett Millerick Want an hour that pulls together Eminem, city traders and a ballroom dancer? This one from the highly committed Millerick is bang up your street then. Pleasance Dome, 556 6550, 6–28 Aug (not 15), 9.40pm, £8.50–£11 (£7.50–£10). Previews 3–5 Aug, £6.

10PM Comedians Film Club A different comic each night talks about a movie they love before we then watch it. Simple. But brilliant. Vintage Mobile Cinema, 226 0000, 5–28 Aug, 10pm, £12.50 (£10).

Maureen Langan This US broadcaster and stand-up isn’t sure that the advice her parents passed on was exactly spoton. Here she deconstructs our modern attitudes towards getting ahead in life. The Stand 5, 558 9005, 5–28 Aug (not 15), 10.15pm, £9 (£8). Preview 4 Aug, £8 (£7).

Shit-Faced Showtime The folks behind those drunken Shakespeare antics swallow more than just their pride with a boozy production of The Pirates of Penzance. Cheers?! Underbelly Med Quad, 0844 545 8252, 6–29 Aug, 10.45pm, £10.50–£12.50 (£9.50–£11.50).

Previews 3–5 Aug, £7.

11PM The Stand Late Club Two hours of a bunch of top Fringe comics in the ideal comedic setting. The Stand, 558 9005, 5 & 6, 12 & 13, 19 & 20, 26 & 27 Aug, 11.45pm, £15 (£13).

Comedy Countdown Comedy and Countdown? Sounds sort-of familiar but we’ll let that one go as this should provide 90 minutes of chaotic fun each time. Gilded Balloon Teviot, 622 6552, 5–13 Aug, 11.59pm, £8.

MIDNIGHT Will Seaward’s Spooky Midnight Ghost Stories III A spooky tale at the

witching hour is what Christmas needs, but the Fringe? Indeed so, and Seaward is the man to deliver the chills. Gilded Balloon Teviot, 622 6552, 6–29 Aug (not 10, 15, 20, 22), midnight, £10 (£8.50).

Previews 3–5 Aug, £6.

Arielle Dundas Silly but cerebral musings are promised here from this American comic based in the Netherlands. Laughing Horse at Southside Social, 662 0974, 4–28 Aug (not 27), 12.30am, free.

1AM Late’n’Live And finally, the last word

in late-night comedy shows where acts both experienced and less-so roll up for the night(mare) of their stand-up lives.

Gilded Balloon Teviot, 622 6552, 6–29 Aug, 1am, £12.50–£16. Preview 5 Aug, £10.

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MONUMENTAL The risks come thick and fast in The Holy Body Tattoo’s powerful show

PHOTO: YANNICK GRANDMONT

For most people, dancing on the floor is challenge enough. So hats off to the nine dancers in monumental, who spend over 30 minutes performing energetic movement on pedestals, without toppling off.

‘The dancers are very intimate with their boxes,’ says Dana Gingras, co-choreographer of Canadian dance company The Holy Body Tattoo.

‘They’re on there from day one of rehearsals, because they spend more than half the piece on them – to the point where you want to scream at them to get off. There are lights inside the boxes that sometimes shine up into their faces, so there’s a lot of risk.

‘But the piece was built with the boxes in mind, so it was just about getting the dancers used to them – not that I’d say they ever get comfortable, and if they did we’d have to push it a bit more, because part of the risk is there’s always that edge.’

Joining The Holy Body Tattoo on stage will be fellow Canadian trailblazers Godspeed You! Black Emperor, who will drive all this risky movement along with an intense live score that Gingras says, ‘goes right into your bones’. (Kelly Apter) n Playhouse, 473 2000, 8 & 9 Aug, 8pm, £10–£32.

4–11 Aug 2016 THE LIST FESTIVAL 61

FESTIVAL DANCE | Hitlist

DANCE HITLIST Kelly Apter picks some of the best dance and physical theatre to check out during week one of festival action I AM RHYTHM The story of music and rhythm in the South African townships, courtesy of this eight-strong company specialising in traditional and urban dances. See feature, page 63. Dance Base, 225 5525, 9–21 Aug (not 15), 4pm, £12 (£10). Previews 5–7 Aug, £10 (£8).

MONUMENTAL Two Canadian trailblazers for the price of one, as dance company The Holy Body Tattoo team up with rock band Godspeed You! Black Emperor for this epic work. See preview, page 61. Playhouse, 473 2000, 8 & 9 Aug, 8pm, £10–£32.

BANG! TO THE HEART Milan’s Nue Dance Company fuse hip hop and contemporary dance in this modern-day tale of conflict and love. See preview, page 64.

ZOO Southside, 662 6892, 6–29 Aug (not 10, 15, 22), 10.20pm, £12–£14 (£10–£12). Preview 5 Aug, £10.

ÉOWYN EMERALD & DANCERS Strong contemporary and ballet can be in short supply at the Fringe, but this talented American company has it covered. See preview, page 64.

Greenside at Royal Terrace, 557 2124, 8–27 Aug (not 14, 21), 1.50pm, £10 (£8). Previews 5–7 Aug, £5 (£4).

IN THE WINE New Zealand’s Java Dance Theatre invites you to absorb the sounds, smells and rituals of wine-making in this unique dance show. See preview, page 66. Assembly Checkpoint, 623 3030, 6–29 Aug (not 10, 15, 22), 1.10pm, £11.50–£12.50. Previews 4 & 5 Aug, £8.

ATTRAPE MOI Acrobatics mix with theatre, music and a whole lot of skill in this family-friendly show from Quebec-based circus company Flip FabriQue. See preview at list.co.uk. Assembly Hall, 623 3030, 6–29 Aug (not 10, 15, 22), 6pm, £15–£16 (£13–£14). Previews 4 & 5 Aug, £10 (£8).

POP-UP DUETS Unexpected treats at the Museum, as Janis Claxton Dance Company presents these surprising and intimate

I Am Rhythm

duets. See preview, page 64. National Museum of Scotland, 0300 123 6789, 4–28 Aug (not 6–9, 15 & 16, 22 & 23), 3.30pm, free.

FEEL-LINK The husband and wife duo of

Dance Theatre Low Air, winners of a Lithuanian TV dance contest, present this emotionally charged duet. See preview, page 66. ZOO Southside, 662 6892, 8–20 Aug (not 14), 12.10pm, £12 (£10). Previews 5 & 6 Aug, £8.

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T K AY M A I D Z A G R AV I T Y A N D O T H E R M Y T H S M I C H A E L G R I F F I T H S A L I M C G R E G O R A D A M PA G E E L E C T R I C F I E L D S D U N C A N G R A H A M H A N N A H N O R R I S A M E L I A R YA N H A N S A N YA A N A S TA S I A M I C H A E L A B U R G E R G O B S M A C K E D T H E AT R E C O M PA N Y D E L I A O L A M S T E V E F O S T E R WAY N E C A R T E R T H E D E E R J O H N S D E B O R A H B R E N N A N MONSKI MOUSE CARLIA LIPPIS TONY ROBERTS THE CHANGING JENNIFERS

Dance Base | FESTIVAL DANCE

list.co.uk/festival

LORDS OF THE DANCE Artistic director of Dance Base, Morag Deyes, tells Kelly Apter what international goodies she has in store for us during this year’s Fringe PHOTO: DANIEL SCHMIDT

‘W

here Scotland meets the world’ says the slogan emblazoned across Edinburgh Airport. A tagline that could just as easily hang across the doors at Dance Base this August. For in one small venue, artistic director Morag Deyes has brought together dance makers and performers from over 15 different countries, plus a huge range of work grown on home turf.

Shows such as Your Majesties from Austria, inspired by Barack Obama’s Nobel Prize-winning speech, which Deyes describes as ‘one of the cleverest shows I’ve ever seen – absolute genius’. Or Hari Ho Gati Meri by Gauri Diwakar who, says Deyes, is ‘the best classical Kathak dancer in Northern India right now’.

Then there’s the ‘fantastic biographical solo’ Red, by Carl Knif, who grew up in a no-man’s land between Sweden and Finland. Deyes also speaks of her pride at having Palestinian o dance company El-Funoun, who have battled the odds to present their take on the socio-political landscape of theirr homeland in The Rooster.

6 With all this, and much more, in the Dance Base 2016 Fringe programme, is Deyes hoping people will get a sensee of what’s happening in the world?

‘There’s no point in saying we’re here to educate audiences,’’ she says. ‘No, we’re here to entertain people – and makee k them think. Because the dance community produces work that reflects society, and the real grit of being a human beingg is coming through a lot at the moment.’

Over 30 dance works will be presented during the threee weeks, and Deyes has strived to give the Dance Basee programme a broad appeal. So whether you eat, sleep andd s, breathe dance, or just fancy snacking on it between meals, she’s found you something to savour.

‘I’m not programming a dance festival where people aree or coming just to see dance,’ says Deyes. ‘I’m programming for a mix of dance experts and people who just want to fit a bit of dance in between a comedy gig and a piece of theatre. And if ke they want to tick the “dance” box on their Fringe list, I’d like them to see something at Dance Base – and I don’t want it to be something that’s too alienating.’ so As well as its wide geographic spread, Deyes’ choices also ry echo the diversity of today’s dance scene. From contemporary en to modern ballet, dance theatre to hip hop, work for children at to comedic pieces, there’s no shortage of styles. Was that important to her? he ‘Yes, it was really important because dance is about using the body to express yourself,’ says Deyes. ‘And you don’t need to re be en pointe or in a pair of tap shoes to do that, and there are g. ways of moving which don’t necessarily need formal training.

‘For example, the South African company that’s bringingg I to, Am Rhythm – their training happened on the streets of Soweto, learning from each other. And yet they’ve got more dance in their bodies than quite a lot of dancers. So I think we need to be .’ a bit more tolerant with our preconceptions of what dance is.’

Dance Base, 225 5525, 5–29 Aug (not 8, 15, 22), times and prices vary. For full programme, see dancebase.co.uk/festival-2016 63 THE LIST FESTIVAL 4–11 Aug 2016

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Your Majesties

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FESTIVAL DANCE | Previews

ÉOWYN EMERALD & DANCERS Fringe hit brings her company back with more dance treats

PHOTO: DAVID KREBS

One of the best Fringe dance discoveries of 2014 was the work of Éowyn Emerald, a Canadian-born choreographer who lives and works in Portland, Oregon. Happily, she and her eponymous company are back with a 50-minute bill of seven dances that promises to be as rich and rewarding as before.

‘I think of my work as emotional,’ Emerald says, ‘driven by story and music. And partnering. We sometimes joke that I say “Catch me!” and then we see what happens. A lot of partnering is trial and error, and really fun. I’m lucky to work with the very talented and trusting dancers who are in the company.’

This August, for her third Fringe visit, Emerald and three others will perform a series of short works including a number of premieres featuring music ranging from Duke Ellington to the English band alt-J. One of the pieces is a duet called blurred which one critic described as ‘captivating . . . giving form to an emotional exchange that ranges from tender to sexually charged’.

It’s hard for Emerald to gauge the impact of a string of glowing reviews from Edinburgh. ‘Touring opportunities are hard to come by in the States,’ she says, ‘where theatres and presenters are strapped for cash and can rarely afford to take chances on new companies who lack the name recognition to generate ticket sales.

‘This makes the economics of sustaining a dance company incredibly daunting. Our hope is that our success at the Fringe could have a greater impact in the UK and Europe, potentially leading to more opportunities for the company to work abroad.’

Emerald is even considering relocating to the UK, which is good news for audiences this side of the Pond. In the meantime, she and her company are raising the 2016 Fringe dance bar that bit higher.

(Donald Hutera) ■ Greenside at Royal Terrace, 557 2124, 8–27 Aug (not 14, 21), 1.50pm, £10 (£8). Previews 5–7 Aug, £5 (£4).

PHOTO: ROY CAMPBELL-MOORE

BANG! TO THE HEART Two worlds collide in hip hop love story from Italy When Luca Lisci, artistic director of Milan’s Nue Dance Company, describes their style as a ‘mash-up of street dance and contemporary’, he’s not just talking about the choreography. Everything about their new show, Bang! to the Heart, embodies the world of hip hop, viewed through the lens of a dance theatre company.

‘This show is an homage to street art culture,’ says Lisci. ‘All the video imagery is pure street style: stencils, spray art, graffiti. We’ve been inspired by the giants of contemporary street art like Banksy and Shepard Fairey – and I met Blek le Rat, considered to be the godfather of street art, to understand the meaning of this style, which was so illuminating for the show’s art direction.’

The show depicts a modern day love affair, with shades of Romeo and Juliet. ‘On one side of the story we have what you belong to: a community, a group, a family, a culture,’ says Lisci. ‘And on the other side, there’s love. What if love made you choose between the deepest emotions you’ve ever felt, and the things that define you as a person? So it’s really a story of conflict.’ (Kelly Apter) ■ ZOO Southside, 662 6892, 6–29 Aug (not 10, 15, 22), 10.20pm, £12–£14 (£10–£12). Preview 5 Aug, £10.

POP-UP DUETS (FRAGMENTS OF LOVE)

IF THERE’S NOT DANCING AT THE REVOLUTION, I’M NOT COMING

Unexpected dance treats at city museum

Film-dance-art medley from Titanic-lover

The National Museum of Scotland is the site of Edinburgh-based choreographer Janis Claxton’s POP-UP Duets (fragments of love), a series of five-minute dance works featuring a cast of four, a specially composed score by Pippa Murphy, and 2015 Scottish Album of the Year award-winner Kathryn Joseph singing on a couple of the tracks. It all arose from Claxton’s desire to ‘bring high-quality dance to public places for unsuspecting audiences’.

Claxton pretty much lives and breathes dance and performance. ‘I was just born a dancing thing,’ she says. The core of her work, however, is teaching what by now must add up to ‘tens of thousands of folk in many countries’. What she’s learnt in the process is ‘that there’s a very large audience of contemporary dance-lovers who just don’t know it yet. They’ll likely never pay to go to a theatre, but they do love to experience dance as an audience.’

Hence POP-UP Duets.

‘I hope the audience will experience a sense of love,’ Claxton concludes, ‘in any aspect. I hope they have a visceral response to the work, and enjoy its beauty, power and flow.’ (Donald Hutera) ■ National Museum of Scotland, 0300 123 6789, 4–28 Aug (not 6–9, 15 & 16, 22 & 23), 3.30pm, free.

‘It is definitely not primarily a dance show,’ says Julia Croft, the creator-performer of If There’s Not Dancing.... An inviting mash-up of live art, dance, film and feminism, Croft’s show has been praised in New Zealand and now makes its Fringe debut.

‘I was inspired by many things,’ she adds, ‘being an angry feminist, a film theory essay by Laura Mulvey, my inability to stop watching Titanic and my love of Sia’s ‘Chandelier’ and confetti.’

In the show, Croft takes apart scenes from several films – Titanic, Notting Hill, Pretty Woman, Psycho and Basic Instinct, to name a few – highlighting the way in which they objectify women. But that’s not to say she doesn’t still enjoy watching them.

‘I still love many of those films,’ she says, ‘especially Titanic. God, I love Titanic. I still engage with media that is problematic, but I try to identify the problems and not be passive about my consumption of these images. Having said that, I do try to watch films that contain more balanced gender representations. Like the new Ghostbusters.

See it! It is amazing!’ But go and see her show first, of course. (Yasmin Sulaiman) ■ Summerhall, 560 1581, 4–28 Aug (not 22), 12.05pm, £10 (£8). Preview 3 Aug, £8.

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VENUE 26

FESTIVAL PROGRAMME 2016

" If you were to stick a pin in the Summerhall programme you would be almost certain to come up with a show that would surprise and delight in equal measure."

Lyn Gardner The Guardian

PERFORMANCE Tim Crouch and the Royal Court Theatre Inspector Sands Ontroerend Goed Robert Newman … and many more….

Image: Adler & Gibb, Tim Crouch

VISUAL ARTS

11-18:00, Exhibitions are free

Exhibitions include: Laure Prouvost - Monolog Haroon Mirza - Adam, Eve, Others and a UFO Mark Fell - Diagramming The Listener ... and many more...

Image: Laure Prouvost

MUSIC Kathryn Joseph & The Anchoress Eska Withered Hand … and many more….

Image: Kathryn Joseph

FOOD AND DRINK The Royal Dick Summerhall Cafe ´ The Cheesy Toast Shack Rost ` … and plenty more….

Box Office

0131 560 1581

3 Aug - 28 Aug

www.summerhall.co.uk Photographer - Linnea Rundgren, Radiolaria

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FESTIVAL DANCE | Previews PHOTO: LAURA VANSEVICIENE

PHOTO: TOM HOYLE

IN THE WINE

TAIWAN SEASON

FEEL-LINK

Dance show takes journey from grape to glass

Three works echoing different aspects of life

Exploring the artistic potential of street dance

The last time we saw Java Dance Theatre at the Fringe they were welcoming us onboard a double decker for a fabulously chaotic ride called Back of the Bus. Happily, that show has returned, along with new production In the Wine, which continues the New Zealand company’s ethos of involving audiences in a way that never intimidates.

‘We love coming up with new and outrageous ways to immerse the audience without putting them on the spot,’ says artistic director, Sacha Copland.

‘In the Wine does this by having the audience seated in the round, tempting them with different smells throughout the show, feeding them grapes, giving them scented confetti to throw, surrounding them with live cello, violin and percussion, and staging a “war of the grapes” over them.’

There’s also an optional New Zealand wine tasting after the show. And since the show was inspired by the rituals and celebrations of vinification, there’s an unashamed party vibe. ‘Wine and celebration have been linked for thousands of years,’ says Copland.

‘So as the narrative unfolds we find every way there is to celebrate. There’s a little debauchery, too.’

(Kelly Apter) ■ Assembly Checkpoint, 623 3030, 6–29 Aug (not 10, 15, 22), 1.10pm, £11.50–£12.50. Previews 4 & 5 Aug, £8.

A woman in her 40s looking at female identity, and two young men exploring rituals and the pressures of modern life – this year’s Taiwan Season offers a rich insight into the country through dance.

In NuShu, Hui-Chen Tan of Water Reflection Dance Ensemble looks at how women have been perceived in ancient and modern times, from youth to old age. In The Sacrifice of Roaring, young choreographer Hsu Chen Wei has been inspired by his parents’ funeral business to examine traditions, gods and rituals from the past, while Lost in Grey,

by Chang Chung-An of Resident Island Dance Theatre, shows how young people in Taiwan are dealing with modernisation, and how recent violent incidents are directly linked to mental health issues.

