The List Issue 757 by List Publishing Ltd

CONTENTS 1 FEB–31 MAR 2020 | LIST.CO.UK

anuary's finally over and what a long, cold month it's been. If, like us, you too have been feeling those first-month blues, there's thankfully loads to look forward to across the coming months to help us escape that rut. Edinburgh will be buzzing with the arrival of Manipulate Festival (page 20) and so too will Glasgow when it welcomes back the annual Glasgow Film Festival (page 32) and Glasgow Comedy Festival (page 40). We dig into some highlights, including Ljubljana Puppet Theatre's Open the Owl (page 20), and also chat to Mark Cousins about his 14-hour epic Women Make Film (page 32), and comedian Jordan Brookes (page 42) about his Edinburgh Comedy Award-winning I've Got Nothing. Elsewhere, there's the Edinburgh International Improv Festival (page 23) and Glasgow's Aye Write! (page 57), as well as Femspectives (page 24) and the inaugural Paisley Book Festival (page 58). Plus there's some terrific music on the horizon, including the goddess that is Angel Olsen (page 26) and hip-hop legend DJ Shadow (page 78). With this issue, you'll also find your copy of the Guide to Scotland's Festivals, which gives you the lowdown on all the major events to look out for in 2020; and our Art & Design special, celebrating the fantastic year ahead in the visual art calendar. Next time, we'll be eagerly anticipating the summer months and all those brilliant festival line-up announcements that will inevitably begin to trickle out. But for now, enjoy the last of winter and the start of a new decade in the best possible way: with great theatre, film, music, comedy and lots more.

FRONT Realist

News

Wee Dub Festival

FEATURES Manipulate Festival

COVER STORY

SUPPORTED BY

THE GUIDE TO

SCOTLAND’S FESTIVALS 2020

1 FEB–31 MAR 2020 | ISSUE 757

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BOOKS

FAMILY

FOOD

ART

THEATRE DRINK

FILM

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MANIPULATE FESTIVAL PRESENTS A FEAST OF VISUAL THEATRE AND ANIMATED FILM

PLUS GLASGOW FILM FESTIVAL

ANGEL OLSEN

JORDAN BROOKES

WOMEN TAKE CENTRE STAGE IN FESTIVAL’S 16TH EDITION

SINGER-SONGWRITER TO CHARM GLASGOW ON VALENTINE’S DAY

AWARD-WINNING FUNNYMAN ADDRESSES HIS MENTAL HEALTH

MANIPULATE FESTIVAL Fans of puppetry, animation and visual theatre are in for a treat as Edinburgh once more hosts Manipulate Festival. A large number of acts from across Scotland and much further afield will warm the cockles during a long winter week. Our cover stars Slovenia's Ljubljana Puppet Theatre are joined by the likes of Scotland's Paper Doll Militia, England's Improbable Dolls, Canada's Festival Stop Motion, Slovakia's Katanari, and France's Collectif AÏE AÏE AÏE in a true assembly of international talent.

GLASGOW FILM FESTIVAL

GLASGOW COMEDY FESTIVAL

The metaphorical red carpet is laid out for another galaxy of top stars and movies. Among the surefire delights are new films Eternal Beauty (above), Our Ladies and How to Build a Girl, plus oldies such as Tank Girl, Brazil and Stalker.

Dark times keep unfolding around the globe, so it's time to find the funnies. Happily, Glasgow hosts a laugh riot with Jimmy Carr, Jordan Brookes, Janey Godley, Jamali Maddix and people whose forename doesn't start with a J eg. Catherine Bohart (above).

13 Win tickets to Science Lates: Sound & Screen at Glasgow Science Centre

13 Win a copy of 60 Years of Adelaide Fringe anniversary book

13 Win weekend camping tickets to Doune the Rabbit Hole festival

13 Win tickets to Edinburgh Science Festival at City Art Centre

32 40

FOOD & DRINK

Sugo Pasta

AROUND TOWN Edinburgh Wellbeing Festival

BOOKS

55 55

Aye Write!

Paisley Book Festival

Martin MacInnes

COMEDY Steve Martin & Martin Short

60 60

Stewart Lee

Sarah Keyworth

Queen & Slim

Parasite

Potrait of a Lady on Fire

Bacurau

KIDS

Scottish Chamber Orchestra

The Secret Garden

MUSIC

Kim Petras

DJ Shadow

Georgia

Caribou

The Lion King

Home is Not the Place

I Think We Are Alone

BalletBoyz

TELEVISION

Curb Your Enthusiasm / Avenue 5

Podcasts

Paula Rego

See page 35 for details

Leith Arches

VISUAL ART CANADA GOES GLASGOW

Jordan Brookes

THEATRE & DANCE

GREAT OFFERS

COVER: OPEN THE OWL BY LUTKOVNO GLEDALIŠČE LJUBLJANA / CENTRE DRAMATIQUE NATIONAL D’ALSACE. PHOTO: JAKA VARMUZ

INSIDE

GLASGOW & EDINBURGH EVENTS GUIDE

Mark Cousins

FILM

Editor

Oscar Marzaroli

FIRST & LAST David Baddiel

99 99 100

112 112

GRAPHIC CONTENT

CONTRIBUTORS PUBLISHING Editor Arusa Qureshi Subeditors Brian Donaldson, Paul McLean