Executive producer, Jih Wen Yeh, says: ‘Each of them is exploring the most meaningful and relevant subject for them. And because of their varied ages and backgrounds, these artists can indicate some of the radical social, political and cultural changes that have occurred in Taiwan.’ (Kelly Apter) ■ NuShu and Lost in Grey, Dance Base, 225 5525, 5–28 Aug (not 8, 15, 22), 3pm (NuShu), 5.15pm (Lost in Grey), £12 (£10). The Sacrifice of Roaring, ZOO, 662 6892, 7–29 Aug (not 8, 15, 22), 6.30pm, £10 (£8). Previews 5 & 6 Aug, £5.

Airida Gudaitė and Laurynas Žakevičius met on a Lithuanian TV dance contest and later became household names by winning another. Established in 2012, their company Dance Theatre Low Air was the first of its kind in their native country. Through it, they aim to uncover the artistic potential of street dance and introduce it to theatre-lovers everywhere.

By doing so, they’ve become cultural trailblazers.

Using an evocative electronic soundtrack that gives way to a live recording of Nina Simone’s ‘Feelings’, their 40-minute show Feel-Link uses movement to portray the various stages of love (and jealousy) in a relationship. What perhaps lends the performance an extra tinge of authenticity is that its creators married last August and will celebrate their first wedding anniversary in Edinburgh.

‘When the show was first conceived we were playing characters,’ Gudaitė explains, ‘but as it progressed, and our relationship grew, we realised that we were acting out our feelings for each other. Now it’s more us that audiences will be seeing onstage.’ Žakevičius adds: ‘The show is deeply sensual and sexy. Just the thing for noon in Edinburgh!’ (Donald Hutera) ■ ZOO Southside, 662 6892, 8–20 Aug (not 14), 12.10pm, £12 (£10). Previews 5 & 6 Aug, £8.

SCARY SHIT Creative duo delve deep inside themselves to explore their fears Describing herself as ‘a hopeless romantic’, upand-coming UK choreographer Rhiannon Faith uses movement and whatever else it takes to examine what she refers to as ‘impulsive, messed-up and fragile facets of the human condition’. Riding the rollercoaster of a therapeutic experiment, she and fellow performer Maddy Morgan have created a show about friendship, being a woman and asking for help.

An inevitable question is what is each performer afraid of? ‘A massive list,’ says Faith, ‘but the way the show started was me wanting to get over my fear of speaking on the telephone. Oh, and my sister once threw a dart and it landed in my head, so any dart paraphernalia.’

Morgan, for her part, replies: ‘I can’t tell you what I’m afraid of because it will ruin the show.’

Do they share a fear of being afraid? ‘It got to a point where I was scared of everything,’ Faith admits. ‘Sounds neurotic, but the amount of times I’d jump out of my skin each day was ridiculous. I thought, I need to sort this out.’ Morgan’s turn: ‘I’m not afraid of being afraid. Plus we’ve learnt that feelings are neither right nor wrong, it’s what you do with them that counts.’

Scary Shit is both tender and rude. ‘There’s a bit of dry humping,’ Faith reveals, ‘and a section called “Two Fannies go for a Summer Stroll”’. And how do they feel about doing 24 performances in one month? ‘We’re not afraid!’ Faith declares, adding, ‘Translation: we’re shitting ourselves.’ (Donald Hutera) ■ Pleasance Courtyard, 556 6550, 6–29 Aug (not 10, 15, 22), 1.45pm, £7.50–£10 (£6.50–£9). Previews 3–5 Aug, £6.

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Festival

MUSIC KIDS

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LIST.CO.UK /FESTIVAL For m info gootroe

LIST.CO.UK /FESTIVAL

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Colourful shapes and fun movement combine in this dance show for ages 0–3

4–11 Aug 2016 THE LIST FESTIVAL 67

FESTIVAL KIDS | Hitlist

Kelly Apter picks some of the best kids’ shows to check out in week one of the Fringe BEDTIME STORIES Cuddle up under the big top for this award-winning show by London-based circus company Upswing, in which a family tries to find quality time together.

See preview, page 72. Underbelly’s Circus Hub on the Meadows, 0844 545 8252, 6–22 Aug (not 15), times vary, £10.50–£11.50 (£9.50–£10.50).

Previews 4 & 5 Aug, £8.50.

MERMALADE The company behind 2015 Fringe hit The Last of the Dragons returns with another dramatic and funny romp featuring a strong female heroine.

See preview, page 70. Pleasance Courtyard, 556 6550, 6–29 Aug (not 17 & 18, 22–24), 11.15am, £7.50–£10 (£6.50–£9). Preview 5 Aug, £6.

MICHAEL MORPURGO’S KING ARTHUR The highly imaginative and engaging Storypocket Theatre take on Morpurgo’s exciting, moving take on the Knights of the Round Table. See preview at list.co.uk Gilded Balloon at the Museum, 622 6552, 6–29

PHOTO: DANIEL HARPER

KIDS HITLIST Aug (not 16, 22), 2.45pm, £10–£12 (£8–£10). Previews 3–5 Aug, £6.

JELLYFISH Puppetry and energetic performances combine in this show for 7 to 11-yearolds, exploring a child’s view of depression. See preview, page 72.

Pleasance Courtyard, 556 6550, 6–29 Aug (not 15), 11.45am, £7–£9 (£6–£8.50). Previews 3–5 Aug, £6.

PUZZLE Lithuanian company Dansema Dance Theatre presents this highly colourful show, tailored specifically for babies and toddlers aged three and under.

See preview, page 67. ZOO, 662 6892, 5–20 Aug (not 7, 14), 11.45am, £5.

MARK THOMPSON’S SPECTACULAR SCIENCE SHOW TV astronomer Thompson turns his hand to physics, chemistry and biology in this dynamic family show featuring explosions and disappearing acts. See feature, page 69. Gilded Balloon at the Museum, 622 6552, 5–14 Aug, 4.30pm, £8 (£6). Preview 4 Aug, £6.

THE RUFF GUIDE TO SHAKESPEARE Theatre company Take Thou That dive

Bedtime Stories

headlong into Shakespeare’s life and works in this fast-paced hour for ages six and over. See preview, page 72.

Assembly George Square Gardens, 623 3030, 6–19 Aug (not 15), 11.10am, £8–£9 (£6–£7). Previews 4 & 5 Aug, £5.

FUTURE PERFECT Small Stories (the development wing of Tall Stories) present this time-travelling adventure featuring a real life father and his 10-year-old son. See preview, page 70. Pleasance Courtyard, 556 6550, 4–14 Aug (not 10), 2pm, £6–£7.

Book and browse events: www.edbookfest.co.uk

The beautiful green space of Charlotte Square Gardens in the centre of Edinburgh is transformed into a magical village of tents and walkways, theatres, cafés, bookshops and grassy areas to sit, read and soak up the Festival atmosphere.

800 authors in 750 events including:

Ali Smith • Jonathan Safran Foer • Eimear McBride • Erica Jong • Miranda Sawyer • Chris Brookmyre Mark Haddon • James Kelman • Edward Ross • Jackie Kay • Billy Letford • Packie Bonner • Janet Ellis Lemn Sissay • Val McDermid • Chris Boardman • Michel Faber • Shappi Khorsandi • Irvine Welsh Ray Mears • Geoff Dyer • Liz Lochhead • A L Kennedy

68 THE LIST FESTIVAL 4–11 Aug 2016

Mark Thompson | FESTIVAL KIDS

list.co.uk/festival

PHOTO: STEVE ULLATHOR NE

WEIRD SCIENCE TV presenter Mark Thompson tells Kelly Apter how his enthusiasm for science started young and never left him

M

ark Thompson was ten years old when science first hit him square between the eyes.

‘My dad took me along to our local astronomy club,’ he recalls. ‘I saw Saturn through a telescope and I was totally hooked. I had no real interest in science before that, but ever since then I’ve been captivated.’

The ten-year-old boy may have grown up to become a presenter on the BBC’s Stargazing Live, a regular on Radio 5 Live and guest on The One Show – but that enthusiastic child is still in there somewhere. Which is perhaps why Thompson is so well suited to encouraging others to explore the wonders of science.

‘I’ve still got that boyish enthusiasm for the world of nature,’ he says. ‘And that takes you down all the different routes of science: physics, chemistry, biology, geology – it’s all fascinating.’

Heading to the Fringe to present Mark Thompson’s Spectacular Science Show, where he’ll make beakers disappear, Pringles tubes explode and do strange things with elephants’ toothpaste, Thompson thinks the secret of his success is his own attitude to science.

‘I’ve been to lectures where the speaker just doesn’t seem to be enthused by the subject,’ he says. ‘And if they’re not enthused by it, how on earth is the audience going to be? So I think having a genuine fascination and excitement about the topic makes a huge difference to how it’s perceived.’

Although Thompson has spent the past 20 years becoming an expert in the field of astronomy, when it comes to engaging family audiences he recognises that stargazing will only take him so far. Which is why he’s borrowed from other scientific fields to keep everyone entertained.

‘With astronomy, there’s only so much you can do physically and

practically,’ he says. ‘So rather than just show loads of pictures, which kids would get bored with in about five minutes, I delve into other parts of science – bits of chemistry, physics and other subjects – to try and make science more engaging for children.’

We’re all suckers for messy explosions and magic trickery, so it’s unlikely Thompson will struggle to keep his audience captivated. But will they be learning anything they can take home or into the classroom?

‘It’s really about making it interesting visually, so that I can throw in lots of little bits of information along the way, just to reinforce it,’ explains Thompson. ‘But people probably won’t even know they’re being educated at the same time. That’s certainly the plan – to entertain both adults and children, and educate them without them even realising.’

Thompson refuses to give away any details, but promises plenty of opportunities for audience participation. Because, as he says, ‘watching and listening is one thing, but actually doing is what makes a difference’.

But it’s not just the lucky ones chosen to help Thompson on stage that he hopes will be inspired to get stuck in to science. Some of the experiments he carries out can easily be replicated at home.

‘Trying for yourself and experimenting is one of the most important things,’ he says. ‘I hope people come away from the show thinking wow, science is actually quite fun and isn’t just about lab coats and test tubes – that there are some really fascinating things out there in the world.’

‘There are some really fascinating things out there in the world’

Mark Thompson’s Spectacular Science Show, Gilded Balloon at the Museum, 622 6552, 5–14 Aug, 4.30pm, £8 (£6). Preview 4 Aug, £6.

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FESTIVAL KIDS | Previews

MERMALADE

Manhattan Children’s Theatre follow up last year’s Fringe hit with another female heroine

PHOTO: CERCLE DE PHOTO VILLENEUVOIS

Little girls grow up surrounded by stories of damsels in distress, inspiring them to wait for a man to solve all their problems. So it’s always refreshing to come across a tale that proffers another way of getting things done – as Land of the Dragons did at last year’s festival.

Back for a second year, director Laura Stevens is hopeful Mermalade will be an equally big hit with Fringe audiences.

‘Mermalade, much like the princess in Last of the Dragons, embodies all the qualities of a strong female role model,’ she says.

‘She is brave, intelligent, perceptive, courageous and doesn’t give up – ever. But she is also human, has faults, makes mistakes, questions authority and is afraid of what will happen next.’

Stevens ran Manhattan Children’s Theatre in New York for almost a decade, before relocating to Edinburgh, where she continues to make work to engage family audiences. What, for her, is the secret of a good children’s show?

‘A story with a clear beginning, middle and end that never seeks to over explain or tell the audience what to think or feel,’ says Stevens. ‘Because even more than adults, young minds have an innate capacity to connect with a story.’

Based on the book by Clare Cockburn-Martin, Mermalade tells the tale of a mermaid who finds a cryptic note, three oysters who befriend her, and the baritone-voiced God of Thunder who thinks he knows it all.

‘Mermalade drives the story forward,’ explains Stevens. ‘But she can’t be a heroine if there’s no one else around to witness her bravery – so enter the chatty oysters who span three generations, offering comic relief and their perspective on life.’ (Kelly Apter) ■ Pleasance Courtyard, 556 6550, 6–29 Aug (not 17 & 18, 22–24), 11.15am, £7.50–£10 (£6.50–£9). Preview 5 Aug, £6.

CHIFFONADE

FUTURE PERFECT

NICK COPE’S FAMILY SONGBOOK

Why make dance for children and families? ‘Dance is a non-verbal way to communicate and share emotions,’ replies Michèle Dhallu, artistic director of French company Carré Blanc. ‘As babies, we’re mostly in this non-verbal state. Adults are too, except we forget it most of the time. Body language is so clear, so sincere, that it suits children. And they’re so open-minded, much more than adults, and difficult – because patience means nothing for them.’

Performed by dancer Suzel Barbaroux, Dhallu’s Chiffonnade uses different fabrics to conjure environment, character and atmosphere. But what motivated the creation of this dreamy 30-minute solo? ‘Becoming a mother and seeing my daughter growing,’ explains Dhallu. ‘Like every child, she had this desire to discover, a tremendous curiosity and need to understand. Chiffonnade is a metaphor of growing.’

Wherever the show is presented, what Dhallu enjoys most is, she says, ‘to look at the audience and see a father with a baby on his knees, both of them smiling, eyes wide open and sharing the same pleasure.’ (Donald Hutera) ■ Institut français d’Ecosse, 225 5366, 6–28 Aug (not 10, 15, 22), 10.30am & 11.30am, £8 (£6).

Preview 5 Aug, £6.

We all make mistakes, but what if you could travel back in time and undo them – would it make a difference? That’s what one young boy tries to discover in Future Perfect, the new show from Small Stories – the development wing of much-loved children’s theatre company Tall Stories.

Future Perfect’s Fringe run will be performed by Tall Stories co-director Toby Mitchell and his young son, Dominic. ‘Having a 10-year-old with us definitely grounds the show,’ says director Olivia Jacobs, ‘and the natural rapport between father and son shines through everything they do. There have already been more than a few deviations from the script during rehearsals, and I imagine there’ll be a few more at each show, but that’s what will make it feel fresh and live.’

The show is billed as an ‘interactive time travelling adventure’ but Jacobs assures us the interaction doesn’t involve time in the spotlight. ‘No one has to get up and embarrass themselves,’ she says, ‘But every audience member will have their own decisions to make during the show. There’s no right or wrong path, it’s just about making decisions that might help you make your future perfect.’ (Kelly Apter) ■ Pleasance Courtyard, 556 6550, 4–14 Aug (not 10), 2pm, £6–£7.

‘It’s not just for children,’ says Nick Cope of Family Songbook, explaining that his show is intended to live up to its name by appealing to a wide range of different ages. ‘It’s for grown-ups, too.’

The show’s repertoire of songs, all written and performed by Cope himself, is aimed at parents and children alike. Subjects cover various elements of family life, from changing nappies to the impact of losing a relative.

‘It’s not all about poo,’ promises Cope, perhaps aware he has become widely known for his catchy song ‘The Baby’s Done a Poo’. ‘Nana’s Noodles’, for example, encapsulates the love a family feels for their lost grandmother.

Cope has obviously struck a chord with his audiences, since his fans have begun wearing glasses borrowed from their parents in an attempt to look like him. Many kids also make cardboard ukuleles in tribute to Cope’s instrument of choice.

In his live shows, Cope tries to steer clear of the children’s entertainer stereotype. ‘I hate that idea of the big shoes and a flower in your hat,’ he says.

Instead, a mildly ironic take on the happenings of family life are more his thing. (Helen Fowler) ■ Gilded Balloon Teviot, 622 6552, 6–21 Aug (not 17), 11am, £7.50. Previews 3–5 Aug, £5.

Delicate dance show for younger audiences

70 THE LIST FESTIVAL 4–11 Aug 2016

Young boy heads back in time to undo a wrong

Singer/songwriter show for parents and kids

“She wants k to know why!”

A PLAY FOR ALL AGES The Pleasance Courtyard Box Office: 0131 556 6550 www.mermalade.org

captivate at the famous Spiegeltent

4–11 Aug 2016 THE LIST FESTIVAL 71

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29/07/2016 15:56

FESTIVAL KIDS | Previews

BEDTIME STORIES

Cosy hour under the big top for all ages

PHOTO: MARK ROBSON

Walk in, hand over your ticket, take a seat. That’s the usual format at your average Fringe show – but Bedtime Stories is far from average, as audience members will discover.

Because the show’s title isn’t a misnomer – London-based company Upswing really is going to tell you a bedtime story. And for that, you need to be tucked up in bed.

‘The show is really immersive and the audience environment is an important part of it,’ explains Upswing’s artistic director, Vicki Amedume. Which means duvets, pillows and general cosiness.

Mixing circus, theatre, music, dance and projections, Bedtime Stories explores one family’s struggle to find quality time together. The cosy set-up is a deliberate attempt by Upswing to give the families watching it just that: precious time with one another. ‘The whole experience aims to reconnect children with their often too busy parents,’ says Amedume, ‘and adults with their own childhood.’

As well as garnering a host of good reviews, the show also scooped Best Family Event in the 2015 Get Creative Family Arts Festival. But what about the families themselves – what has their response been?

‘It’s been brilliant so far,’ says Amedume. ‘We developed the show in stages, presenting the work to families at each stage and asking for feedback. Then we really listened to them to see if we were reaching them in the way we wanted to.

‘We have had lovely, and at times quite emotional, responses everywhere we’ve played, so we think that our way of working really helped us create a relevant, exciting and fun experience for all the family.’ (Kelly Apter) ■ Underbelly’s Circus Hub on the Meadows, 0844 545 8252, 6–22 Aug (not 15), 2.30pm, £10.50–£11.50 (£9.50–£10.50). Previews 4 & 5 Aug, £8.50.

PHOTO: TOBY FARROW

COLOURFUL GAMES

JELLYFISH

THE RUFF GUIDE TO SHAKESPEARE

Immersive dance and theatre continues to be in vogue – which puts Dansema and its artistic director, Birutė Banevičiūtė, at the vanguard of live performance in her native Lithuania. But when she founded the company in 2007, Dansema was the first in the country to create contemporary dance theatre of any kind for babies and small children.

‘We had strong ballet and folk dance traditions,’ says Banevičiūtė, ‘but there was no contemporary dance for young audiences.’

Featuring a bright circus setting, and aimed at tots up to age 3, the interactive solo Colourful Games grew out of a strategic creation process. ‘I noticed that very small children don’t know how to use the props we use in the performance – ribbons, hula hoops, balls, clown noses. Instead they explore them – putting them in the mouth, throwing them on the floor or crawling inside. So I decided to explore those things as if I myself didn’t know how to use them culturally.’

‘Everywhere we perform, the kids don’t want to leave the stage space afterwards,’ says Banevičiūtė.

Why? ‘Because we understand each other.’

(Donald Hutera) ■ ZOO, 662 6892, 8–20 Aug (not 14), 10.45am, £5. Previews 5 & 6 Aug, £5.

A six-foot jellyfish stretches out its tentacles to touch a young boy and his family as it dances and glides around the stage. The puppet turns out to be an unwelcome guest in the home of a children’s book writer and his son.