What we’ve been talking about Valentine’s Day is looming over us and the Glasgow Film Festival will be pouring an array of cinematic delights into our hearts. You’d think that might be an excuse for us to talk about the best romantic movies ever made, wouldn’t you? And you’d be damn right

You’ve Got Mail. The charming Meg Ryan, the funny Tom Hanks, their chemistry and the second best proposal in history (first belongs to Mr Darcy, of course) make this love letter to New York a real romantic treasure.

Before Sunrise. A young Ethan Hawke (Jesse) meets a young Julie Delpy (Céline) on a train from Budapest and they share some of the most engaging dialogue in romantic cinema.

My favourite romantic movie is Zookeeper starring Kevin James and Rosario Dawson. I find it very inspirational how Griffin Keyes (James) dumps his mean ex-girlfriend Stephanie (Leslie Bibb) at the end to marry the kind vet Kate who was always in his corner (Dawson). Also the animals at the zoo can talk and are voiced by hilarious superstars (Adam Sandler, Sly Stallone, Cher). It grossed $169,852,759 worldwide.

I’d say my favourite is probably Eternal Sunshine of the Spotless Mind: a heart-wrenching storyline, Winslet in all her manicpixie-dream-girl glory (did I dye my hair all the colours of the rainbow after her? Heck yeah!) and an amazing soundtrack. I even have a tattoo dedicated to the film!

Paterson is such a simple yet powerful film, and his wife Laura’s belief in him and his poetry is just beautiful.

Is it a cliché to say Casablanca?

Designers Stuart Polson, Seonaid Rafferty Head of Development, Publishing Andy Carmichael Section Editors: Books Lynsey May, Comedy / Front / TV Brian Donaldson, Dance / Kids Kelly Apter, Film Reviews Emma Simmonds, Food & Drink Donald Reid, Music Arusa Qureshi, News Katharine Gemmell, Theatre Gareth K Vile, Visual Art Rachael Cloughton Advertising & Events: Head of Account Management: Jakob Van den Berg, Senior Events and Promotions Manager Rachel Cree, Senior Account Managers Ross Foley, Debbie Thomson Ad Ops Executive Victoria Parker, Events Development Executive Amy Clark Publishing Director Sheri Friers

DATA AND CONTENT SERVICES Content Manager Murray Robertson, Senior Content Producer Alex Johnston, Content Producers Deborah Chu, Megan Forsyth, Julia Kajdi, Sofia Matias, Affiliate Content Executive Becki Crossley, Business Development Manager: Data Claire Hutton, Head of Data Development Andy Bowles Data Developers Alan Miller, Stuart Moir Director Data and Content Brendan Miles

The Ghost and Mrs Muir is about a young widow being haunted by a grumpy dead sea captain: what’s not to love?

ILLUSTRATION: FREEPIK.COM

La La Land makes me greet every time at the end where you see what could have happened if they’d made different choices. I think that ‘what-if’ is really emotional as we’d all like to know what would have happened if we’d done things differently.

Senior Designer Lucy Munro

Over Christmas, in a particularly delirious festive state, I watched the Netflix holiday special A Christmas Prince, followed by A Christmas Prince: The Royal Wedding, and A Christmas Prince: The Royal Baby. Romance, royalty, Christmas . . . it’s a trilogy for the ages.

4 THE LIST 1 Feb–31 Mar 2020

My pick has got to be You’ve Got Mail, because not only do 90s Tom Hanks and Meg Ryan have UNBELIEVABLE love-hate chemistry, but New York is also displayed in its full glory, from the brusque grocery clerk who doesn’t know what a credit-card machine is, to the kooky staffers peddling children’s books at The Shop Around the Corner. Also, the part where Meg Ryan shuts her store for the last time and sees herself twirling with her mum makes me cry every single time. A film that can make the sound of dial-up tug at the heartstrings is truly a thing of wonder.

George Armitage’s 1997 comedy Grosse Pointe Blank. It’s the story a professional assassin called Martin (John Cusack) who returns to his hometown for his ten-year highschool reunion and reconnects with Debi (Minnie Driver), the girl he failed to take to prom night, and is now a sarcastic local DJ. It’s funny, it’s warm, it’s about second chances and it’s got a kickass shoot-out at the climax.