The jellyfish is ‘a metaphor for depression’, explains Matthew Woodford, founder of Intrepid Ensemble, which has created the show for 7 to 11-year-olds.

As the creature invades and alters people’s lives, it is accompanied by other-worldly music written by Scottish composer Finn Anderson.

The puppet is controlled by young actors whose energy on stage is a welcome contrast with the lassitude that frequently goes alongside depression.

The message is upbeat, too, despite acknowledging how much damage depression can do.

‘The show is a child’s eye view of the subject that seeks to tackle the lack of understanding that so often accompanies depression,’ says Woodford.

‘The stigma around mental illness can make it difficult to discuss, understand or accept, even when it’s a close family member suffering from it – but you shouldn’t be afraid of it.’ (Helen Fowler) ■ Pleasance Courtyard, 556 6550, 6–29 August (not 15), 11.45am, £7–£9 (£6–£8.50). Previews 3–5 Aug, £6.

The Ruff Guide to Shakespeare promises a spirited romp through Shakespeare’s life and 37 plays, in just 60 minutes.

Specially created to mark the 400th anniversary of his death, this is not a conventional account of the Bard. Shakespeare is played by a woman, actor Eleanor House, a native of Aberdeen. ‘It’s educational and also light-hearted,’ says Euan Shanahan of Take Thou That, the company behind the show. ‘It’s for kids but we don’t dumb it down.’

Aimed at children aged six and upwards, it gives audiences a look at Shakespeare’s life from cradle to grave. It takes in his early days in Stratford-uponAvon and his time in London at the Globe theatre.

All of Shakespeare’s plays are included at least once, along with some of his sonnets and songs, too. In just an hour, the show belts through history plays, tragedies and comedies, and underlying this whirl of activity is a real passion for Shakespeare and a desire to convey that to a new generation.

‘Watching kids light up is fantastic,’ says Shanahan. Sounds like an ideal introduction to the world’s most famous playwright. (Helen Fowler) ■ Assembly George Square Gardens, 623 3030, 6–19 Aug (not 15), 11.10am, £8–£9 (£6–£7).

Previews 4 & 5 Aug, £5.

Interactive solo show aimed at tots

72 THE LIST FESTIVAL 4–11 Aug 2016

Tackling the stigma of depression head on

The life and work of the Bard in one busy hour

Festival

MUSIC

Fo infor more go to

LIST.C /FESTI O.UK VAL

BARRY HUMPHRIES’ WEIMAR CABARET

PHOTO: HELEN WHITE

The Aussie legend celebrates the music of Germany’s Weimar Republic Willkommen, bienvenue, g’day, as the Aussie comedy legend behind such cultural luminaries as Dame Edna Everage and Sir Les Patterson shines a light on an extraordinary period of artistic freedom and self-expression over on this side of the globe.

Barry Humphries’ Weimar Cabaret celebrates the music of Kurt Weill, Hanns Eisler and Ernst Krenek, among other composers who soundtracked the carefree, hedonistic years of Germany’s Weimar Republic before the Nazi crackdown in 1933.

Humphries himself will officiate in the role of conférencier or MC. Coquettish and characterful music is rendered by the Australian Chamber Orchestra, conducted by Richard Tognetti, and the lineup is rounded out by acclaimed cabaret performer Meow Meow. As Humphries can attest, she’s no Sally Bowles, getting by on chutzpah alone; Humphries has actually met Jean Ross, the inspiration for Bowles’ character in Christopher Isherwood’s original Weimar-era stories (later made famous by the musical Cabaret).

Humphries’ father-in-law was the poet Sir Stephen Spender, who was part of Isherwood’s circle in 1930s Berlin and a source of many saucy tales. But Humphries has nursed his own lifelong love of European cabaret, starting his art and music collection as a schoolboy in Melbourne, which was home to many European émigrés, before embarking on his own life of cabaret. (Fiona Shepherd) n Usher Hall, 228 1155, 8 & 9 Aug, 7.30pm, £12.50–£45 (£6.25–£22.50).

4–11 Aug 2016 THE LIST FESTIVAL 73

FESTIVAL MUSIC | Hitlist

MUSIC HITLIST Kirstyn Smith picks out some of the best music events kicking off week one of the Fringe BWANI JUNCTION: GRACELAND The rock / Afrobeat group celebrates 30 years since the release of Paul Simon’s Graceland by playing the album in full alongside some of the voices that appeared alongside Simon on the original album. See preview, page 77.

The Liquid Room, 226 0000, 5 Aug, 7.30pm, £14.

(£7.25–£23.50).

KATHRYN JOSEPH The 2015 SAY Award winner performs her captivating songs as part of Summerhall’s Nothing Ever Happens Here series. With support from multiinstrumentalist Catherine Anne Davies, aka The Anchoress. See feature, page 75. Summerhall, 560 1581, 6 Aug, 7pm, £15.

CAMILLE O’SULLIVAN: THE CARNY DREAM Camille O’Sullivan’s stunning voice and passionate performances complement work from the likes of Nick Cave, David Bowie and Jacques Brel perfectly.

Underbelly’s Circus Hub on the Meadows, 0844 545 8252, 6–22 Aug (not 10, 15), 8.30pm, £18–£20 (£17–£19). Previews 4 & 5 Aug, £12.

MICHAEL GRIFFITHS: COLE Aussie cabaret star Michael Griffiths takes on the considerable mantle of Cole Porter. Expect an evening of timeless swinging sounds and an exploration of the composer/ songwriter’s colourful life. Think ‘I Get a Kick out of You’, ‘I’ve Got You Under My Skin’ et al. See preview, page 77.

Assembly George Square, 623 3030, 6–29 Aug (not 16), 6pm, £10–£12.

Previews 4 & 5 Aug, £6.

Aug, 8pm, £10 (£8).

11am, £9–£31.50 (£4.50–£15.75).

EIF OPENING CONCERT The Edinburgh International Festival launches with a blend of Italian operatic and choral treasures from Orchestra dell’Accademia Nazionale di Santa Cecilia under the musical direction of Sir Antonio Pappano. Usher Hall, 473 2000, 6 Aug, 8pm, £14.50–£47

DIVE AND SUMMERHALL PRESENT C U NEXT TUESDAY CABARET DIY cabaret types trying to ‘blow a bit of glitter up the arse of the cabaret scene’ present an LGBTl pick of the Fringe for an evening of decadence.

Summerhall, 560 1581, 9, 16 & 23

GEORGE LI The young piano prodigy is barely out of his teens but his powerhouse performances have been stunning audiences across the globe for almost a decade. Today he plays pieces by Haydn, Chopin, Rachmaninov and Liszt.

The Queen’s Hall, 473 2000, 10 Aug,

RACHEL SERMANNI Folk/pop crossover music from Rachel Sermanni, as part of Summerhall’s Nothing Ever Happens Here series.

Support comes from folky collective Matt Norris & the Moon. See feature, page 75. Summerhall, 560 1581, 10 Aug, 8pm, £14.

74 THE LIST FESTIVAL 4–11 Aug 2016

NEHH | FESTIVAL MUSIC

list.co.uk/festival

Rachel Sermanni

SUMMER IN THE CITY

Summerhall’s series of gigs is revitalising the Edinburgh scene and, as Kirstyn Smith finds out, this month’s lineup is filling a music-shaped gap at the Fringe

R

eclaiming that old refrain that there’s nothing going on musicwise in Edinburgh, Summerhall’s Nothing Ever Happens Here gigs have been running for just over a year. Aiming to relaunch a culture of gig-going in the capital after the drip-fed closure of music venues and punishing noise restrictions, the nights have been successful in pulling in class acts from across the country over the short while it’s been going.

This year, its Fringe lineup is as good as ever, echoing the festival’s steady push towards showcasing a wider range of genres and styles across the board.

‘I suppose I automatically think of comedy when I think of the Fringe more than I think of music,’ says Scottish musician Rachel Sermanni.

‘So perhaps that is a sign that it is a little out of balance.’

Sermanni plays NEHH on Wed 10 Aug. Her acoustic set will be supported by folk collective Matt Norris & the Moon in Summerhall’s Dissection Room, a venue perfectly named to showcase a strippeddown take on her brand of folky pop.

‘I wonder what the Fringe intends to be all about at its core,’ she adds.

‘Perhaps it is a good opportunity for comedy to flourish and for music

to take a back seat in a country where music seems, I think, to normally be quite at the forefront.’

Sermanni isn’t alone in considering the role of music at the Fringe this year. Withered Hand – aka Dan Wilson, Edinburgh’s pensive folk stalwart, who’s bringing a full band show to Summerhall on Sat 27 Aug – agrees that the Fringe previously seemed to be missing a trick.

‘I have felt for the last few years the music aspect of the festival has increased its profile,’ he says. ‘If you’re a music lover, that’s great. It always felt like it was maybe lagging behind.’

The well-known acts that Nothing Ever Happens Here has nabbed for the month corroborates Withered Hand’s view that the Fringe is becoming more musically hip. 2015 Scottish Album of the Year Award winner Kathryn Joseph (with indie pop producer and multiinstrumentalist The Anchoress) takes to Summerhall’s rabbit warren interior on Sat 6 Aug. Once one of our best-kept secrets, the success of her debut solo album Bones You Have Thrown Me and Blood I’ve Spilled makes Joseph a bit of a catch. On Thu 11 Aug, Willis Earl Beal graces the Dissection stage with his deconstructed blues while, on Sat 13 Aug, WHITE’s hyper racket will be on show, with support from Bossy 4–11 Aug 2016 THE LIST FESTIVAL 75

FESTIVAL MUSIC | NEHH ESKA

Love’s bolshy hip hop. On the list of old-timers-but-still-goodies, godfather of political songs Billy Bragg performs on Mon 15 Aug and dreamy indieelectro types Grandaddy pop up on Mon 22.

NEHH has its eye on clubbers too: Cosmic Disco Nights is on Fri 5 Aug, an ‘interstellar kosmische zone’ that promises Italo and pan-continental disco futurism. Soulsville Especial is the following evening for those searching for deep funk, unpolished blues and Latin sounds, and Awesome Tapes from Africa, curated by Brian Shimkovitz, is on Thu 25 Aug. And we’re not the only ones giving the lineup a bit of an appraising glance.

‘Awesome Tapes from Africa looks like something I’d love to take my ears to attend,’ says Sermanni. ‘I’d also like to go hear ESKA. The songs that I have heard of hers are beautiful recordings. Great noises.’

ESKA, whose self-titled debut album was shortlisted for the Mercury Prize last year, will be at Summerhall on Fri 26 Aug for one night only.

‘It’s really special to be doing one of my favourite festivals with my own material,’ she says. ‘It’s such a shame we’ve got a gig the next day otherwise I’d just hang out because I love the Festival.’

Although she’s performed at the Fringe a few times before, this is the first time ESKA will be centre stage here. Playing solo material, she says it’s a new direction for her.

‘It’s always a slightly scary thing to dive into the great unknown. You don’t know what the reception is going to be. You don’t know how people are going to relate – or not – to your music.’

As a musician who lives in Edinburgh year-round, Withered Hand doesn’t have much to worry about when it comes to how he’ll be received. For his NEHH show, he has a slightly revamped band – he’s added a new drummer and ‘it’s put a rocket up some of the songs’ he says – as well as the welcome prospect of playing a non-solo show in his adopted hometown.

‘I didn’t make music until I lived in Edinburgh,’ he says, ‘so it’s really entwined with me finding that I had a voice as a musician. It’s totally intrinsic to that, so it always feels more special to play a hometown gig than anywhere else. That’s cool.’

Nothing Ever Happens Here, Summerhall, 560 1580, 5–28 Aug. Go to list.co.uk/nehh for the full lineup.

76 THE LIST FESTIVAL 4–11 Aug 2016

Withered Hand

Previews | FESTIVAL MUSIC

list.co.uk/festival

MICHAEL GRIFFITHS: COLE The spirit of Cole Porter reimagined

ETHERWAVE: ADVENTURES WITH THE THEREMIN

After his critically acclaimed tilts at the legacies of Annie Lennox and Madonna, Australian cabaret artist Michael Griffiths is attempting a new challenge: the original pop star himself, Cole Porter.

An icon of songwriting, Porter pretty much invented the pop song as we know it. Griffiths’ show Cole will bring the story of Porter to Edinburgh, alongside his timeless songs, in a production that’s part biography, part cabaret performance.

Griffiths says audiences can expect nothing less than ‘some of the most romantic and amusing songs ever written by a man whose talent was matched only by his privilege. Cole brushed shoulders with kings and queens and travelled the world in style but he was always getting up to some kind of mischief – whether it involved champagne, cocaine or handsome young men, it’s no coincidence his first big hit was “Let’s Misbehave!”.’

Inhabiting him, says Griffiths, wasn’t as daunting a prospect as it initially seemed. ‘I don’t really worry about comparing, it’s more about finding out where Cole and I meet in the middle.’ (Sam Bradley) ■ Assembly George Square Gardens, 623 3030, 6–29 Aug (not 16), 6pm, £10–£12. Previews 4 & 5 Aug, £6.

Combining multimedia performance, storytelling and a varied selection of styles, electronic musician and performer Hypnotique returns to the Fringe in her first solo show to take audiences on a journey through the history of the world’s earliest commercial electronic instrument.

‘Etherwave: Adventures with the Theremin is all about the adventures of the amazing people who created and kept alive the legacy of the theremin,’ Hypnotique says. ‘But it’s also about my world travels and adventures which have taken me from a hammock infested with poisonous spiders in the Amazon to a close encounter with another toxic life form, Simon Cowell.’

An instrument that has significantly influenced popular music, from Kraftwerk to Brian Eno, the theremin is much more than initially meets the eye, which Hypnotique hopes to demonstrate.

‘Not only does it look and sound cool and strange,’ she says, ‘but it’s also capable of performing a whole lot more than just woo-woo horror soundtracks and old Russian classical music.’ (Arusa Qureshi) ■ Sweet Grassmarket, 243 3596, 4–14 Aug, 2.30pm, £9 (£7.50).

An appreciation of the cult electronic instrument

THE AFRICAN DREAM MUSICAL

Musical view of post-apartheid South Africa The African Dream Musical is a powerful story that follows the coming of age of the country’s first generation of young South Africans, who were ‘born free’ at the end of apartheid in 1994. It investigates their hopes and struggles by posing a vital question: has life in the post-apartheid nation really lived up to everyone’s expectations?

With a 12-strong cast, along with a five-piece band, the music captures the mood of many present-day young black South Africans who are demanding change. As cast member Hloni Taolana explains: ‘In 1994, when we obtained our democracy under Mr Nelson Mandela, we became a rainbow nation, “united in diversity”. However, we forgot to look at the socio-economic development and economic emancipation of the previously disadvantaged.

‘We believe the world can still learn from us and how we are currently dealing with our issues,’ Hloni says. ‘We hope the audience take with them the idea that solutions faced by any generation can be solved through dialogue, but also by using the arts as a medium to tell stories and to make a better world.’ (Arusa Qureshi) ■ C south, 0845 260 1234, 4–29 Aug, 3pm, £13.50–£15.50 (£9.50–11.50).

BWANI JUNCTION: GRACELAND

Celebrating the 30th anniversary of Paul Simon’s Graceland ‘Hearing Paul Simon on my voicemail absolutely blew me away.’

Diane Garisto is one of the voices on the original recording of Simon’s Graceland. A message from the man himself summoned her to a recording studio where she found herself collaborating with him and a handful of other singers on what would become Simon’s seventh solo album.

‘Paul was friendly, although very serious about getting the vocals right. You’ve got to remember that this was quite a musical leap for him at the time. No one had yet melded world music and pop music in the way he did with Graceland.’

Now, 30 years since its release, she’s one of the singers helping Bwani Junction revisit the album. Their Graceland show was performed at Celtic Connections in January this year, and the reception it received was enough for them to decide to bring it out one more time for the Fringe.

‘Bwani Junction did such a brilliant job of honouring the music,’ says Garisto. ‘You could feel the energy coming off the audience.

And because the lads in Bwani are relatively young, they brought in a nice crowd of younger people who I imagine weren’t as familiar with the album as the older audience.’

The concept of the show is simple: the band perform the album in full, honouring the original pretty much to the letter, save navigating the songs’ fade-outs and other album-specific quirks.

It’s a one-night-only affair, but Garisto is excited to be visiting Edinburgh, particularly during the Fringe.

‘I can’t wait to explore it. To be surrounded by people creating art all around me is one of the things I love the most. And of course, I’m looking forward to playing Graceland again with the lads in Bwani Junction. It was a blast the first time around and I know it will be again.’ (Kirstyn Smith) ■ The Liquid Room, 226 0000, 5 Aug, 7.30pm, £14.

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FESTIVAL MUSIC | Previews PHOTO: JULIETTE LICHMAN

Five reasons to see

TORTE E MORT: SONGS OF CAKE AND DEATH

1

There’s a devil of a central performance from rising cabaret performer Anya Anastasia, who made her name fronting the Bird Wizdom Cabaret in her native Adelaide before moving to Melbourne last year. Here she takes on a handful of roles – Grim Reaper, she-devil and most notably ‘the queen of decadence and deficit’ Marie Antoinette, who is portrayed in full, opulent 18th-century costume and towering powdered wig, ‘but heaps more Australian’.

2

It’s a cautionary comedy song cycle.

The terminally unpopular French queen, who infamously (and possibly erroneously) quipped ‘let them eat cake’ when told that her subjects had no bread, is depicted on the day of her execution, receiving visitations from the afterlife in ‘a story of excess, hedonism and potential earthly consequences’. Shouldn’t that be deathly?

3 There’s satire and striptease. And a ton of French puns as Anastasia / Antoinette pontificates at the piano on a range of subjects – the corrupting influence of power, body image, greed, celebrities behaving badly and that death comes to us all – before casting off her many layers in a bravura burlesque display while keeping a hand on the piano keyboard at all times.

You don’t get that from Tim Minchin.

4 She bangs the drums. Or rather, Anastasia’s versatile sidekick percussionist Bec Matthews does. Matthews is another capable multi-tasker who can turn her hand to singing saw, kazoo, shadow puppetry and chopping heads off as required.

5 Because who doesn’t like cake?

Although it’s a touchy topic for Marie Antoinette’s subjugated subjects.

(Fiona Shepherd) ■ Assembly George Square Theatre, 623 3030, 6–29 Aug (not 15), 6pm, £10–£12 (£11). Previews 4 & 5 Aug, £6.