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Published by The List Ltd HEAD OFFICE: 14 High Street, Edinburgh EH1 1TE Tel: 0131 550 3050 editor@list.co.uk GLASGOW OFFICE: at the CCA, 350 Sauchiehall Street, Glasgow G2 3JD Tel: 0141 332 9929, glasgow@list.co.uk; list.co.uk ISSN: 0959 - 1915 © 2020 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. The List provides this content in good faith but no guarantee or representation is given that the content is accurate, complete or up-to-date. Use of magazine content is at your own risk. Printed by Acorn Web Offset Ltd, W.Yorkshire.

Find out what’s happening in Fife www.welcometofife.com/events

1 Feb–31 Mar 2020 THE LIST 5

The

REALIST PHOTO: CARLOS HERNAN

Y R A U R B E F

2 GLASGOW FILM FESTIVAL FILM

Another top-drawer GFF programme with strong female content including Proxima, How to Build a Girl and Our Ladies (pictured), the big-screen take on Alan Warner’s The Sopranos. See feature, page 32. Glasgow Film Theatre, Wed 26 Feb–Sun 8 Mar.

PHOTO: THOMAS SAMMUT

1 MANIPULATE THEATRE

Puppet Animation Scotland’s yearly celebration of visual theatre and animated film pulls more innovative strings with another excellent programme of events across two Edinburgh venues. Among the many highlights are Jordan & Skinner with A Brief History of the Fragile Male Ego and Delighters’ Cirqulation, plus top shows from Two Destination Language, Paper Doll Militia (pictured) and Visible Fictions. See feature, page 20. Summerhall and The Studio, Edinburgh, until Sat 8 Feb. 6 THE LIST 1 Feb–31 Mar 2020

3 PAISLEY BOOK FESTIVAL BOOKS

A ten-day literary feast is ahead for the good folks of Paisley as the likes of Jackie Kay, Dean Atta (pictured), Hollie McNish, Ever Dundas and Jenni Fagan talk books and ideas. See preview, page 58. Various venues, Paisley, Thu 20–Sat 29 Feb.

So much culture, so little time PHOTO: ALEX HARVEY-BROWN

4 EDINBURGH INTERNATIONAL IMPROV FESTIVAL

5 PORTRAIT OF A LADY ON FIRE

The second annual EdImprovFest adlibs its way through a long weekend, with a gala opening event headlined by those genial Showstopper! folks. See feature, page 23. Assembly Roxy and Scottish Storytelling Centre, Edinburgh, Thu 27 Feb–Sun 1 Mar.

Her nation’s reviewers might not be keen, but French director Céline Sciamma appears to be hitting all the right notes with her 18th century-set love story about a painter and her subject, starring Noémie Merlant and Adèle Haenel. See feature, page 28 and review, page 69. General release from Fri 28 Feb.

COMEDY

FILM

MUSIC

The Missouri-born indie-folk, popart singer-songwriter tours with her fourth album, All Mirrors, which, according to Official Charts figures, actually fared best in Scotland. A warm welcome is assured, then. See feature, page 26. Barrowland Ballroom, Glasgow, Fri 14 Feb.

PHOTO: CAMILLA WINTHER

PHOTO: NICOLE GUARINO

PHOTO: CAMERON MCCOOL

6 ANGEL OLSEN

DANCE 7 SCOTTISH THEATRE DANCE

Antigone, Interrupted has SDT’s artistic director Joan Clevillé in fine form with solo dancer/actor Solène Weinachter taking on Sophocles’ Greek tragedy and winning. See preview, page 95. Traverse Theatre, Edinburgh, Thu 20–Sat 22 Feb.

8 FEMSPECTIVES

9 NIXON IN CHINA

The Glasgow Feminist Film Festival provides a platform for storytelling and safe spaces for conversations. Among the movies are Sung-A Yoon’s Overseas about Filipinos training to be domestic workers. See feature, page 24. Civic House, Glasgow, Thu 20–Sun 23 Feb.

John Adams’ epic debut is given the Scottish Opera treatment with its story of the disgraced president bonding with Mao having a modern resonance. See feature, page 29. Theatre Royal, Glasgow, Tue 18, Thu 20, Sat 22 Feb; Festival Theatre, Edinburgh, Thu 27, Sat 29 Feb.

FILM

MUSIC

PHOTO: JAMIE MCFADYEN

10 THICK SKIN, ELASTIC HEART

CHOSEN BY PLAYWRIGHT KIERAN HURLEY

There’s always lots happening across Edinburgh and Glasgow so it’s hard to choose just one thing. There’s the tail end of Celtic Connections, I’m looking forward to the Glasgow Film Festival kicking off, and I’m really intrigued by an animated lecture about the amazing Nan Shepherd that’s happening at the Traverse. There’s script-inhand readings of the newest theatre writing on either end of the M8, with Stage to Page and Tandem Writing Collective. But I’d give a particular shout out to Thick Skin, Elastic Heart, a new play by Drew Taylor-Wilson who is a fantastic artist and top gadgie. It’s co-produced by spoken-word stalwarts Sonnet Youth with support slots from some genuinely excellent poets, which is a pretty cool and exciting way of billing a theatre show I think. Mouthpiece, Traverse Theatre, Edinburgh, Thu 6–Sat 15 Feb; Thick Skin, Elastic Heart, The Old Hairdressers, Glasgow, Tue 4– Thu 6 Feb; Perth Theatre, Fri 7 Feb; Macrobert, Stirling, Sat 8 Feb. 1 Feb–31 Mar 2020 THE LIST 7

H C R MA

COMEDY 1 GLASGOW FESTIVAL COMEDY

The largest gathering of international, national and local comedians outside of August makes yet another mark upon Scotland’s cultural landscape. Big names such as Steve Martin, Martin Short, Arabella Weir, Trevor Noah, Stewart Lee, Janey Godley, Jimmy Carr and Frankie Boyle jostle up against the next generation of legends: funny folk like Alex Edelman (pictured), Alice Fraser, Jamali Maddix, Catherine Bohart and Desiree Burch. See feature, page 40, and previews, page 60. Various venues, Glasgow, Thu 12–Sun 29 Mar.

PHOTO: COURTESY OF THE ARTIST

2 BALLETBOYZ

3 HARDEEP PANDHAL

William Trevitt and Michael Nunn have long been riding a wave of critical and audience acclaim and it doesn’t look like stopping any time soon. Deluxe offers their followers a distinct double bill of the organic and otherworldly against the dynamic and gritty. See preview, page 95. Theatre Royal, Glasgow, Sun 1 Mar; Festival Theatre, Edinburgh, Sun 8 Mar.

In Confessions of a Thug: Pakiveli, the Glasgow-based Pandhal is set to fill the nation’s largest exhibition space with film, sculpture, drawing and rap (courtesy of his alter ego Pakiveli) in order to explore race, identity and definitions of ‘thug’. See preview, page 100. Tramway, Glasgow, until Sun 22 Mar.

DANCE

8 THE LIST 1 Feb–31 Mar 2020

VISUAL ART

The

REALIST PHOTO: LAURENCE WINRAM

PHOTO: JOSEPH CONNOR

4 AYE WRITE!

5 GEORGIA

6 MAIM

Glasgow’s annual lit fest rolls out the welcome mat to another diverse collection of bookish talent. Bernardine Evaristo (pictured), Maggie O’Farrell, Kathleen Jamie and Christos Tsiolkas are among those gracing the city. See preview, page 57. Mitchell Library, Glasgow, Thu 12–Sun 29 Mar.

Hailing from a strong musical background (her dad was in Leftfield), Georgia Barnes’ career is going all the way to the top, with her second album Seeking Thrills delivering and then some. See feature, page 81. King Tut’s Wah Wah Hut, Glasgow, Wed 4 Mar.

Gaelic theatre company Theatre Gu Leòr have collaborated with activist group Ceòlas to develop this examination of the relationship between language and landscape, and their seemingly permanent decline. See preview, page 92. Tron Theatre, Glasgow, Fri 6–Sat 14 Mar.

7 OZARK

8 THE LION KING

9 MILITARY WIVES

For those who love a stressful time in their TV viewing, the fate of the Byrde family should keep you gripping hard onto the upholstery. Laura Linney and Jason Bateman return for a third series of their tense yet oddly beautiful drama. See preview, page 97. Netflix, Fri 27 Mar.

The circle of life just keeps on going round and round as Julie Taymor’s epic musical continues to charm and amaze Playhouse audiences. It may be roaring its way through to mid-April, but book now to avoid disappointment, as they say. See review, page 91. Edinburgh Playhouse, until Sat 18 Apr.

From Peter ‘Full Monty’ Cattaneo comes another feelgood comedy-drama, this time featuring an allfemale choir rather than an all-male strip troupe. Kristin Scott Thomas and Sharon Horgan star as choir leaders with divergent approaches. See review, page 69. General release from Fri 6 Mar.