78 THE LIST FESTIVAL 4–11 Aug 2016

KARMANA, SONGS OF THE ROMA

Simon Thacker joins Justyna Jablonska and Masha Natanson for a celebration of Roma music Lauded for his collaborative and cross-cultural work with different musical traditions, virtuoso classical guitarist Simon Thacker’s latest venture is the one with most magic and mystery surrounding it. ‘Performing anything by means of magic’ is how Karmana translates into English and the show is subtitled ‘Along the Mystic Road’. In a vivid re-imagining of music and song from the gypsy tradition, Thacker and cellist Justyna Jablonska are joined by one of the finest traditional Roma singers around, Masha Natanson, to present music that is as new as it is ancient in its origins.

‘Gypsy music is something that I’ve been interested in all my life,’ says Thacker, adding that it has roots in Rajasthan, so, in a way, also links to his previous collaboration with Indian musicians. ‘It took months of exploration and searching to find Masha,’ he says, ‘and she is one of Europe’s best exponents of the Roma tradition, whether from the Balkans, Romania or further afield. Although she’s not a full-blooded gypsy it is very much part of her ancestry. When she was young, she even ran away from home to live with gypsies. She really has a great story behind her and has been passionate about this music from an early age.’

Natanson’s wide repertoire crosses several languages, reflecting the way that the Roma tradition crosses national borders. The deep connection that Thacker also feels about the music comes through in his ‘Karmana Suite’, which he describes as joyous, immediate and spiritual. In common with his previous two Fringe cross-collaborations, this year’s is part of the Made in Scotland showcase.

‘It’s totally crucial,’ he says, ‘as it gives backing and exposure so that international promoters can see our work. We’re already touring to Poland, so watch this space.’ (Carol Main) ■ Summerhall, 560 1581, 12–20 Aug, 9.15pm, £10 (£8).

MELBOURNE SKA ORCHESTRA

Punchy ska from festival-headlining Aussie group Blaring out amid the Fringe’s morass of comedy, cabaret and theatre acts like a trumpet in the night, the Melbourne Ska Orchestra are set to bring their unique take on ska to the Gilded Balloon for six nights only.

Blending classic ska influences with elements from musical cultures the world over, the orchestra promise first-rate musicianship and a little unpredictability. ‘Every gig is different – we quite like it when things don’t go to plan and have to take another path,’ says bandleader Nicky Bomba.

The orchestra formed back in 2003 to celebrate the 1960s birth of ska. The band quickly accumulated members and acclaim, winning them headlining festival appearances Down Under and award nominations for their self-titled debut album. Now, they visit Edinburgh for the first time as part of their international tour in support of their second album, Sierra-Kilo-Alpha.

‘I’m pretty proud of where we are with this album,’ says Bomba. ‘There’s a presence and punchiness to it that makes us smile. It’s almost like a film playing out, lots of drama, highs and lows, twists and turns.’ (Sam Bradley) ■ Gilded Balloon Teviot, 622 6552, 8–12 Aug, 6pm, £12 (£11). Preview 7 Aug, £5.

A R EG UL A R M U SI C PR ES E N TAT I O N

15TH - 18TH AUGUST

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“Hilarious & radical” Politiken (Danish national newspaper)

”Accessible, political and unashamedly emotional” The Herald (on The Tailor of Inverness)

UK

PR E MIE R E

T R AV E L S I N T H E I N T E R I O R O F A F R I C A CAST

MATTHEW ZAJAC, ANDERS BUDDE CHRISTENSEN & KINGSLEY AMADI MARTIN LY NGBO BY MARTIN LYNGBO & THOR BJ ORN KREBS PALLE STEEN CHRISTENSEN CO MPO S E R MARCUS AURELIUS HJELMBORG LIGH TING JACOB H. S. RASMUSSEN/ADALSTEINN STEFANSSON SOUN D RASMUS OVERGAARD HANSEN/MOGENS LAURSEN E NG L IS H V E RS IO N J ONATHAN SYDENHAM

DIRECTOR DESIGNER

SUITABLE FOR: 10+ (contains some strong language)

WED 0 3 AUG - SUN 27 AUG

Venue 26 Summerhall, Edinburgh Festival Fringe Box Office: 0131 560 1581 summerhall.co.uk / 0131 226 0000 edfringe.co.uk Signed performance 17 August at 8.45pm

80 THE LIST FESTIVAL 4–11 Aug 2016

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VISUAL ART THEATRE

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LIST.CO.UK /FESTIVAL

ABOREHENAT DOLUM Id qui berum fugita sa nonseriam fugiature vereritisi dolum ius molo endae. Ut quia parchit, venis quae maion est Toriame que volo magnate molorum quoditatis aperit acesto excesciatque voluptatet, iusci moluptas et aut expeliquisit aut ex es con porectem ex et que volesse quiamus, ipicabo reictatur, tenis eturio dit escitae pel sunt fuga. Im imil mod que pore, tet debis maximusant fuga. Tioreriatur si occus sendae. audis velecat dolescipiet fugit, simusandi Oditatem quoditat fuga. Os aut ex elesequid ut doloratur, seque dende inum quamus exerum, delici aciassincit ea si aces etur, quod maximet velesequas voloreperum qui si archil mo te aut erita cus.Rem faccum ex ea que plandem doluptatur?Evenda inum sitis mil eic tem. ex evendigendel eiur?Ommoloratia acesendis Pudignis dolo consed et autas seque estissi ipidellendi quo mo occupta tincto is molora ectio.

Orest earuptasita to have the audience feelvoles I’m an old friend sharing stories, nimagniet is elignam, oditistor illectoPenguins, isommolor While her comedy show, Technoab Glitter a offictem et, omnim on diaadoluptat rather than a performer stage. And really, I am essintenis apelest arion essiti quoditi ossitati DayGlo romp, Makin’ It Rain unflinchingly discussesnecerum fugit faccum eat. sharing stories and reliving them as I go.’ ut latqui corem nonother por anihil nus. as a stripper Nicole Henriksen’s job. ‘Iilibeate was working et harum et re, sequo et,recently considered a the quid Scottish Parliament que voluptu reperis inihit ‘So I thought, Temos ex Since toBusdande fund my comedy shows,’ she says. sequae peliqua eriamusapedi atelicensing volumquis bill that would limit the of strip clubs, while aborporrum iumwrite quisaes aut pra net, sam restia maybe I should show about my experiences, but eosRorrorent ut queallowing esequos quassitate explicitly theatre to include nudity, Makin’ It volore, que etur of sitio molores nisthe untio also usesum, the platform intrigue about sex industry to parumquam illiciant acesequam Rain is timely.

However,rem the reperume audience reactions have con est omnissi autand officiur ad discuss issues ofmodita gender,veliquis sexuality, self-image within been more personal: ‘it has ranged from whoops, cheers, society.’ and applause breaks, to couples holding hands and A veteran of the stand-up circuit, Henriksen decided that quietly wiping away tears, so my main aim is to have the subject deserved a theatrical treatment. Striptease people connect with the show and take something away. has become a hot topic at the Fringe – the mixture of sex Whichever form that takes, I’m very happy.’ (Gareth K Vile) and money appears irresistible – but Makin’ It Rain sits in n Underbelly, Cowgate, 0844 545 8252, 6–28 Aug (not 16), the tradition of storytelling.

5.50pm, £10–£11 (£9–£10). Previews 4 & 5 Aug, £6.

‘My main strategy is to create a relaxed feel to the show,

MAKIN’ IT RAIN

Less glitter and more intimacy as Nicole Henriksen moves from laughter to honesty

4–11 Aug 2016 THE LIST FESTIVAL 81

FESTIVAL THEATRE | Hitlist

Gareth K Vile rounds up the best theatre in week one of the festival A STREETCAR NAMED DESIRE A politically charged interpretation of a play that has become dulled through familiarity. Coming from Georgian director Keti Dolidze, this production promises more than another trail through personal insanity. See feature, page 93. Assembly Roxy, 623 3030, 6–29 Aug (not 10, 15, 22), 1.55pm, £8–£10. Previews 4 & 5 Aug, £7.

A TALE OF TWO CITIES: BLOOD FOR BLOOD A room filled with chairs stands for the bloody purges of the French revolution as a love story tries to find resolution against the backdrop of brutal history. See preview, page 96.

Pleasance Courtyard, 556 6550, 6–28 Aug (not 10, 17, 24), 2.40pm, £12–£13 (£11–£12). Previews 3–5 Aug, £6.

THE PRINCES’ QUEST The Disney film that never was: the usual tale of rescuing the princess is waylaid as the heroes find their love is for each other. See feature, page 93.

C cubed, 0845 260 1234, 4–20 Aug, 7.20pm, £7.50–£9.50 (£5.50–£7.50).

82 THE LIST FESTIVAL 4–11 Aug 2016

PHOTO: GARTH BADGER

THEATRE HITLIST

Daffodils

DAFFODILS (A PLAY WITH SONGS) A tender tale of love, set in a more innocent time and featuring live music from New Zealand band LIPS for a more immersive musical experience.

See feature, page 83. Traverse, 228 1404, 7–28 Aug (not 8, 15, 22), times vary, £20.50 (£8.50–£15.50).

Previews 4, 6 Aug, £14.50 (£8.50).

GREATER BELFAST Somewhere between a gig and theatre show, a composer reflects on his home city having moved away to Glasgow, a place which has echoes of the conflicts and positives of the Northern Irish capital. See feature, page 83. Traverse, 228 1404, 5–28 Aug (not 8, 15, 22), times vary, £18.50 (£8.50–£13.50). Preview 4 Aug, £12.50 (£8.50).

THE VAUDEVILLAINS Fringe favourites Les Enfants Terribles take wild characters from the cabaret and plunge them into a murder mystery. In a theatre where strangeness is a unique selling point, more than a few of the suspects have reasons to hide the truth. See preview, page 94. Assembly George Square Gardens, 623 3030, 6–28

Aug (not 16), 10.10pm, £14–£16 (£12.50–£14.50). Previews 4 & 5 Aug, £11.

DENTON AND ME An autobiographical reflection on how the hidden literature of the past can not only explain modern anxieties, but plot a course for those anxieties to be understood and even embraced. See preview, page 96. Summerhall, 560 1581, 5–28 Aug (not 15, 22), 3.05pm, £12 (£10). Previews 3 & 4 Aug, £8.

MULE When two women were arrested for drug-smuggling, prison was not enough punishment. Cue the arrival

of a media frenzy that persuaded the world that, far from merely making a mistake, the women were evil incarnate. See preview, page 96.

Gilded Balloon Teviot, 622 6552, 6–29 Aug (not 17), 1.30pm, £10–£11 (£8). Previews 3–5 Aug, £5.

ADLER & GIBB Tim Crouch is a genius. He is experimental yet accessible. Here he looks at the gap between real life and performance in a scaled down version of his Royal Court production.

See preview, page 99. Summerhall, 560 1581, 6–27 Aug (not 8, 15, 22), 5.15pm, £15 (£12). Previews 3, 5 Aug, £12.

Theatre As Gig | FESTIVAL THEATRE

list.co.uk/festival

PHOTO: MIHAELA BODLOVIC

Greater Belfast

THE SOUND OF

MUSIC

Can music lend theatre the vital power of rock’n’roll? Gareth K Vile explores five shows at this year’s Fringe where live music is key

A

s the careers of David Bowie, Roger Daltrey and countless others have made clear, the connections between rock music and theatre have inspired some of the most exciting performances of the past 50 years. This year, across the Fringe, theatre is returning the compliment by enlisting rock music and bands into their productions.

Putting the Band Back Together emerged from director Annie Rigby’s regret at not having time to play music and a meeting with a regular collaborator. ‘Mark Lloyd was diagnosed with pancreatic cancer. When his wife, Kylie, asked him, “What do you want to do with the time you’ve got left?” his first reply was, “I want to put my old band back together”.’ Inspired

by Lloyd and realising how central music is to many people’s pleasure, she hooked up with former Futureheads frontman Ross Millard to create a play that allows audiences to recall their past glories.

‘By coming to a pre-show workshop, anyone can join the performers to play or sing live as part of the show,’ explains Rigby. ‘The show celebrates talent, yes. But more importantly, it celebrates doing the things you love, and not worrying if there are a few wrong notes along the way.’ Following Lloyd’s passion, the show brings together working musicians, members of the public and a moving true story to capture the joy and liberation of rock’n’roll.

The notion of ‘theatre as gig’ appears across the Fringe. Kid Carpet, known for his DIY ethos and enthusiasm for children’s toys as instruments, has collaborated on The Castle Builder. His sensibility chimes with the script’s story of a man determined to build his own castle. He says incorporating live music into performance ‘allows for a different type of communication and understanding between the performers and the audience to develop.’ And it is beyond intellectual appreciation: ‘We feel

music. The physical movement of waves of sound being absorbed by our bodies is a really tangible product of bass and drums, but to see and feel those things happen before our eyes is real magic.’

Composer Matt Regan, for Greater Belfast, realised theatre offered a way to expand his songwriting. ‘Sometimes I would finish a song and feel like there was much more to it. Lyrics can be so restrictive. I felt I needed to expand the songs.’ Having fallen in with theatre-makers since his move to Glasgow, he combined the arts for an intensely personal and passionate study of his home city, reflecting the conflicting emotions through ‘a real mix of everything I’ve been interested in over the years. The process was like jigsaw pieces finally falling together.’

Throughout the 20th century, music thrived on hybridisation: American blues fusing with British art sensibilities in the 1960s, African rhythms meeting Gospel spirituality in soul and 4–11 Aug 2016 THE LIST FESTIVAL 83

FESTIVAL THEATRE | Theatre As Gig

The Castle Builder

funk, dubstep crawling from the pristine sound of Detroit techno and reggae low-end depth. The influence of performance, already clear in David Bowie’s theatricality or the frantic live shows of GWAR or Rammstein, is now encouraging musicians and directors to blur the boundaries for mutual advantage.

Chris Redmond is an old hand at blending poetry and music. ‘Animal has come out of Tongue Fu, the show I run with spoken word and improvised music. Stylistically it’s pretty omnivorous,’ he says. Using the band from the show, ‘we’re jumping between film soundtracks, boogie woogie piano, funky drum solos, a preposterous re-working of ‘The Lion Sleeps Tonight’, heavy drum and bass and pretentious art-hop,’ he continues. ‘It doesn’t sit in any one place for long.’ This restless inventiveness, long the preserve of the experimental theatremaker and the avant-garde musician, offers a winning alternative to the staid, script-heavy performance that can weigh down many theatre productions.

Yet ‘theatre as gig’ can evoke other, more reflective moods. Daffodils (A Play With Songs) teams Kitan Petkovski and Rochelle Bright with the band LIPS for a nostalgic and romantic trip to 1960s New Zealand, with LIPS providing a soundtrack that matches the bittersweet tale.

Petkovski and Bright found working with musicians gave the script a particular structure.

‘We learnt that our process involves a very finely detailed breakdown for the actors that is beat by beat matched by the band,’ they say.

‘Then in live performance, there is this balancing act between everyone, making small shifts, to keep each moment feeling authentic and real. I think this style of performance for music theatre is unique.’ These subtle adjustments contrast with the broad, dynamic energy of Kid Carpet or Tongue Fu, but share an enthusiasm for live music during a performance which is not quite a musical, nor a straight-ahead gig.

Whether the performances are defined as ‘plays with music’ or ‘theatre gigs’, they build on both the measured creativity of the play and the emotive appeal of popular music. Outside of the Fringe, theatre sometimes struggles to finds its place within contemporary culture – despite the inclusion of acts like Godspeed You! Black Emperor in the International Festival, or the brutal adaptation of Macbeth by Black Sun Drum Korps, it can be labelled as high art and exclude younger audiences.

While the simple grafting of one medium onto another is not revolutionary, and rock’n’roll still trades on a reputation for rebellion that has hardly been delivered since the death of punk, its rich collection of attitudes and tempers provides an energy that can be lacking in yet another adaptation of even challenging scripts like Beckett. Perhaps the ‘theatre as gig’ refers

Animal (Are you a Proper Person?)

back to the classical Athenian theatre, which was as musical as it was literary. But Kid Carpet concludes with a sentiment that suggests high ambitions. ‘To put evocative music alongside meaningful text, costume and design is akin to alchemy, enlightenment and the bedrock of spiritual practice.’

Putting the Band Back Together, Northern Stage at Summerhall, 560 1581, 8–27 Aug (not 10, 17, 24), 4.50pm, £12 (£10).

Previews 6 & 7 Aug, £10.

The Castle Builder, Summerhall, 560 1581, 5–28 Aug (not 15, 22), 12.55pm, £12 (£8). Previews 3 & 4 Aug, £6.

Greater Belfast, Traverse, 228 1404, 5–28 Aug (not 8, 15, 22), times vary, £18.50 (£8.50–£13.50). Preview 4 Aug, £12 (£8.50).

Animal (Are You a Proper Person?), Gilded Balloon Teviot, 622 6552, 6–28 Aug (not 15, 22), 5.30pm, £12–£13 (£10). Previews 4 & 5 Aug, £7.

Daffodils (A Play with Songs), Traverse, 228 1404, 7–28 Aug (not 8, 15, 22), times vary, £20.50 (£8.50–£15.50). Previews 4, 6 Aug, £14.50 (£8.50).

84 THE LIST FESTIVAL 4–11 Aug 2016

PHOTO: GARTH BADGER

Daffodils (A Play with Songs)

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‘Awe inspiring’ ‘A blazingly empassioned TIME OUT and humbling show’ HERALD

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‘The most politically engaged and enraged British musical since Blood Brothers’

‘True raw power’ METRO

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‘A signiďŹ cant milestone in Scottish musical theatre’

‘The kind of explosion of great popular theatre that every city and every nation needs’

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Masked Theatre | FESTIVAL THEATRE

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PHOTOS: GRAEME BRAIDWOOD

Finding Joy

BEHIND THE MASK Eddie Harrison talks to the people behind two of 2016’s most exciting Fringe shows, both using masked performers to explore difficult subjects in innovative ways

T

he creative use of masks in theatre ranges from the abstract style of Japanese Noh theatre to the introverted, tortured genius of Frank Sidebottom. Building on such versatility, this year’s Fringe features two English theatre companies attempting to explore the tricky subjects of dementia and homelessness through the original use of masks.

Hailing from Worcestershire, Vamos Theatre is bringing Finding Joy to Edinburgh, which charts the relationship between Joy, a woman in her 80s, and Danny, her grandson. When Joy finds herself struggling with the impact of increasing dementia, Danny steps up to the challenge of being Joy’s domestic carer, creating a transformative experience for both of them.

Anyone who has experienced caring for a loved one knows the effects of dementia are no laughing matter, but Vamos Theatre founder Rachael Savage saw an opportunity to use light and shade to create a fuller, deeper picture of how a caring relationship can develop.