BOOKS

MUSIC

THEATRE

FILM

PHOTO: DEEN VAN MEER

10 JON HOPKINS

CHOSEN BY AUTHOR DOUG JOHNSTONE

I first discovered Jon Hopkins on Diamond Mine, his 2011 collaborative album with Fife’s King Creosote. At that stage Hopkins was best known as a producer and studio experimentalist, and he brought a symbiotic electronica wash to KC’s folk genius. I delved deeper and found hard-edged dance music with a leftfield twist, movie soundtrack albums, ambient folk, and more besides. His Grammy-nominated 2018 album Singularity combines it all and is one of my albums of the decade. I have no idea what to expect from this Polarity tour, where he says he aims to bring together ‘the two disparate elements of harsh and fragile in my music’. All I know is that it’s at the Usher Hall and will feature live musicians and a grand piano. Whatever, I’m expecting my mind to be blown. Doug Johnstone: A Dark Matter is out now published by Orenda Books; Fun Lovin’ Crime Writers, Paisley Arts Centre, Sat 29 Feb; Jon Hopkins, Usher Hall, Edinburgh, Wed 4 Mar. 1 Feb–31 Mar 2020 THE LIST 9

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ELECTRIC DREAMS

Three-day creative industries conference and five-day virtual reality programme debuts at Australia’s largest arts festival in 2020

10 THE LIST 1 Feb–31 Mar 2020

The Adelaide Fringe returns this February with another cracking programme of theatre, comedy and more, taking over the city for 31 days and nights for its 60th birthday edition. As Australia’s biggest open access arts festival, the Adelaide Fringe promises a diverse and varied range of performances from around the world, with forward-thinking concepts and innovative ideas always at the forefront. With this in mind, this year’s festival sees a brand new addition to the programme in the form of Electric Dreams, a three-day creative industries conference (Wed 19–Fri 21 Feb) looking at how technology is changing the arts world, and a five-day virtual reality programme and immersive storytelling showcase (Wed 19–Sun 23 Feb). At its heart, Electric Dreams poses the question of how we can all benefit from the creative and commercial opportunities of immersive media.

Looking at how technology is transforming society, the conference brings together leading figures in art, games, films and entertainment to explore how creative changes can shape and design tomorrow’s world and connect with audiences in new ways. ‘Electric Dreams is a rare opportunity for us all to directly experience how technology is rapidly changing and growing the way we engage with and create art.’ Adelaide Fringe Director and CEO Heather Croall says. ‘Electric Dreams is a chance for creative practitioners to see how digital developments could be applied to their work, and for the wider public to see mind-blowing work from some of the world’s most innovative immersive storytellers.’ Addressing trends in gaming, VR and AR, the programme will look at how these technologies are impacting theatre works, screen productions and

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other art forms. Highlights include Monkeystack and Yellaka’s Yabarra: Dreaming in Light, an immersive work that uses projections, light and sound to allow you to walk into an Aboriginal Dreamtime story. Elsewhere, Industrial Light and Magic will show how the world of Star Wars is being brought to life using immersive technologies; Weta Gameshop, the Oscarwinning team behind Lord of the Rings, will survey how the future of games is playing against life-size 3D characters in your own living room; and The Royal Shakespeare Company, who have been collaborating with Andy Serkis’s The Imaginarium, will demonstrate their pioneering use of motion capture in live theatre. The Minister for Innovation and Skills David Pisoni, a major supporter of delivering Electric Dreams, said: ‘Emerging and immersive technologies are offering innovative ways for creative minds to connect with new audiences and we are thrilled to have the mix of

innovators, entrepreneurs, technology creators and digital pioneers here at Lot Fourteen for the Electric Dreams conference. It’s a great opportunity for South Australians to come together with the delegates and spark new collaborations into the future.’ If you’re looking to connect with the wider creative community while also finding ways to be inspired to formulate your own visions for the future, this is the event for you. Electric Dreams ultimately provides an opportunity for everyone – from artists and technologists to performers and curators – to keep on top of the creative and commercial opportunities of emerging technologies, encouraging conversation, debate and interaction along the way. n The virtual reality experiences are scheduled to run from Wed 19–Sun 23 Feb during Adelaide Fringe 2020 (Fri 14 Feb–Sun 15 Mar). For more information about Electric Dreams, visit adelaidefringe.com.au. 1 Feb–31 Mar 2020 THE LIST 11

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DIAMOND As the Adelaide Fringe prepares to welcome in its diamond anniversary year, 2020’s signature event Yabarra: Dreaming in Light promises to be a key feature of the celebrations

12 THE LIST 1 Feb–31 Mar 2020

Commissioned as part of the 2019 Adelaide Fringe, immersive First Nations storytelling experience Yabarra: Gathering of Light was a major highlight of the festival, placing emphasis on the commitment to increase Aboriginal participation in the Fringe. The co-production by Yellaka and Illuminart involved largescale light and sound artworks along the Karrawirra Parri (River Torrens), with audiences invited to experience free audio and visual artworks that shared Kaurna stories. The display attracted thousands of attendees over its 31-night run and went on to win two awards at the prestigious Australian Event Awards, a major achievement for indigenous arts in the country. ‘Yabarra winning these awards is an exceptional achievement for the creative team involved and is a great acknowledgement of Aboriginal participation in the arts,’ Adelaide Fringe CEO and Creative Director Heather Croall says of the win. ‘Aboriginal participation in the arts is strongly encouraged at every level of Fringe, as an artist or in the administration. It is vital to us that there are opportunities available to every Aboriginal Australian.’ With the resounding success of Yabarra: Gathering of Light and the Adelaide Fringe’s 60th anniversary in mind, this year’s festival will play host to another unique signature project in the form of Yabarra:

Dreaming in Light. This new iteration is being created by South Australia’s award-winning digital creators Monkeystack and will move indoors to Tandanya National Aboriginal Cultural Centre where an immersive dreamtime experience will be created, telling the story of Tjirbruke, an important creation ancestor of the Kaurna people. ‘At Adelaide Fringe, we see First Nations participation as vital to the arts,’ Croall says. ‘I’m so proud of our organisation’s signature project for 2020, Yabarra: Dreaming in Light, which speaks to this core value. Thanks to the support of the State Government of South Australia we have also given out $100,000 in grants to support the voices of First Nation artists to present works at the 60th anniversary of Adelaide Fringe.’ Working in collaboration with Kaurna Senior Custodian, Karl Telfer, Yabarra: Dreaming in Light will engage, immerse and educate audiences through cutting edge light technologies and state-of-the-art illumination. With daily opening hours running from 10am to 10pm, all generations and communities are invited to come together and share in this extraordinary free experience. n Yabarra: Dreaming in Light, Tandanya National Aboriginal Cultural Institute, Fri 14 Feb–Sun 15 Mar. Find out more at adelaidefringe.com.au

READER OFFERS WIN TICKETS TO SCIENCE LATES: SOUND & SCREEN AT GLASGOW SCIENCE CENTRE

The List are teaming up with Glasgow Science Centre to offer readers the chance to win a golden ticket for you and three friends to attend their Science Lates: Sound & Screen. How would you like to win a red carpet night out with a difference? Sound & Screen is a great one-of-a-kind night out with friends, where you can sip on a sophisticated cocktail while enjoying everything Glasgow Science Centre has to offer, with a fun, audiovisual twist! In front of the camera or behind the scenes, there is sure to be something that draws you in as we discover how special effects and sounds are made. To be in with a chance of winning, simply log onto list.co.uk/offers and tell us:

What colour of carpet will be rolled out at Science Lates: Sound and Screen? Science Lates: Sound & Screen Fri 21 Feb | 6pm Glasgow Science Centre 50 Pacific Quay Glasgow G51 1EA

glasgowscienccentre.org

WIN WEEKEND CAMPING TICKETS TO DOUNE THE RABBIT HOLE FESTIVAL 2020

The List are teaming up with Doune the Rabbit Hole to offer readers the chance to win a pair of weekend camping tickets to their 2020 festival as it returns to Cardross Estate near the beautiful Lake of Menteith from Fri 17 – Sun 19 July. The first wave of acts on this year’s line-up was recently announced and includes Brit Award winners Belle & Sebastian, Motown legends Martha Reeves & The Vandellas, Peat & Diesel (winners of ‘Best Live Act’ at 2019 Scots Trad Music Awards) and many more! You can find the full line-up for Doune the Rabbit Hole on their website. There is also a wide array of tasty treats and beverages on offer – from craft ales and ciders to delicious local food including vegan and vegetarian options.

Adam’s dad has 3 kids: Stop, Drop and ________ Doune the Rabbit Hole Festival Fri 17 – Sun 19 July Cardross Estate Port of Menteith Stirlingshire FK8 3JY

dounetherabbithole.co.uk

TERMS & CONDITIONS: Competition closes Sun 16 Feb 2020. Entrants to the competition must be aged 18 years and over. Science Lates is strictly for ages 18 and over. The prize is not transferable and has no cash value. The List’s usual rules apply.

TERMS & CONDITIONS: Competition closes Sun 1 Mar 2020. No cash alternative. The List’s usual rules apply.

WIN TICKETS TO EDINBURGH SCIENCE FESTIVAL AT CITY ART CENTRE

WIN A COPY OF 60 YEARS OF ADELAIDE FRINGE ANNIVERSARY BOOK

The List are teaming up with Edinburgh Science to offer readers the chance to win a family ticket to this year’s Edinburgh Science Festival. During the Edinburgh Science Festival, City Art Centre is transformed into a science playground packed full of workshops, shows and interactive events between Sat 4 to Sun 19 Apr. Scrub up and save lives in ER Surgery, programme a dancing robot in Creative Coding or learn about animal conservation in Wild Vets. Suitable for children up to 12 years old. To be in with a chance of winning, simply log onto list.co.uk/offers and tell us:

What are the dates of Edinburgh Science Festival 2020? Edinburgh Science Festival Sat 4 – Sun 19 Apr Various venues around Edinburgh

sciencefestival.co.uk TERMS & CONDITIONS: Competition closes Sun 27 Mar 2020. Suitable for children up to 12 years old. Event does not run on Sun 5, 12 and 19 Apr. Children must be accompanied by an adult and lone adults cannot be admitted to City Art Centre during the Science Festival. Family passes up to a maximum of five tickets. The List’s usual rules apply.