‘Five years ago, the Hereford Courtyard approached Vamos Theatre to collaborate on a production about dementia. After months and months of research, I wondered if I’d made a huge mistake. All the stories, novels, films, news articles, documentaries were negative, depressing and all ended in death,’ says Savage. ‘With my piece of theatre I wanted to celebrate a life, not dwelling on the losing of a person, but the journey to keep trying to find the person, and find joy and happiness with that person.’

After months of research, Finding Joy was created as a wordless piece using full masks and music to depict Joy and Danny’s interactions, aiming to capture ordinary, everyday interactions and make them into something extraordinary.

4–11 Aug 2016 THE LIST FESTIVAL 87

FESTIVAL THEATRE | Masked Theatre PHOTO: PIERRE BORRASCI

xThe Marked

FAMILIE AFFAIR

PHOTOS: IDIL SUKAN

Lorna Irvine discovers dreams and reality blur in Familie Flöz’s beautiful comedic new show

‘Full mask is a powerful and emotive theatre genre,’ says Savage. ‘Because there are no spoken words, we find that the audience engages more fully with the action and thus often forms a stronger, deeper, emotional attachment to what is happening on the stage. It’s a perfect form in which to explore the social history that inspires Vamos’ work.’

The subject of homelessness might seem just as daunting as dementia; Theatre Témoin are returning to the Fringe after 2013’s hit The Fantasist, with a new production blending masks, puppets and physical theatre. After careful research of urban myths in environments as diverse as Rwanda and Miami, followed by a rigorous workshopping process, the company have created a stark, modern drama set among homeless young people on the streets of London, but one with a streak of wonder running through it.

‘There’s an epidemic in this country at the moment of more and more people finding themselves in situations where sleeping rough seems to be the only option,’ says Theatre Témoin producer Patrick Collier. ‘What I wanted to explore was the individual stories of people who happened to be, among many other things, homeless, and crucially what was happening inside the heads of these individual people, people who had gone through traumatic experiences.’

The Marked, created with the help of the Everyman Theatre in Cheltenham, depicts the story of Jack, a homeless person who lives both in the tough reality of homelessness but also in a parallel world that exists inside his head. Jack has to navigate obstacles like the effects of his mother’s alcoholism, but also the demons that his childhood traumas have freed to roam through his psyche, from evil witches to giant birds.

‘We like to create playful worlds onstage, and with The Marked we set out to create a wonderland. Jack’s life on the streets is mirrored in the fantastical world of his childhood imagination,’ says Collier. ‘There’s plenty in the story of a boy who’s homeless that is dark and brutal and honest, but we try to tell the story with a magic flair, and make it visually and emotionally enticing.’

Both productions seek to find a common ground with Edinburgh audiences, who recognise the artifice of the mask itself, but are prepared to look beyond and see how the performer’s disguises might expose how individuals see themselves and the world outside. Collier’s description of the reasons Theatre Témoin chose to use masks mirrors the approach of Vamos Theatre, too.

‘Mask and puppetry can have a tendency to suck the audience in,’ says Collier. ‘It’s a space where your imagination can run wild, and we want our audience to come in with a dreaming mind. Mask also has a way of turning the invisible into visible and turning the banal into epic, so mask became the obvious material language of the piece.’

Finding Joy, Assembly Hall, 623 3030, 6–14 Aug, 4.30pm, £13–£14 (£12–£13).

Previews 4 & 5 Aug, £8.

The Marked, Pleasance Dome, 556 6550, 6–29 Aug (not 17), 1.30pm, £9–£12 (£8–£11). Previews 3–5 Aug, £7.

88 THE LIST FESTIVAL 4–11 Aug 2016

Formed in 1994 by Hajo Schüler and Markus Michalowski, Familie Flöz are a critically acclaimed German theatre company, based in Berlin since 2001, who make bold, elegaic work that’s accessible for a family audience.

Proof that puppetry and masked performance can often say more than spoken scripted theatre, their show Teatro Delusio is profound, hilarious and haunting.

Fusing opera, physical theatre and some cheeky slapstick, it focuses on the frustrated lives of theatre technicians and performers from a behind-the-scenes perspective.

This inversion is highly effective: all of the characters are determined to make a grand entrance and bask in the spotlight, but are thwarted at every turn, either by fate, folly, or sheer misjudgement of situations. There is an undercurrent of darkness, but never to the detriment of the storyline.

Schüler explains: ‘Our play is a homage to theatre. We show what usually is invisible to audiences. Doing this, we want to tell something about what theatre is to us: a place where the power of imagination is celebrated’.

With just three actors creating 29 characters, the scope and ingenuity involved will leave the audience breathless. From the hapless gangly stagehand who just wants to read his book to the hierarchy of the orchestra, their endlessly inventive scenes will linger long in the mind.

There is sword fighting, unique choreography and tricks involving ladders, but what really impresses is the way the storyline turns: it’s an ever-shifting narrative which toys with expectations. As for the use of masks, there is true innovation in the gestures, where a tilt of the head can be heartbreaking or hilarious. As Schüler says: ‘A mask is like a screen, where the audience project a movie in real time.’

Social stratification, loss and romantic illusions have rarely been so intoxicating. n Pleasance Courtyard, 556 6550, 6–29 Aug (not 17), 1.45pm, £10.50–£14.50 (£9–£13). Previews 3–5 Aug, £8.

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FESTIVAL THEATRE | Feminist Theatre

OLAM PHOTO: DELIA

Top to bottom: Just Let the Wind Untie my Perfumed Hair . . or Who is Tahirih?; Expensive Shit; The F Words

90 THE LIST FESTIVAL 4–11 Aug 2016

Feminist Theatre | FESTIVAL THEATRE

list.co.uk/festival

THE FEMALE OF THE SPECIES Lorna Irvine explores four examples of feminist theatre at this year’s Fringe that challenge preconceptions of ‘women’s performance’

O

ver the past century, the traditional emphasis on men as the mighty motivators of history has been challenged by a more inclusive and feminist vision of the past – and the present. The gains made in women’s suffrage, and legal rights, have changed the landscape of society, and the arts have played an important role in this shift.

Contemporary theatre has become a key location for the discussion of ‘alternative histories’, which unearth unwritten female experience and dynamic women. While many Fringe shows follow a feminist theme, others are not content to simply battle familiar prejudice and take an expansive attitude to feminist art.

Nzinga Warrior Queen, performed by Scotlandbased performer Mara Menzies, focuses on the incredible true story of an Angolan woman, Nzinga, born into a patriarchal society, who was crowned queen in the 17th century, aged 50.

Menzies’ production fuses dance, poetry and storytelling to uncover Nzinga’s struggle. There is a real sense of giving voice to someone who was something of an anomaly. As she explains: ‘There are not enough female role models out there, especially African role models, and when I discovered Nzinga’s story, I was fascinated by the sheer strength of character she must have had to endure what would have been a difficult and extraordinary life.’

Menzies, who spent the first 13 years of her life living in Kenya, says she is actively avoiding turning the story into an unrealistic example of hero worship. ‘It’s not about placing her on a pedestal,’ she says, ‘but exploring the unique role she played in history and discovering how we might be inspired by her story to live our lives better.’

Writer and director Adura Onashile’s provocative and thought-provoking new play Expensive Shit follows on from her successful performance as Henrietta Lacks in HeLa which garnered critical acclaim and toured internationally. It juxtaposes the dual storylines of Nigerian nightclub toilet attendant Tolu’s dreams of becoming a dancer with Fela Kuti’s revolutionary band in Nigeria in the 80s and 90s, with her low-paid work in present-day Britain.

Based on an infamous incident in Glasgow’s

Shimmy nightclub in 2012, when it emerged that male customers had paid to ogle unsuspecting women in the club’s toilets, the play reflects on exploitation, the male gaze and how far some people will go to survive. An all-female cast tell the story and reflect upon how far there is to go in terms of equality in the workplace, with the music by Kuti providing a powerful heartbeat to the narrative.

Adura says of Kuti’s music: ‘I have always loved the way Kuti’s revolutionary politics were presented with humour and subversiveness, often dealing with difficult topics like African identity and postcolonialism in a disarming but infectious way.’

This has informed her approach to the play.

‘I wanted to use this same aesthetic for an examination of his politics from a female point of view and, within a Scottish context, in looking at the dynamics of a society where a club thinks it’s fine to have a two-way mirror in the female toilets without the women knowing,’ she says.

‘I thought there might be parallels in both investigations.’

Making its international debut at the Fringe is Delia Olam’s Just Let the Wind Untie My Perfumed Hair . . . or Who is Tahirih? Tahirih was a 19th-century revolutionary poet who removed her veil in front of a group of men, and was executed at the age of 36 by strangulation for fighting for human rights.

Performer Olam says Tahirih’s fearless acts cannot be underestimated as symbols of emancipation. ‘She was imprisoned multiple times for her beliefs, in an attempt to silence her, but her clear, intelligent and passionate eloquence always found an audience.’ The beautiful poetry is also a huge factor in the show’s creative process. ‘It was mostly written in the ghazal tradition of love letters to the divine,’ Olam says.

Using live music with cello and dulcimer, set to her original poetry, this powerful piece will ensure Tahirih’s legacy remains undiminished, while providing insight to a whole new audience.

Performer and writer Kirsten McPake is a member of Pinched Theatre, the emerging young company based between West Lothian and Edinburgh, who are behind The F Words, a show which began with the idea that feminism

is something to celebrate. ‘There’s been a media storm around the idea of feminism, usually with negative connotations,’ says McPake.

‘We decided that we wanted to bring back the positive of being proud to be female.’

The devised nature of the show keeps it topical, tapping into the zeitgeist, which means it is constantly evolving, and McPake insists it is suitable for a wide audience. ‘We have been slightly worried that our title and show description makes it sound like it is a show only for women – it really isn’t,’ she says.

This more contemporary take on feminist theatre engages both the political and the personal: ‘It is a show about these particular women sharing what their life is and how they think their gender affects it.’ At the same time, it rejects the stereotype. ‘It’s not a massive, angry, feminist rant. We really are hoping that people will be open to come and see what our show’s all about. We know that male or female, young or old, you will be able to relate to some of the observations, obsessions and fears of these twentysomething-year-old women.’

Feminist theatre ranges across history, social observations and political struggles. The strength of these contemporary and historical stories blazes a trail for new women’s work which is accessible, challenging, lyrical and passionate.

Nzinga Warrior Queen, Scottish Storytelling Centre, 556 9579, 5–19 Aug (not 10), 3pm, £10 (£8). Preview 4 Aug, £7 (£5).

Expensive Shit, Traverse, 228 1404, 5–28 Aug (not 8, 15, 22), times vary, £18.50 (£8.50–£13.50). Preview 4 Aug, £12.50 (£8.50).

Just Let the Wind Untie My Perfumed Hair . . . or Who is Tahirih?, Assembly George Square Studios, 623 3030, 6–29 Aug (not 16), 12.35pm, £11–£13 (£9–£11). Previews 4 & 5 Aug, £6.

The F Words, Greenside @ Nicolson Square, 618 6967, 15–27 Aug (not 21), times vary, £8 (£6.50).

4–11 Aug 2016 THE LIST FESTIVAL 91

DEFYING

CONVENTION

Defying the norm since 1947 05 - 29 August 2016 | Tickets available at edfringe.com

92 THE LIST FESTIVAL 4–11 Aug 2016

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Politics in Theatre | FESTIVAL THEATRE

PHOTO: JASSY EARL

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EVERYTHING IS POLITICS

Kieran Hurley in Heads Up

In the age of chaos, political theatre is more than just the party line, argues Gareth K Vile

‘M

y stuff has often been described as political, and that’s probably true,’ admits Kieran Hurley. ‘But so is everything else, all the time, always.’ Having had Fringe successes with Beats, a reflection on the social impact of rave music, and Chalk Farm, which dissected the London riots, Hurley’s work has maintained a lively interest in current affairs. Even as he acknowledges that his latest piece Heads Up is ‘angry, more hurt, more difficult’, he makes the salient point that political theatre is not merely a matter of presenting a topical subject.

Immediacy has been used to justify theatre’s social importance, and its very ‘liveness’ lends it a shared dimension. While television and the internet play to isolated viewers, a theatre audience becomes a community, forced to engage not only with the art but each other.

This communal aspect emphasises the political power of performance, rendering even unlikely topics potent.

The lives of West Ham football fans, for example, are brought to the stage in Irons.

Writer Colin Chaston used his experiences as a supporter to consider community and, surprisingly, transgender identity. ‘When West Ham scored, I witnessed people of all races

and genders coming together in celebration, all hugging, kissing, singing and dancing together, totally unconcerned with the labels we usually stick on people. I thought “wow!”’

From this, he developed a story that follows three fans, one of whom is transitioning. ‘I like audiences to feel challenged but I absolutely refuse to lecture,’ Chaston continues. While there is a serious issue in the play, he is sharing another, less obvious journey. ‘I want them to experience the highs and lows and fun of following a football team, and the East End humour.’

Apart from the advantage of featuring Britain’s most popular past-time, Chaston is recognising a politics that is based not in the agenda of the moribund parties but the daily interactions of people. Politics, in terms of relationships of power, is rescued from the increasingly distant rhetoric of government and opposition.

The rise of intersectionality and identity marked a major shift away from the traditional political concerns of finance and labour. In The Princes’ Quest, Henry Winlow uses questions of identity, and the arguably gay-friendly genre of the musical, to poke at the hidden subtexts of fairytales.

‘The show was first inspired by a fake news

‘It feels like we’re living in times of great change, like the end of something big’

4–11 Aug 2016 THE LIST FESTIVAL 93

FESTIVAL THEATRE | Politics in Theatre

A Streetcar Named Desire

Irons

article about an upcoming Disney movie about two princes who go on a quest for a princess but fall in love with each other,’ he explains.

‘We moved away from the fantasy world and grounded the show in a modern-day setting. Our main aim was to create an LGBT fairytale that is so rarely told.’

This subversion of traditional narratives represents theatre’s ability to engage with the myths that define daily life and, like Irons, is a complex response to an issue that is frequently turned into an abstract, if emotive, set of arguments on social media. The witty playfulness of the musical moves the discussion beyond bland opinion into a more nuanced and thought-provoking meditation.

That isn’t to say that there isn’t a place for more direct statements. ‘I wanted to make something that was about how it feels to live in a world that is built on catastrophe,’ says Hurley. ‘I was aware of the world feeling more and more like a constant cavalcade of crisis.’

This anxiety is matched by Hurley’s DIY ethos in the production, and echoes the thoughts of director Keti Dolidze, who is adapting Tennessee Williams’ A Streetcar Named Desire as a clash between urban immigrants and rural romanticism.

‘The more we live in this cruel society the more dreaming becomes essential for every human being,’ Dolidze observes. ‘A Streetcar Named Desire is a story not about the lunacy of a lone woman, but of her trying to save the world from its brutality.’ This reimagining of a familiar script is not only theatrically ingenious, but it draws out the implicit politics of Williams, a writer forced to hide his desires in a more socially conservative era.

This is evident even in less realistic productions: Skrimshanks appears to be a clown double act, but Flabbergast Theatre is using ‘the role of the fool to make us question how we live our lives’.

And Third Angel’s Alexander Kelly hopes his show, 600 People, will make audiences ‘feel differently about their place in the galaxy’ after sharing his journey of astronomical discovery.

Between these productions – and the Fringe offers the chance to experience such diverse approaches to the big questions of human experience – political theatre can be seen as anything that challenges assumptions or looks to the wider world for inspiration, in the hope of encouraging change.

Hurley concludes by recognising that this present moment is already dramatic. ‘I think it feels like we’re living in times of great change,

like the end of something big, be it this particular stage of capitalism, or old certainties around nationhood and social structures.’ If the times are unstable, theatre can suggest alternatives.

Heads Up, Summerhall, 560 1581, 6–28 Aug (not 15, 22), 7.05pm, £11 (£10).

Previews 3, 5 Aug, £8.

Irons, Greenside at Infirmary Street, 618 0758, 5–27 Aug (not 14, 21), times vary, £10 (£9).

The Princes’ Quest, C cubed, 0845 260 1234, 4–20 Aug, 7.20pm, £7.50–£9.50 (£5.50–£7.50).

A Streetcar Named Desire, Assembly Roxy, 623 3030, 6–29 Aug (not 10, 15, 22), 1.55pm, £8–£10. Previews 4 & 5 Aug, £7.

Skrimshanks, Assembly George Square Theatre, 623 3030, 6–28 Aug (not 16, 22), 10.30pm, £10–£12. Previews 3–5 Aug, £6.

600 People, Northern Stage at Summerhall, 560 1581, Aug 18–27 (not 24), 2.45pm, £11 (£9).

VILLAINOUS DEEDS Naughty children take control of the cabaret . . . of death

‘We’re traditionally untraditional,’ explains co-founder Oliver Lansley of Les Enfants Terribles, who have been fixtures on the Fringe for 15 years. ‘We rock up somewhere, a mad bunch of misfits and tell some stories.’ In a year which has seen the company present an immersive version of Alice in Wonderland, these misfits are attracting national attention.

The Vaudevillains, appropriately hosted in Assembly’s Spiegeltent, is both a decadent murder mystery and a celebration of the vintage vaudeville spectacle. With characters including sexy Siamese twins and a magician named The Great Mephisto, the investigation into the killing of the Empire club’s owner promises to bring more than

94 THE LIST FESTIVAL 4–11 Aug 2016

a few dark secrets to light.

There is no typical Les Enfants production – ‘every time we do something new it tends to be a bit unique, and a crazy terrifying challenge,’ Lansley adds. ‘The last show was an immersive Sherlock Holmes experience in Madame Tussauds, before that was an outdoor show set on a hot air balloon . . . and the next show is a dinner party with Roald Dahl’s The Twits!’ Yet The Vaudevillains conjures their belief in creating theatre that is challenging, provocative and memorable, with its bizarre cast and dynamic, spectacular theatricality.

The ambition of Les Enfants is reflected in this remounting of a show that first toured in 2010. Not

only does the venue provide a cabaret atmosphere to the work, the company’s distinctive visual sensibility brings to life the often ignored heritage of the freakshow.

‘This time, we’re making it a bit seedier and sexier,’ says Lansley.

And while his vision is to ensure that the audience experience ‘fun and a great story, to be utterly

entertained’, the unsettling tale of subversive glamour and brutality connects The Vaudevillains to the very contemporary taste for grotesque fantasy. (Gareth K Vile) n Assembly George Square Gardens, 623 3030, 6–28 Aug (not 16), 10.10pm, £14–£16 (£12.50– £14.50). Previews 4 & 5 Aug, £11.

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FESTIVAL THEATRE | Previews

A TALE OF TWO CITIES: BLOOD FOR BLOOD Ambitious reworking of Charles Dickens’ epic novel

PHOTO: NIALL WALKER

PHOTO: RICHARD DAVENPORT

Having established himself as a fearless and provocative director through his company Red Shift, Jonathan Holloway’s collaboration with Hong Kong’s Chung Ying is an ambitious adaptation of Charles Dickens’ epic A Tale of Two Cities. With a set composed of 80 empty chairs, Holloway’s vision is both spectacular and intimate.