The List are teaming up with the Adelaide Fringe to offer readers the chance to win a copy of their 60th Anniversary Book. The sister of the Edinburgh Festival Fringe, the Adelaide Fringe, celebrates their Diamond Anniversary in 2020, and to commemorate, they are giving away a copy of their limited edition book 60 Years of Adelaide Fringe. Reminisce over the history of the Aussie Fringe, with anecdotes from Fringe goers and performers alike dating back to 1960 when the festival first began. To be in with a chance of winning, simply log onto list.co.uk/offers and tell us:

In what year was the first Adelaide Fringe? Adelaide Fringe Fri 14 Feb – Sun 15 Mar Various venues around Adelaide

adelaidefringe.com.au TERMS & CONDITIONS: Competition closes Sun 1 Mar 2020. The List’s usual rules apply.

1 Feb–31 Mar 2020 THE LIST 13

NEWS

FOR MORE NEWS GO TO

LIST.CO.UK /NEWS

Announcements, line-ups and opinion HEAR HEAR The Edinburgh Festival of Sound returns to Teviot Row House (Fri 21 & Sat 22 Feb), with its second-ever weekender that is ‘part interactive sonic playground and part professional forum’. Friday will include the North AudioTEK conference which will focus on panels and workshops for early careerists and bedroom producers, covering topics like 3D audio, synthesising audio with graphics, and new programming languages. Saturday is for hobbyists, families and the general public to play with music installations and discover the mechanics of noise.

LIGHT UP YOUR LIFE

Edinburgh Festival of Sound

The Hebridean Dark Skies Festival is back for its second year as part of a new annual programme of events at An Lanntair in Stornoway and across the Isle of Lewis (Fri 7–Sat 22 Feb). The ambitious series combines arts, culture and astronomical delights to celebrate the home of some of the UK’s darkest and most dramatic skies. Highlights of the 2020 programme include OPTICKS, a live event by media artist Daniela de Paulis, The Only Light Was Stars by Karine Polwart, Universe (of Music) with Chris Lintott and Steve Pretty, and an interactive dining experience with astrophysicist Roberto Trotta.

CELEBRATE LEITH LeithLate has launched a new season of events dubbed Leith100, to celebrate the centenary of the area officially joining the City of Edinburgh. The season, which began in January, brings Leith’s unique and independent spirit to the forefront through art and cultural events. Enjoy a tour of street art on the Mural Tour (Sun 2 Feb); a Sunday matinee screening of 1988 documentary Leithers at Leith Theatre (Sun 2 Feb); an outdoor projection event that animates Leith’s History Mural on the corner of Ferry Road and North Junction Street (Sat 8 Feb); and a pop-up exhibition which delves into the mural’s making.

DJ PROSPECT EYES TALENT Leith 100

Scotland’s own DJ Prospect is going on the hunt for fresh music talent with Apple Music’s Charlie Sloth. The Edinburgh DJ has been appointed head of A&R at Grimey Limey, Sloth’s label partnership with Warner Records ADA and Downtown Music Publishing. Growing up on the Scottish club scene, the DJ has always been a champion for Scottish artists and now he wants to discover more as part of his new role. DJ Prospect said: ‘The scene as a whole in the UK is a hot topic globally, and of course my eyes will always be on Scottish talent.’ Watch this space.

MAPPING SCOTLAND’S MUSIC

DJ Prospect and Charlie Sloth

A founding member of Glasvegas will lead research for the University of Glasgow, in partnership with the Scottish Music Industry Association, to find out how much the industry contributes to Scotland’s economy. PhD student and the band’s guitarist, Robert Allan, will work with Dr Matt Brennan over the next three years on the project called Mapping and Measuring the Scottish Music Industry. It hopes to produce a ‘robust map’ of Scotland’s music industries and highlight the current lack of Scottish-specific data. 1 Feb–31 Mar 2020 THE LIST 15

NEWS A new dawn Katharine Gemmell takes a look at what’s in store as Edinburgh’s Fruitmarket Gallery gets set to reopen this summer after a multi-million pound redevelopment