Despite the scale of the staging, Holloway imagines A Tale of Two Cities as ‘less about epic narrative, and more about love and loss – essentially the bereavement of the Defarges and Carton’s obsessive desire for Lucie Manette, which leads him to sacrificing his life’.

Yet this story is placed within a grand context through the symbolism of the empty chairs: ‘Every empty chair implies a missing person, consumed by revolution, suicide, disease, accident,’ he explains. ‘The rigid layout means the actors have to negotiate the rows of chairs, which are to some degree a constant impediment.’

The previous collaboration between Chung Ying and Holloway, Jekyll and Hyde, consciously incorporated music and a youthful dynamism to challenge the traditional ‘respectful’ approach to adapting classic texts. Holloway’s direction also reveals his appreciation of theatre’s power to move. ‘I don’t understand it when theatre-makers talk disparagingly about emotional manipulation,’ he says. ‘I’m an entertainer.’

In a Fringe environment, where performance is often presented with minimal spectacle, Blood for Blood offers an example of large scale drama, which combines a passion for storytelling and a belief in the transcendental nature of performance itself. (Gareth K Vile) ■ Pleasance Courtyard, 556 6550, 6–28 Aug (not 10, 17, 24), 2.40pm, £12–£13 (£11–£12). Previews 3–5 Aug, £6.

DENTON AND ME

MULE

POENA 5X1

Denton and Me blends the 1940s with a modern day autobiography, exploring the relationship between performer Sam Rowe and writer Denton Welch (1915–1948). Playwright Rowe came across Welch’s journals in 2011 and recognised echoes of his own life within them, using Welch’s obsession for land-boy Eric in 1944 to parallel his own adventures, and sense of isolation, in contemporary London.

Rowe remembers being ‘blown away’ by Denton’s writing when he first read the diaries, and praises the way they reflect the ‘underlining continuing relevance of Welch’s emotional and psychological insights today’. Denton Welch was formally trained as a painter but was just as talented a writer. A fascinating figure in queer and literary history, he was a favourite of both Alan Bennett and William S Burroughs. He struggled with ill health following a tragic car accident, and died aged only 33.

This multi-layered production promises to be a powerful exploration of the vulnerability uncovered in Welch’s writing, a journey into how modern life can be reflected in the past and a poignant adaptation of the journals’ intensity. (Adeline Amar) ■ Summerhall, 560 1581, 5–28 Aug (not 15, 22), 3.05pm, £12 (£10). Previews 3 & 4 Aug, £8.

Mule is a new play by award-winning writer Kat Woods, focusing on the infamous Peru Two, Michaella McCollum and Melissa Reid. Arrested for drug smuggling and locked up in a South American prison in 2013, they were vilified in the press.

Woods’ script asks difficult questions: why do we judge others so quickly and what if it was your partner, your sister or your mother?

The play steps away from harsh judgement and takes a more sympathetic view. ‘I had read some rather nasty things about the pair and it got me thinking,’ says Woods. ‘My gut feeling has always been that they made a mistake, one that they will pay for for the rest of their lives.’

An early interest in sociology perhaps encouraged Woods’ attempt to understand the context surrounding the treatment of the pair, and challenge the easy assumptions that led to their demonisation.

Yet she is not interested in merely presenting her perspective. ‘I want the audience, especially in this particular case, to think about their actions’ says Woods. With the Peru Two back in the news, Mule offers a timely, imaginative and emotive angle on the story behind the headlines. (Alex Eades) ■ Gilded Balloon Teviot, 622 6552, 6–29 Aug (not 17), 1.30pm, £10–£11 (£8). Previews 3–5 Aug, £5.

Premiering at the Fringe, this one-woman show is written by award-winning Abbie Spallen (Pumpgirl, Lally the Scut). Poena 5X1, or How I Came to Agree with Right-Wing Thinking, is the story of Bryony Adams, an idealistic government scientist working to tackle the crippling issue of prison overcrowding with a new, humane form of punishment.

Director Robert Shaw is cautious about giving away too much about this Scandi-noir thriller. ‘It’s provocative; some people might find it controversial.

I wanted it to speak to some of the big issues facing our world today in a way that’s intelligent, dramatic and contemporary.’

Shaw, founder of theatre company Inside Intelligence, feels privileged to have commissioned new work from Spallen. ‘She has an uncompromising vision, based on a razor sharp and unflinching view of the world around her. Her work is deeply humane, thought-provoking and also very funny.’

Poena 5X1 also boasts specially commissioned music from twice Grammy-nominated composer Tarik O’Regan. ‘It’s contemporary and has tremendous beauty. He’s a truly original artist’. (Rowena McIntosh) ■ Underbelly Med Quad, 0844 545 8252, 6–29 Aug (not 17), 3.20pm, £9–£11 (£8–£10). Previews 3–5 Aug, £6.

Autobiography meets an overlooked icon

96 THE LIST FESTIVAL 4–11 Aug 2016

Imaginative angle on Peru Two drug story

Provocative and political Scandi-noir thriller

“In the Parish Council elections, you win or you die”

The So & So Arts Club presents

The Marvellous Adventures of

Mary Seacole

starring Cleo Sylvestre written by Cleo Sylvestre and Judith Paris

directed by Sarah Berger

‘This excellent one woman show’ Remote Goat

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Previews | FESTIVAL THEATRE

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THE INEVITABLE HEARTBREAK OF GAVIN PLIMSOLE

STOP THE TRAIN (THE MUSICAL)

Exploring the power of the heartbeat

Uplifting musical asks what it would take to bring commuters together

With an exciting combination of puppetry, three actors, a toy pig and a marble run, Sharklegs brings its Les Enfant Terribles 2016 award-winner to the Fringe, posing the question: if you knew how many finite heartbeats remained in your life, how would you make the most of what you had left?

‘The audience will see and experience something that they rarely even notice,’ say Sharklegs. ‘But it is with them every second of every day.’ Through the fanciful tale of Plimsole, who hoards his heartbeats and ponders how emotional upset has changed his life, Sharklegs presents an intimate, emotional and yet technologically fascinating experience.

‘We are using heart rate monitors during the show which will measure the audiences’ heartbeats,’ the company explains. ‘The collective heartbeats will be totalled and used to make decisions about what happens.’

This inventive use of technology encourages the audience to see the beauty and creativity within their own lives and engage actively in the making of a subtle tale of human potential. (Alex Eades) ■ Pleasance Dome, 556 6550, 6–29 Aug (not 16), 1.40pm, £7.50–£10 (£6.50–£9). Previews 3–5 Aug (£6).

Inspired by a bizarre and threatening incident on a commuter train, Stop the Train is a musical by songwriters Rich Guard and Phil Rice. ‘This incident planted the seed’, says Guard. ‘What would it take to bring such a group of people together, to discuss their hopes, dreams and similarities with their fellow commuters?’

The show’s creators want it to be an uplifting and life-affirming experience, ‘to bring slices of fantasy alive through music: comedic, fun, sexual, emotional, camp, all in the name of raising the mood of an audience’.

While many shows play to the public for the very first time at the Fringe, the audience has been integral to the creation of Stop The Train. ‘From day one, we would get some form of audience to witness each scene we tried. We’d take their feedback, insults and encouragements, listen to our guts, then move forward.’

Beyond the Fringe, the musical has West End ambitions and documentary filmmaker Chris Swann has been charting their progress, so keep an eye out for filming in Edinburgh. (Rowena McIntosh) ■ Paradise in Augustines, 510 0022, 15–28 Aug (not 21), 3.40pm, £14 (£12).

TWO KITTENS & A KID (A GAY MAN RAISING HIS INNER DIVA)

Musical take on the challenge of foster parenting Two Kittens & A Kid tells the autobiographical story of Christopher Wilson’s foster parenting journey. A gay white dad raising a troubled black adolescent girl sounds like a box-ticking sitcom pitch, but in reality Wilson was forced to negotiate a series of profound emotional challenges to care for someone who had little care for themselves.

Wilson is keen that the work should not be seen as all doom and gloom. ‘This piece is layered with frivolity, humour and levity,’ he says. ‘My parenting journey with my foster daughter was full of nuance, rich in anecdotes, and fierce in emotional challenge.

‘My intention is to encourage the audience to personally engage with me. I am hoping that the audience will feel comfortable and intrigued about being invited into my personal world.’

Although at first glance it may seem too deeply personal a topic for the construct of cabaret, Wilson believes his desire to make performance was born out of a compulsion to express rather than repress inner demons and challenges; music feels like the ideal medium to explore such a poignant story.

(Irina Glinsky) ■ theSpace on the Mile, 510 2382, 6–20 Aug (not 7, 14), 7.30pm, £10 (£9). Preview 5 Aug, £8 (£7).

ADLER & GIBB

Master of meta-theatre strips back his London success Tim Crouch’s theatre combines an intellectual rigour with an emotive power: even at his most provocative, he consciously invites audiences to recognise the trickery of performance, drawing attention to theatricality while delivering serious reflections on extremes of human experience. Adler & Gibb has already been received with enthusiasm in its expansive production at London’s Royal Court: for Edinburgh, Crouch is offering a stripped-back version.

While Crouch (pictured) admits that he has been making theatre for long enough that his work has become an expression of his own interests and experiences – ‘It’s not really possible to an artist to do anything else, and remain true to themselves,’ he comments – the themes addressed in Adler & Gibb are, typically for him, profound and resonant.

Following the journey of an actor who is preparing for the role of a lifetime, while worrying whether they will do justice to the ‘real’ person that they will be playing, Crouch explains that ‘like much of my work, it explores ideas of ownership’, as well as his ‘age-old bugbears around the political nature of representation and the problems of capitalism in art’.

The high concept – and Crouch’s willingness to expose and subvert the format of theatre – does not, however, undermine his lightness of touch as a writer. Previous visits to the Fringe have seen him ponder grief, death, violence and even Shakespeare’s most maligned characters without losing his humane warmth and generosity towards the audience.

His marriage of the cerebral with the compassionate and emotional has ensured that Crouch’s work inspires at the same time that it challenges. (Gareth K Vile) ■ Summerhall, 560 1581, 6–27 Aug (not 8, 15 & 22), 5.15pm, £15 (£12). Previews 3, 5 Aug (£12).

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FESTIVAL THEATRE | Previews PHOTO: SILVER MERICK STUDIO

BUBBLE REVOLUTION

A one-woman Polish fairy tale about the post-communist world

PHOTO: MIHAELA BODLOVIC

PHOTO: GABRIELLA ZENO

Describing itself as a Polish fairy tale, Bubble Revolution is a one-woman performance following Vica (Kasia Lech) as she explores her memories of growing up during and after the fall of communism. Vica’s colourful childhood dreams, such as endless supplies of Nutella, are abruptly broken when, as an adult, she experiences the monochrome reality of capitalism.

A Polish Theatre Ireland production, Bubble Revolution is performed in English with a Polish accent and a touch of Irish.

Co-creator Lech explains that she is interested in the potential represented by a character trying to express her identity in an adopted language. This complicates the fairy story with a serious reflection on the place of the ‘foreigner’.

‘Why not use my own status of a “foreign body”, my Polish accent with Irish sneaking through it, to add more layers to the text? That is why Bubble Revolution is about growing up as communism in Poland was falling down, but it is also about reframing foreignness.’

Lech was part of the team who set up Polish Theatre Ireland in 2008, a company that merges Polish and Irish theatre traditions.

John Currivan, director and co-creator of Bubble Revolution, was involved in the company from its early days. The role of intercultural collaboration and translation is central both to the play and to Lech’s creative process, and even led her to create a document for Currivan that translated and explained every Polish cultural reference in the play.

Vica’s journey through the colours, scents and sounds of her past aims to resonate with the audience’s own childhood memories. Through elements of immersive theatre and multimedia techniques, these cultural references become accessible to a non-Polish audience. With Lech’s academic background providing a strong understanding of theatricality, Bubble Revolution promises to be a powerful experience that successfully transcends cultural differences.

(Adeline Amar) ■ New Town Theatre, 220 0143, 7–28 Aug (not 16, performances in Polish on 6, 20 Aug), 1.45pm, £9–£10 (£7.50–£8.50). Previews 4–6 Aug, £7 (£6).

FASLANE

I LOVE URSULA HAMDRESS

Drawing its name from Scotland’s operating base for the Royal Navy, and home to the Trident nuclear missile program, this solo performance by Jenna Watt explores the intersections between the personal and the political.

Scotland’s hosting of Trident became a hotly debated topic during the political upheavals of the 2014 referendum on independence, as Watt explains: ‘I became aware that I was desperately uninformed about this issue despite my family having worked in Faslane my whole life. I felt torn between what I wanted for my family and what I thought I wanted for my country.’

Having established herself as a bold theatre-maker with How You Gonna Live Your Dash and Flâneurs, Watt continues her collaboration with dramaturg Louise Stephens and draws upon the immersive sound design of composer Kim Moore.

In undertaking a topic at once global and deeply personal, Watt consciously rejects the didactic in favour of the dialectic, presenting years of research from all sides of the debate in order to offer ‘a perspective that will be, at times, difficult for people with polarised views on the debate to swallow’. (Elliot Roberts) ■ Summerhall, 560 1581, 5–28 Aug (not 15), 7.15pm, £10 (£8). Preview 3 Aug, £8.

Inspired by Carol Adams’ book The Sexual Politics of Meat, Gabrielle Zeno’s solo performance is an unflinching critique of the commodification of women’s bodies. Ursula Hamdress was a sow dressed up like a Playmate in the magazine for pig farmers Playboar in 1981. From this striking image, Zeno draws a link between an aspiring showgirl in all her finery, and the farming of sows for their meat.

‘During my research, I realised that the female body is an object used only for profit,’ she says. ‘By focusing on female bodies valued in terms of aesthetic presentation and as objects to be consumed, Zeno asks pertinent questions around society’s understanding and representation of women.

‘I hope that I Love Ursula Hamdress will be a strong emotional and visual experience for the spectators, so that some of them really can take [away] awareness about the condition of women and farmed animals,’ she explains.

And despite the violence of the imagery and scope of the themes, Zeno intends to engage audiences on a personal level: ‘I hope that it increases in the female audience the awareness about their own identity, and it will be a deep and intimate experience.’ (Lorna Irvine) ■ Spotlites, 240 5047, 21–28 Aug, 1pm, £10 (£8).

The personal and political collide in tale of Scotland’s nuclear missile base

100 THE LIST FESTIVAL 4–11 Aug 2016

Exploitation takes on new forms in this new theatre show

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FESTIVAL THEATRE | Day Planner From crack of dawn to the setting sun, Gareth K Vile maps out an itinerary to satisfy all your theatrical needs

(not 14, 21), 6.40pm, £8 (£6). Previews 5 & 6 Aug, £6 (£4).

7PM

10AM

Faslane A personal reflection on family and the presence of nuclear weaponry from Scotland’s Jenna Watt. See preview, page 100. Summerhall, 560 1581, 5–28 Aug (not 15), 7.15pm, £10 (£8). Preview 3 Aug, £8.

Norma World-renowned soprano Cecilia Bartoli comes to the festival in this production of Bellini’s feted opera.

Part of the Edinburgh International Festival. Festival Theatre, 473 2000, 5, 7 & 9 Aug, 7.15pm, £30–£140.

The Glass Menagerie John Tiffany might be a bit busy with Harry Potter and the Cursed Child right now but here’s a chance to catch his hit Broadway production of Tennessee Williams’ landmark play, starring the legendary Cherry Jones. Part of the Edinburgh International Festival. King’s Theatre, 473 2000, 7–21 Aug (not 9, 16), 7.30pm (2.30pm on 11, 13, 17 & 19 Aug; 1pm & 6pm, 21 Aug), £14–£38. Previews 5 & 6 Aug, £12–£32.

The Forest A multi-sensory adventure

into the sights and sounds of nature for teenagers and adults with Profound and Multiple Learning Disabilities (PMLD) and their companions. Pleasance Courtyard, 22–25 Aug, 556 6550, 10.30am, £10.

NOON The Final, Final Farewell Tour of Dick and Delores DelRubio A Power

Ranger goes drag in an ironic tribute to the golden age of lounge acts. theSpace at Surgeons Hall, 510 2384, 15–27 Aug (not 21), 12.05pm, £10 (£8).

Just Let the Wind Untie My Perfumed Hair . . . or Who Is Tahirih? The first woman to be martyred

for the vote, and a poet who astounded the world with her beautiful verse and uncompromising belief in freedom. See feature, page 90. Assembly George Square Studios, 623 3030, 6–29 Aug (not 16), 12.35pm, £11–£13 (£9–£11). Previews 4 & 5 Aug, £6.

A Series of Unfortunate Breakups

Love is never easy, but some people take doomed romance too far. C nova, 0845 260 1234, 3–29 Aug (not 16), 7.30pm, £8.50–£10.50 (£6.50–£8.50).

Shake Twelfth Night is moved into the 1970s by British-born director Dan Jemmett in a production that rescues Shakespeare’s comedy from worthy adaptation with a French-style flair. Part of the Edinburgh International Festival.

Lyceum, 473 2000, 11–13 Aug, 7.30pm (2.30pm on 12 & 13 Aug), £10–£32.

1PM Dropped Two female soldiers experience the problems of war: the vodka is all gone, the baby is crying and the base needs to be protected. Pleasance Courtyard, 556 6550, 6–28 Aug (not 15), 1pm, £7.50–£10 (£6.50–£9). Previews 3–5 Aug, £6.

People of the Eye Using projections, sound, live performance, and creative accessibility, this unique performance considers the joy in difference. See feature, page 23. Northern Stage at Summerhall, 560 1581, 8–27 Aug (not 10, 17, 24), 1pm, £11 (£9). Previews 6 & 7 Aug, £9.

Chris Cook: White Lies A magic show that delves into the history of scams, tricks and outright deceit. Voodoo Rooms, 226 0000, 6–28 Aug (not 16), 1.20pm, free.

LABELS Sticks and stones may break my bones, but words can create a box in which people experience prejudice and exclusion. Returning with last year’s Fringe First-winning production, Joe SellmanLeava revisits 1990s Devon, when being mixed race was less mixed blessing than an invitation to racist abuse and uncomfortable relationships. Fortunately, Sellman-Leava does manage to find some of the funnier side, without losing the serious issue beneath paperplanes, messages on Tinder and, of course, plenty of sticky labels. n Pleasance Courtyard, 556 6550, 6–28 Aug (not 16), 2.15pm, £7.50–£10 (£6.50–£9). Previews 3–5 Aug, £6.

Apocalypse Cruise Ship Love Affair

Dark comedy, tongue in cheek drama and a title that speaks for itself. Gilded Balloon Teviot, 622 6552, 6–29 Aug (not 15), 1.30pm, £8–£10 (£7–£9). Previews 3–5 Aug, £6.

A Streetcar Named Desire More than just an emotional journey, this streetcar takes a new angle on the kindness of strangers. Assembly Roxy, 623 3030, 6–29 Aug (not 10, 15, 22), 1.55pm, £8–£10.

Previews 4 & 5 Aug, £7.

2PM Life According to Saki The master

of the short story comes to the stage, in Katherine Rundell’s debut play. The author’s wild characters are captured in a mash-up of puppetry, script, dance and clowning. C, 0845 260 1234, 3–29 Aug (not 15), 2.15pm, £8.50–£10.50 (£6.50–£8.50).

A Tale of Two Cities: Blood for Blood Ambitious adaptation of

Dickens’ novel, finding the personal story in the grand narrative of revolution and resolution. See preview, page 96.

Pleasance Courtyard, 556 6550, 6–28 Aug (not 10, 17, 24), 2.40pm, £12–£13 (£11–£12). Previews 3–5 Aug, £6.

Sacré Blue Zoë Murtagh and Victoria Copeland use autobiographical experience and poetry to grapple with anxiety. They promise punk music, popcorn and a bit of scientific information. Northern Stage at Summerhall, 560 1581, 8–16 Aug (not 10), 2.45pm, £11 (£9). Previews 6 & 7 Aug, £9.

Irons Three West Ham fans go through a transition, while their support for the Hammers keeps them together in joy and pain. See feature, page 93. Greenside @ Infirmary Street, 618 0758, 5–27 Aug (not 102 THE LIST FESTIVAL 4–11 Aug 2016

14, 21), 2.55pm 5–13 Aug (11.25am 15–20 Aug; 1.45pm 22–27 Aug), £10 (£9).

3PM Nzinga Warrior Queen Rescued from the margins of history, this is the true story of a woman who confounded stereotypes and became the heroic defender of her people. See feature, page 90. Scottish Storytelling Centre, 556 9579, 5–19 Aug (not 10), 3pm, £10 (£8). Preview 4 Aug, £7 (£5).

Poena 5X1 Scientific research may claim to be the pursuit of pure knowledge, but sometimes it can lead to an accommodation with less virtuous political positions. See preview, page 96.

Underbelly Med Quad, 0844 545 8252, 6–29 Aug (not 17), 3.20pm, £9–£11 (£8–£10). Previews 3–5 Aug, £6.

4PM Putting the Band Back Together

What would you do with your last days? A celebration of music’s power to bring back the memories and friendships. See feature, page 83. Northern Stage at Summerhall, 560 1581, 8–27 Aug (not 10, 17, 24), 4.50pm, £12 (£10). Previews 6 & 7 Aug, £10.

5PM Swansong Can three men in a pedalo

save the human race with the power of musical theatre? Pleasance Courtyard,

556 6550, Aug 6–29 (not 16), 5pm, £8.50–£11 (£7.50–£10). Previews 3–5 Aug, £6.50.

Adler & Gibb Tim Crouch proves, once again his ability to be meta and accessible. When a film actor tries to portray a real-life person, art starts to confuse life. See preview, page 99.

Summerhall, 560 1581, 6–27 Aug (not 8, 15, 22), 5.15pm, £15 (£12). Previews 3, 5 Aug, £12.

Adam and Eve and Steve A theological musical that adds a third person into the Genesis mix. Includes witty takes on deep ideas and Satan singing the blues. C, 0845 260 1234, 3–29 Aug (not 15), 5.45pm, £11.50– £13.50 (£9.50–£11.50).

6PM Wonderman A WWI pilot wakes

up unable to remember his identity.

Gagglebabble and the National Theatre of Wales bring Roald Dahl’s adult tales to the Fringe for a sinister and sly treat.

Underbelly Potterow, 0844 545 8252, 6–28 Aug (not 8, 15, 22), 6.05pm, £11– £12 (£10–£11). Previews 3–5 Aug, £6.

A Broad Abroad! Eighty-year old cabaret performer dishes the dirt on her expat adventures, reminding the youth that they didn’t invent wild behaviour.

Greenside @ Infirmary Street, 618 0758, 7–27 Aug (not 14 & 15, 21 & 22), 6.25pm, £9 (£8). Previews 5 & 6 Aug, £5.

The Convolution of Pip and Twig

An emotional tale of identical twins and what happens when one wants to break free. SpaceTriplex, 510 2395, 8–27 Aug

8PM The Destroyed Room Scottish theatre company Vanishing Point divided audiences with this intriguing discussion of responsibility and the encroaching chaos. By taking on difficult subjects and refusing to provide an answer, The Destroyed Room is a bracing attack on a society that mistakes opinion for activism. Part of the Edinburgh International Festival. Lyceum, 473 2000, 6–8 Aug, 8pm (1.30pm, 7 Aug) £8–£25.

Preview 4 Aug, £7–£22.

Wind Resistance Musician Karine Polwart combines story and song to follow the migration of geese through geography, history, personal memories and, of course, Scottish football legend.

Part of the Edinburgh International Festival. Lyceum, 473 2000, 6–21 Aug (not 8 & 9, 15 & 16), 8pm (2pm on 6, 13, 20) £20. Previews 4 & 5 Aug, £18.

Two Man Show Two women play two men to examine the ‘crisis of masculinity’ in the trademark RashDash frenetic style.Northern Stage at Summerhall, 560 1581, 8–27 Aug (not 10, 17, 24), 8.15pm, £11 (£9). Previews 6 & 7 Aug, £9.

9PM Hyena A daringly intimate and visceral

solo show about the beast within – with a literal cage containing a single woman.

Paradise in The Vault, 510 0022, 22–28 Aug, 9.40pm, £10 (£7).

10PM Joe’s NYC Bar Get immersed in the magic of a bar where the acts are the audience. Just the Tonic at The Caves, 0330 220 1212, 5–28 Aug (not 15), 10pm, £11.50 (£10).

Skrimshanks Late night double act that will poke fun at the tired, tiny, terrified world that enslaves and enthrals.

See feature, page 93. Assembly George Square Theatre, 623 3030, 6–28 Aug (not 16, 22), 10.30pm, £10–£12. Previews 3–5 Aug, £6.

Festival

VISUAL ART

For m info gootroe

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SURREAL ENCOUNTERS: COLLECTING THE MARVELLOUS One of the most important shows of surrealist art presented in Britain When you enter Surreal Encounters, the big summer show at the Scottish National Gallery of Modern Art, the first thing you see is the resource room (isn’t that normally at the end?) closely followed by ‘Room 3’. Well, this is surrealism, you didn’t expect it to make sense, did you?

It does take time to find your feet in this exhibition because the curators are trying to do two quite distinct things: to tell the story of four major collectors of surrealist art, and to create a survey exhibition of the movement itself.

They’re not helped by the fact that surrealism is hardly linear, and that artists regularly joined, left and flirted with its margins.

There’s a room devoted to Gabrielle Keiller, a former golfing champion who married into the Keiller marmalade dynasty and left her important collection of surrealist art to the National Galleries of Scotland when she died in 1995, next to one about the influence of Giorgio de Chirico and a corridor devoted to Dada.

But in the three large interconnecting rooms on the ground floor of Modern One, Surreal Encounters really hits its stride.

Devoted to exploring the various directions taken by the movement in the 1930s, these galleries include major works by all the big hitters: Dalí, Magritte, Picasso, Ernst, Tanguy.

The Lobster Telephone and Mae West Lips Sofa are here (complete with Dalí’s original sketches for it, on the back of an envelope), but it is the paintings which dazzle again and again. You realise, rather belatedly, that this is one of the most significant shows of surrealist art mounted in Britain in recent times.

It’s densely packed, full of documentary material as well as art, with collectors as colourful as the artists they patronised. It’s also full of surprises, from major works rarely exhibited to lesser known names, and it reminds us how radical surrealism was, rooted in the 1930s but still relevant in artistic terms today. You emerge from it all a little dazed, having been immersed in a strange and at times confusing world, but one which still has the power to dazzle and amaze.

(Susan Mansfield) ■ Scottish National Gallery of Modern Art (Modern One), 624 6200, until 11 Sep, £10 (£8). lllll

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FESTIVAL VISUAL ART | Hitlist

ART HITLIST Rachael Cloughton highlights some of the best visual art in the festival’s first week

Scottish National Gallery of Modern Art, 624 6200, until 11 Sep, £10 (£8).

HAROON MIRZA: ADAM, EVE, OTHERS AND A UFO Acclaimed international artist Haroon Mirza is a highlight of this year’s Summerhall programme. While his installation is confined to just one room, the space’s transformation

INSPIRING IMPRESSIONISM The best thing about this show is the spotlight it throws on the lesser-known painter Charles Francois Daubigny and his influence on the impressionists.

Curator Lynne Ambrosini, from Cincinnati’s Taft Museum, has developed a fascinating new narrative from this popular, arguably over-

exposed movement. See review, page 107. Scottish National Gallery, 624 6200, until 2 Oct, £11 (£9).

DAMIÁN ORTEGA The renowned Mexican artist presents a collection of sculptures made primarily out of clay, moulded into crashing waves, glossy icebergs and an eroding river. From this elemental material, Ortega playfully explores the sculptural agency of nature, and also mankind. See review, page 107.

Fruitmarket Gallery, 225 2383, until 23 Oct, free.

PHOTO: COLLECTION TATE, PURCHASED WITH ASSISTANCE FROM THE ART FUND AND THE AMERICA

SIÂN ROBINSON DAVIES: CONVERSATIONS Ever wondered what a lipstick would say to a brick, or grass to an apple?

Artist Siân Robinson Davies has imagined these conversations in her eclectic new exhibition. See feature, page 105. Edinburgh Sculpture Workshop, 551 4490, until 31 Aug, free.

through the interplay of sound, lightwaves and electric current more than makes an impact. See review, page 107. Summerhall, 560 1580, until 30 Sep, free.

JENNIFER BAILEY: WILL I MAKE A GOOD FATHER, MOTHER, SISTER? Bailey’s exhibition forms part of the Collective gallery’s Satellites Programme, designed to promote work by emerging artists in Scotland.

This exhibition is a mature, thoughtful collection of new works. See review, page 107. Collective Gallery, 556 1264, until 4 Sep, free.

SURREAL ENCOUNTERS: COLLECTING THE MARVELLOUS Featuring artworks from the legendary collections of Roland Penrose, Edward James, Gabrielle Keiller and UIla and DO_Ad_LIST_SG.qxp_Layout 1 28/07/2016 16:47 Page 1 Heiner Pietzsch. See review, page 103.

Until 23 Oct

Damián Ortega

The Fruitmarket Gallery fruitmarket.co.uk 104 THE LIST FESTIVAL 4–11 Aug 2016

Surreal Encounters: Collecting the Marvellous

Time for Tiffin Au g ust 5 t h - 2 9 t h 2 0 1 6

A selling exhibition of kitchenalia old and new, exploring the culinary traditions of India, the Middle East, and Southeast Asia.

21 St Leonard's Lane Edinburgh,EH8 9SH 0131 662 1612 info@nomadstent.co.uk mon- sat 10-5 sun 12-4

w w w . n o m a d ste n t. c o . u k

Siân Robinson Davies | FESTIVAL VISUAL ART

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TALKING HEADS Neil Cooper speaks to artist and comedian Siân Robinson Davies, whose interest in the way people interact has inspired her latest audio work

I

t’s good to talk. Just ask Siân Robinson Davies, whose new sound work, Conversations, has opened at Edinburgh Sculpture Workshop as part of Edinburgh Art Festival. It features 13 bitesized dialogues between inanimate objects, intimate body parts and intangible universal constructs. Over almost half an hour’s worth of speedy exchanges, assorted odd couples flirt, rub up against each other or else just try to explain themselves through snippets of philosophical enquiry.

Characters include a Credit Card attempting to explain to a Penis the notion of contactless transactions, an on-heat Lipstick coming on strong with some sexless Breezeblock and last words from a Pillow in conversation with Revenge.

‘I started writing the conversations because I was asked to write textual responses to a couple of artists’ work, both of whom work with objects,’ Robinson Davies explains about the roots of Conversations,

‘and then I just developed them from there. I guess they came about from a general interest I have in the way people interact.’

A stint on the committee of Edinburgh artist-led space Rhubaba was also an influence on Robinson Davies’ installation, which forms the final part of On an otherwise ordinary evening, a series of ESW exhibitions based around storytelling.

‘I have become interested in how groups make decisions, reading stuff such as Edward de Bono’s Six Thinking Hats,’ Robinson Davies says, referring to the lateral thinking guru’s system for group discussion.

‘Reading about all these ways that people can communicate effectively has just drawn my attention to the way we often communicate really ineffectively, or with differing perspectives or priorities that are never made explicit. So the whole thing is really about how we manage to get along even though we have these weird disjointed conversations all the time.’

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FESTIVAL VISUAL ART | Siân Robinson Davies

PHOTO: WARREN ORCHARD

‘I tried to find people around me whose idiosyncrasies could bring something out in the characters’

While some of the pieces come from a clearly defined physical basis, introducing less tangible abstractions, such as Flying, Ocean and Revenge, takes the playlets to another level.

‘By having Flying in there, I could ask about whether concepts can take responsibility for actions,’ Robinson Davies says. ‘That relates to whether businesses can take responsibilities for damages.

They do financially, but it’s complicated when it comes to apologies. Flying is an opportunist who takes credit for the good things and shirks responsibility for the bad. We see that in politics and business all the time. Adding Revenge as a concept allows it to be more slippery than objects can be.

Revenge slips in and out of being freedom, and it can do that in our imagination because it doesn’t have a physical form. It’s more difficult to do with objects, because as soon as you name an object, a Walking Stick, for example, it’s really difficult for it to become kindling or something else, because the name defines its function so clearly.’

For the recording of Conversations, Robinson Davies brought in a variety of performers who bring nuance and personality to each character. ‘In choosing the voices, I tried to find the people around me whose idiosyncrasies could bring something out in the characters I have written,’ she says.

‘Take the Feather, for example. The hesitation in the voice is really special, it makes the Feather so believable. I didn’t know it until I heard Timothea read the part that that is how the Feather should sound, but when I heard it, it couldn’t be any other.’

While Conversations gives voice to non-human entities in a way that David Shrigley did in his opera Pass The Spoon, and Glasgow-based performance artist Merlin Nova has explored with a series of monologues by kitchen implements performed on Subcity Radio, Robinson Davies’ work, in part, recalls the It-Narrative, an 18th-century literary vogue that personified animals and objects.

‘I was actually reading stuff like David Foster Wallace’s Brief Interviews with Hideous Men,’ she says, ‘which is so dark, but absolutely incredible in terms of complex character development through interview / monologue / conversation form.’

In what is effectively a suite of radio plays, one can imagine Conversations fitting in well on online art station Resonance FM. As a sometime stand-up comedian as well, Robinson Davies recognises the work’s potential for performance, and doesn’t rule out further Conversations.

‘I’d like to,’ she says, ‘especially because I feel like I have gained a much greater understanding of how they are being interpreted now they are installed. If I wrote more, there are many things I would improve. But now I need a break from them. I’m training full time to become a computer programmer and I’m working on some prose fiction. The conversations are so short. I love that about them and it’s definitely what enabled me to develop them, even through busy periods, but I’m ready for a bit of long form, where I can really knit together complex ideas over a long duration.’

Siân Robinson Davies: Conversations, Edinburgh Sculpture Workshop, 551 4490, until 31 Aug, free.

106 THE LIST FESTIVAL 4–11 Aug 2016

Reviews | FESTIVAL VISUAL ART

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INSPIRING IMPRESSIONISM: DAUBIGNY, MONET, VAN GOGH Blockbuster show focuses on painter who anticipated impressionist movement lllll

Daubigny is not a name that springs readily to mind in connection with impressionism. For all that his works hang in top museums, they are easy to overlook: well-executed 19th-century landscapes which, in light of what came after, might seem dull.

This show aims to rehabilitate Daubigny’s reputation and celebrate him as an important influence on the impressionists, a creative missing link in the development of modern painting.

Here, he hangs with Monet and Van Gogh, the threads of that influence made clear in a stunningly attractive exhibition.

It’s not difficult to see the connections: his innovative compositions, his love of painting en plein air, his fascination with the effects of light. Van Gogh adored him, spending his last months in the town where Daubigny had lived, adopting his signature ‘double-square’ format for some of his last works.

This is not a survey show. The chronology zigzags, as, it seems, does Daubigny’s style. In each decade he seems to have produced some paintings which were highly detailed and traditional, and others which were remarkably free. However, he probably regarded the most radical of them – such as ‘Moonlight 1875’, which sits perfectly next to Monet’s ‘A Seascape, Shipping

by Moonlight’ – as studies, not finished paintings.

Placing him next to Monet and Van Gogh has two effects: it shows how his style anticipated theirs (the last room, which contrasts orchards and poppy fields by all three is truly stunning), but it also shows how impressionism used what it had learned to spring off into a new palette of sunkissed haziness.

This show reminds us how Daubigny enabled what came after, but also how it eclipsed him. (Susan Mansfield) ■ Scottish National Gallery, 624 6200, until 2 Oct, £11 (£9).

PHOTO: COURTESY OF THE ARTIST AND KURIMANZUTTO, MEXICO CITY

PHOTO: TOM NOLANY

DAMIÁN ORTEGA

Exploring humankind’s relationship with the natural world lllll Not so much an exhibition as an intervention, many of the works in this show by Mexican political cartoonist turned artist Damián Ortega were created onsite within the Fruitmarket Gallery, and appear to grow organically from the building.

On the lower floor, ‘Broken Sac’ is one large, rough-hewn ball of earthen clay with 125 other smaller orbs around it, the connotation clearly natal.

Alongside it is ‘Eroded Valley’, five heaps of red clay bricks painstakingly hewn to show a time-lapse erosion.

Elsewhere, clay is moulded into frozen ‘waves’, into white-painted mock icebergs, into a rain of small chips arranged on string hanging from the ceiling, and – most impudently – into a catalogue of tools, from arrowheads to USB sticks.

The show was literally built in Edinburgh, yet the clay used for these pieces was mined in Oaxaca, Mexico, making the same trip across the Atlantic as Ortega. The viewer may be put in mind of the act of mining, of moulding objects and tools from the clay, of attaching importance and meaning to the objects. It’s a history of creation and migrating ideas, in understatedly simple style. (David Pollock) ■ Fruitmarket Gallery, 225 2383, until 23 Oct, free.

JENNIFER BAILEY: WILL I MAKE A GOOD FATHER, MOTHER, SISTER?

HAROON MIRZA: ADAM, EVE, OTHERS AND A UFO

There’s a deeply personal sense of uncertainty at the heart of Jennifer Bailey’s new show. The exhibition, part of Edinburgh Art Festival, hails from Collective’s Satellites Programme, designed to promote emerging artists based in Scotland.

This personal uncertainty is explicit in the enquiry contained in the title, and is made even more so by the print stretched out across an entire wall that takes its lilac colour scheme from an old-time John Bull printing kit. While its patterns resemble the sort of flowchart favoured by management training types, its words refer to the everyday contradictions between work, rest and play; a serious concern for Bailey’s generation, many of whom work two or three jobs to make ends meet.

On another wall, a head and shoulders photograph of Bailey’s sister resembles a byline shot for a magazine or a security pass dangling from a lanyard. Three small ceramic sculptures are miniature expressions of the infinite pressure to clamber up the battered ladder of success.

Dissected, collected, archived and rubber-stamped in this way, life and art intersects in an all too real meditation on making it in every way. (Neil Cooper) ■ Collective Gallery, 556 1264, until 4 Sep, free.

It’s easy to see why Haroon Mirza won the Silver Lion at the 54th Venice Biennale: his art, which utilises technology to create imposing, otherworldly installations, is completely unique. Yes, light art has been around a long time, and there’s plenty of interesting work being made in this area, but Mirza does something altogether different with his primal and evocative exploration of the senses.

‘Adam, Eve, Others and a UFO’ features eight speakers arranged in a circle, as if around a bonfire or sacred object. Unnecessarily long tendril-like wires lead away from the speakers and take a diversion up to the ceiling, hanging down to the central ‘UFO circuit’ to which they are connected.

The analogy that art galleries are akin to places of worship has never felt so pertinent. The square room is consumed by the artwork it contains; likewise, the viewer in its presence. The speakers emit violent buzzes and shrieks: sometimes rhythmical, sometimes erratic. Just when you think you’ve fathomed out its logic it goes into free-fall.

Mirza says all noise is just noise without context, without organisation. He brings this truth home with a monstrous but beautiful work. (Laura Campbell) ■ Summerhall, 560 1580, 4 Aug–30 Sep, free.

Reflection on the demands of modern life lllll

Evocative installation transforms gallery lllll

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FESTIVAL VISUAL ART | Reviews PHOTO: ALLAN POLLOCK-MORRIS

LAURE PROUVOST: MONOLOG A deliberately chaotic exhibition filled with the artist’s characteristically whimsical works

Jupiter Artland

ARTY GARDENS Typically, the Turner Prize-winning Frenchborn artist has produced a playful, seemingly whimsical exhibition that goes all out to disrupt our relationship with modes of communication, be it verbal, written or otherwise.

The artworks, which demonstrate Prouvost’s usual tropes and techniques, are set out across four adjoining intimate spaces; spaces perfect for getting up close and personal with unhinged but equally mesmerising works.

Stressful noises and undecipherable words collide and compete across gallery walls.

Most artists would avoid this confusion, but you suspect Prouvost anticipated and welcomed this chaos. Her work debunks our fixed understanding of information so that the systems on which we rely disintegrate under scrutiny. In one video the word ‘deeper’ becomes silly and ungraspable as she incessantly whispers the word with the seductive appeal of a perfume advert.

Prouvost likes to exaggerate the physical presence of television screens, preferring to use boxy monitors with a slightly fuzzy, bleeding visual quality. For Monolog, she pushes the ‘thingness’ of these monitors by having them perch precariously on spindly metal legs. She’s done this before, but here she’s pushed this further with monitors variously looming and crouching. One work in particular forces us to peer up as if it were an alien spacecraft sucking us upwards. The spiraling motifs and sinister, urgent sounds enforce this sensation. An outlandish analogy perhaps, but Prouvost would probably enjoy it. (Laura Campbell) ■ Summerhall, 560 1580, 4 Aug–30 Sep, free. lllll 108 THE LIST FESTIVAL 4–11 Aug 2016

Rachael Cloughton picks some of the best gardens for art lovers to explore in and around Edinburgh during the festival JUPITER ARTLAND Take a half-hour bus ride to West Lothian and you’ll arrive at one of the most remarkable sculpture parks you’ll ever visit – Jupiter Artland. Grand outdoor works by some of the most influential contemporary artists, including Antony Gormley, Nathan Coley and Cornelia Parker, are dispersed across the 100-acre site, which was set up by the art collectors Robert and Nicky Wilson in 2009.

There’s also a programme of temporary exhibitions and this year’s Christian Boltanski show is worth the journey alone.

■ Bonnington House Steadings, Wilkieston, 01506 889900, daily 10am–5pm through Jul & Aug, £8.50 (£4.50£6), jupiterartland.org

CALTON HILL The philosopher David Hume lobbied Edinburgh Council to build a walk ‘for the health and amusement of the inhabitants’ and in 1724 the town council bought Calton Hill, making it one of the first public parks in the country. The site is most famous for its collection of historic monuments – such as the neoclassical architect William Playfair’s ‘National Monument’, an unfinished reconstruction of the Parthenon. However, art lovers on the hunt for something more contemporary should check out the Collective Gallery, one of Edinburgh’s most cutting edge, artist-led spaces.

■ Collective Gallery, City Observatory and City Dome, Calton Hill, 556 1264, daily 10am–6pm during Aug, free, collectivegallery.net

ROYAL BOTANIC GARDEN Edinburgh’s botanic gardens are a city centre oasis, with 70 acres of lush flora from all over the world.

But for art lovers, the main draw is Inverleith House, an 18th-century mansion hosting a consistently acclaimed programme of temporary exhibitions. This year marks the 30th anniversary of the gallery and to celebrate, it’s hosting I Still Believe in Miracles, which presents a retrospective of the space’s huge contribution to the city’s art scene over the last three decades and includes work by Louise Bourgeois, Isa Genzken and Nicolas Party.

■ Inverleith House, Royal Botanic Garden, Inverleith Row, 248 2971, Tue–Sun 10am–5.30pm, free, rbge.org.uk

LITTLE SPARTA Set in the rolling Pentland Hills just outside Edinburgh, Little Sparta represents renowned Scottish artist Ian Hamilton Finlay’s greatest work. Little Sparta comprises ten different gardens, each designed to evoke a different character and mood, and an astonishing 270 works by Finlay. The artist’s most familiar themes, such as the contradictory relationship between culture and nature, are particularly resonant in this dramatic setting.

■ Stonypath, Dunsyre, 07826 495677, until 30 Sep (Mon, Wed & Fri only), 2.30–5pm, £10, littlesparta.org.uk

FREE exhibitions & events 40+ exhibitions at venues across the city Historic surveys, leading international and Scottish artists & the best emerging talent A special programme of public commissions Children & family activities Art Late Daily events, talks and tours

The UK’s largest annual festival of visual art 28 July—28 August 2016 edinburghartfestival.com

Funders and supporters: Supported by the Scottish Government Edinburgh Festivals Expo Fund

@edartfest #edartfest Ad pages.idml 109

29/07/2016 16:01

THE LIST EVENTS

The List

EVENTS

Highlights from our packed festival events programme

EVENTS CALENDAR PHOTO: STEWART ATTWOOD

ART LATE 1 See preview left. Starts at National Museum of Scotland (pictured), 4 Aug, 5.45pm, £7.50 (£5), list.co.uk/artlate

ART LATE 2 See preview left. Starts at Edinburgh Sculpture Workshop, 11 Aug, 5.45pm, £7.50 (£5), list.co.uk/artlate

MUSEUM AFTER HOURS Melbourne Ska Orchestra, Voices of Soweto: Ubuntu and Noise Next Door take centre stage at the first After Hours event of the Fringe. National Museum of Scotland, 0300 123 6789, 12 Aug 2016, 7.30pm, £18 (£16).

EDINBURGH INTERNATIONAL BOOK FESTIVAL: KATE TEMPEST PHOTO: MICHAEL WOOD

Playwright-rapper-poet returns to the Book Festival with her new novel, The Bricks that Built the Houses. Charlotte Square Gardens, 0845 373 5888, 13 Aug, 8.15pm, £12 (£10).

ART LATE 3

ART LATE

Exploring Edinburgh’s arts scene by night

I

n a series of specially programmed openings and events, Edinburgh Art Festival will be catering to the city’s night-owls this year as Art Late takes audiences to an array of arts venues across Edinburgh for some late-night festival fun.

Curated by the experts here at The List, Art Late will feature a host of performers, live music, artist talks and tours of the city’s best venues at night, spread across four evenings in August.

The series kicks off on Thu 4 Aug at the National Museum of Scotland, where guests will be invited to explore the treasure trove of artefacts in the museum and wander through the galleries.

Visits to the Talbot Rice Gallery, Dovecot and The Number Shop will then follow, with the event finishing up at The List’s Festival Party at Summerhall, where you’ll be entertained by a variety of hand-picked performers, top Fringe acts and drinks courtesy of Russian Standard Vodka and Blue Moon Craft Beer. The exclusive event will continue until late, giving you the chance to fully take in everything the party has to offer.

But that's not your only chance to see art by night – there's three more Art Late events in August.

The next one's a week later on Thu 11 Aug. Starting at Edinburgh Sculpture Workshop, guests will be transported to Ciara Phillips’ ‘Every Woman’ Dazzle Ship at the Prince of Wales dock, Rhubaba, Inverleith House, Edinburgh Printmakers and Helen McCrorie’s The Clock in Commune exhibition at the Glasite Meeting House, before finally ending at the Leith Theatre to see awesome Edinburgh band Spook School (pictured).

Look out for more Art Lates on Thu 18 Aug (with music from Jonnie Common) and Thu 26 Aug (the Van T’s), but more on that later. (Arusa Qureshi) Art Late, 4, 11, 18, 26 Aug, £7.50 (£5), list.co.uk/artlate 110 THE LIST FESTIVAL 4–11 Aug 2016

The penultimate Art Late event concludes at the Scottish National Portrait Gallery with music by Jonnie Common. Starts at Fruitmarket Gallery, 18 Aug, 5.45pm, £7.50 (£5), list.co.uk/artlate

MUSEUM AFTER HOURS Expect extravagant cabaret and comedy performances at the second After Hours night, and watch this space for announcements. National Museum of Scotland, 0300 123 6789, 19 Aug, 7.30pm, £18 (£16).

ART LATE 4 The series finale takes guests to Modern Two, Castle Mill Works and Jupiter Artland, where the Van T’s will perform. Starts at Scottish National Gallery of Modern Art (Modern Two), 25 Aug, 5.45pm, £7.50 (£5), list.co.uk/artlate

MUSEUM AFTER HOURS The final chance to enjoy international Fringe acts set across three stages in the museum, with bars, street food and plenty of entertainment. National Museum of Scotland, 0300 123 6789, 26 Aug, 7.30pm, £18 (£16).

FESTIVAL INDEX

Festival INDEX 600 People 94 A Broad Abroad!

102 A Gala for Mental Health 10 A Series of Unfortunate Breakups 102 A Streetcar Named Desire 82, 94, 102 A Tale of Two Cities 82, 96, 102 Adam & Eve and Steve 102 Adler & Gibb 82, 99, 102 Ahir Shah 60 Alan Cumming 5 Ali Hassan 37 Amelia Ryan 36 Amir Khoshsokhan 60 Andy Askins 49 Animal (Are You a Proper Person?) 84 Apocalypse Cruise Ship Love Affair 102 Arielle Dundas 60 Art Late 110 Arthur Smith 43 Attrape Moi 62 Awesome Tapes from Africa 76 Bang! To The Heart 62, 64 Barry Humphries 73 Bedtime Stories 4, 68, 72 Billy Bragg 76 Billy Burr 36 Binari 11, 30 Bossy Love 75 Bridget Christie 60 Bubble Revolution 100 Bucket List 112 Bwani Junction 4, 74, 77 C U Next Tuesday Cabaret 74 Camille O’Sullivan 74 Cecilia Bartoli 4, 102 Chef 29 Chiffonade 70 Chris Cook 102 Christian Boltanski 108 Colin Cloud 10 Colourful Games 72 Comedians Film Club 60 Comedy Countdown 60 Cosmic Disco Nights 76 Daffodils (A Play with Songs) 82, 84 Damián Ortega 5, 104, 107 Daniel Simonsen 36 Daniel Sloss 43 Dan Jemmett 102 Daphne 5, 36, 53 David Mills 60 Deep Time 5, 19 Denton and Me 82, 96 Dirty White Boys 60 Doors to Manual 60 Doug Anthony All Stars 5, 14, 36 Douglas Walker 36, 56 Dram & Smoke 32 Driftwood 27 Dropped 102 Ed Gamble 60 Edinburgh in the Shadows 2 EIF Opening Concert 74 Elixir 27 Éowyn Emerald & Dancers 62, 64 Erin McGathy 60 ESKA 76 Etherwave 77

Eurobeat Expensive Shit Faslane Feel-Link Fern Brady Finding Joy Flit Future Perfect Gandini Juggling Garrett Millerick Geoff Norcott George Li Godspeed You! Black Emperor Grandaddy Greater Belfast Hari Ho Gati Meri Haroon Mirza Heads Up Helen McCrorie Hyena I Am Rhythm I Love Ursula Hamdress If There’s Not Dancing at the Revolution, I’m Not Coming In Fidelity In the Wine Inspiring Impressionism Iraq Out Loud Irons James Acaster James Meehan James Wilson-Taylor Jellyfish Jenna Watt Jennifer Bailey Joe’s NYC Bar Joe Sellman-Leava John Pendal John Tiffany Joli Vyann Jonnie Common Josie Long Just Let the Wind Untie My Perfumed Hair . . . or Who is Tahirih?

Karine Polwart Karmana Kate Tempest Katherine Ryan Kathryn Joseph Katy Brand Kieran Hodgson Kill the Beast Labels Late’n’Live Laure Prouvost Laurie Vincent Lewis Macleod Lewis Schaffer Life According to Saki Liz Miele Louis CK Lucy Porter Lynne Jassem Makin’ It Rain Mark Nelson Mark Thompson

Need help navigating your way around our Festival coverage? We’ve made a neat list of all the Festival shows covered in this issue right here. We’ll leave you to add your own highlighter pen notes or Biro scribbles around it, as you wish 43, 74 91 100, 102 62, 66 60 88 20 68, 70 27 60 60 74 4, 61, 62 76 82, 84 63 104, 107 4, 93 110 102 62, 63 100 64 5 62, 66 104, 107 10 93, 102 4, 12, 36 45 59 68, 72 102 104, 107 102 102 38 102 27 110 14

91, 102 102 78 110 60 74, 75 36, 37 60 60 102 60 108 10 49 60 102 60 4, 35, 36 43 48 81 60 5, 68, 69

Masud Milas 59 Matt Norris & the Moon 74, 75 Maureen Langan 60 Melbourne Ska Orchestra 78 Mermalade 68, 70 Michael Griffiths 74, 77 Michael Brunström 60 Michael Morpurgo’s King Arthur 68 Mike Ward 36, 55 monumental 4, 61, 62 Mule 82, 96 Museum After Hours 110 Nazeem Hussain 56 Nicholas Parsons 43 Nick Cody 59 Nick Cope 70 Nick Mohammed 55 Nicole Henriksen 81 Njambi McGrath 39 Norma 4, 102 Nothing Ever Happens Here 5, 74, 75 Nzinga Warrior Queen 91, 102 Ockham’s Razor 27 Olaf Falafel 60 Only Bones 5, 27 Paul Currie 60 Paul McMullan 49 People of the Eye 23, 102 Pete Firman 60 Phil Ellis 45 Phil Nichol 43 Poena 5X1 96, 102 Pop-up Duets 62, 64 Puddles Pity Party 43 Putting the Band Back Together 84, 102 Puzzle 67, 68 Rachel Sermanni 5, 74, 75 Racing Minds 36 Radio Active 60 Red 63 Richard Brown 60 Russell Howard 14 Rhythm Machine 76 Sacré Blue 102 Sam Simmons 43 Sam Wills 10 Sarah Kendall 14, 36, 55 Scary Shit 66 Shake 102 Shappi Khorsandi 60 Shazia Mirza 37 Shit-Faced Showtime 60 Siân Robinson Davies 104, 105 Silver Lining & Jackson’s Lane 27 Simon Munnery 14 Singsing Bathtub and Fernando, The Space Elephant 30 Skrimshanks 94, 102 SNAP 30 Sofie Hagen 5, 36, 46 Soulsville Especial 76 Spencer Jones 36, 50 Spook School 110 Stop the Train 99 Surreal Encounters 5, 103, 104 Susan Calman 60 Swansong 102

Swivelhead 82 Tago: Korean Drum II 30 Taiwan Season 66 Teatro Delusio 4, 88 Techno Glitter Penguins 81 The African Dream Musical 77 The Anchoress 74 The Castle Builder 84 The Convolution of Pip and Twig 102 The Destroyed Room 102 The Inevitable Heartbreak of Gavin Plimsole 99 The Final, Final Farewell Tour of Dick and Delores DelRubio 102 The Forest 102 The F Words 91 The Glass Menagerie 5, 102 The Marked 88 The MMORPG Show 56 The Pianist 27 The Princes’ Quest 82, 93 The Rooster 63 The Ruff Guide to Shakespeare 68, 72 The Stand Late Club 60 The Van T’s 110 The Vaudevillains 82, 94 This Glorious Monster 49 Thrones! The Musical!

60 Tim Crouch 102 Tom Ward 37 Tommy Tiernan 60 Tort e Mort 78 Two Kittens & A Kid 99 Two Man Show 102 Viv Groskop 56 WHITE 75 Will Duggan 45 Will Seaward 60 Willis Earl Beal 75 Wind Resistance 102 Withered Hand 75 Wonderman 102 Worst Show on the Fringe 60 Your Majesties 63

NEXT ISSUE

WED 10 AUG We’ll be packing in the reviews in our next issue, with over 100 shows rated across comedy, theatre, dance, kids and art, plus a look ahead at the Book Festival. Before that, there’ll be reviews online at list. co.uk/festival and you can follow us at @thelistmagazine and facebook.com/ thelistmagazine 4–11 Aug 2016 THE LIST FESTIVAL 111

BUCKET LIST

Comic

REVIEW During the Fringe, Graeme McNee will be drawing reviews in his inimitable comic book style. A freelance illustrator based in Japan, Graeme’s impressionistic art reveals the details of performance that can be missed by words. In his first instalment, here’s a preview of Bucket List.

Pleasance Dome, 556 6550, 6–29 Aug (not 16, 23), 3.50pm, £10.50–£13.50 (£9–£12.50). Previews 3–5 Aug, £6.50.

112 THE LIST FESTIVAL 4–11 Aug 2016

PLAY HARD PRESENTS

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