COMING UP

PHOTO: GAUTIER DEBLONDE

SPECTRA: ABERDEEN’S FESTIVAL OF LIGHT Brightening up the dark winter nights, public light artworks will animate spaces across Aberdeen city centre at this four-day festival. This year’s festival celebrates Aberdeen’s rich coastline and waters in recognition of the national Year of Coasts and Waters. Various venues, Aberdeen, Thu 13–Sun 16 Feb, spectraaberdeen.com

he Fruitmarket Gallery in Edinburgh has been closed since September last year while major refurbishment and expansion works took place as part of a £3.75m development project. But the contemporary art gallery has announced it’s set to reopen this summer with an ambitious programme to celebrate its rebirth. As part of the redevelopment, the gallery on Market Street has taken over the former fruit and vegetable warehouse next door, most recently home to the nightclub Electric Circus. This new space is intended to be used for ‘active cultural use, as an expansive, inspirational space where artists can make new work in and for the Fruitmarket Gallery, creating a regular programme of Fruitmarket Gallery commissions curated in-house.’ Expected to open in August, this new space will allow the gallery to provide a year-round multiartform programme. ‘This project has opportunities for artists and audiences at its heart,’ says Fruitmarket Gallery director Fiona Bradley. ‘It delivers an inspirational new space for creative, collaborative working and renovates the Fruitmarket’s existing spaces, ensuring that we can continue to operate at the forefront of contemporary culture for decades.’ To celebrate the gallery’s new vision, Glasgowbased Turner Prize-nominated artist Karla Black will present a major exhibition for the inaugural programme across the existing galleries and the new warehouse space. While this is the first time the Fruitmarket has worked with the artist on home soil, though the gallery did curate Black’s solo presentation for Scotland in Venice at the 54th International Biennale in 2011. 16 THE LIST 1 Feb–31 Mar 2020

The exhibition will include two major new commissions as well as existing work that explores the range of Black’s practice, from both public and private collections. ‘This is an exciting year for us with our refreshed and renovated existing building, and as we work towards opening an inspirational new space for creative, collaborative working’ says Bradley. ‘And we can’t wait to work with Karla Black.’ Elsewhere in the programme, the gallery has commissioned artist-poet Rhona Warwick Paterson and dancer-choreographer Eve Mutso for Beginning a line beginning a building. This will consist of a live archive of transition, using poem, drawing, dance, film and performance to respond to the gallery’s evolution. Poets Janette Ayachi, Callie Gardner, Jane Goldman, Iain Morrison and Tom Pow have all been invited to work on a guided process of writing to record this change. The gallery will also revive Janet Cardiff and George Bures Miller’s acclaimed Night Walk for Edinburgh, originally staged at the 2019 Edinburgh International Festival. This immersive experience takes place from 16 November until 31 January and will be a free event. Bradley adds: ‘As we work towards the reopening of the Fruitmarket, we are using poetry, drawing, dance, film and performance to reflect on the spaces of the gallery from the beginning of the development through the refurbishment, marking the transition into the new and renewed spaces.’ For updates on the gallery reopening and future events, see fruitmarket.co.uk

DUNDEE WOMEN’S FESTIVAL This annual festival features two weeks of events, dramas, discussions and workshops to celebrate International Women’s Day. The theme for 2020 is ‘Women Making Waves’ and the programme of events aims to encourage women to keep informed, stay confident and make a difference. Various venues, Dundee, Sat 29 Feb–Sat 14 Mar, dundeewomensfestival. org.uk STANZA: SCOTLAND’S POETRY FESTIVAL The cleverly titled StAnza is a literary festival that focuses firmly on verse. Joining the locals in St Andrews for readings, performances, slams, open mics, jazz, films, workshops and poetry-related art exhibitions and installations are a host of Scottish and international wordsmiths. Various venues, St Andrews, Wed 4–Sun 8 Mar, stanzapoetry.org PUPPET ANIMATION FESTIVAL The UK’s largest and longest established annual performing arts event for children pulls some strings to present a feast of puppet-based entertainment for all age groups, working with local authorities, organisations and venues all over Scotland. Various venues, Scotland, Sat 28 Mar–Sat 18 Apr, puppetanimationfestival.org

20-27 February 2020

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We speak to some poets appearing at this year’s StAnza about poetry and activism, the climate emergency and the power of poetry to stimulate change With their innate ability to observe and scrutinise the world around us, poets are well-versed in holding a mirror up to society, responding accordingly to key issues in their own works. As we veer further into the climate crisis, writers are increasingly using their poetry and prose to draw attention to the ecological crisis, helping others engage with the threat of climate breakdown and how it’s reshaping our very existence. Continuing to bring together internationally celebrated poets and emerging performers, Scotland’s international poetry festival StAnza (Wed 4–Sun 8 Mar) offers the perfect forum to raise awareness and understanding of this global threat through its many events, installations and exhibitions. With ‘Coast Lines’ being one of this year’s main themes, we caught up with a handful of poets taking part in the festival to find out how they’re influenced by our coasts, seas and rivers and to get their thoughts on the connection between climate activism and poetry. On taking part in StAnza 2020 and why it remains such a vital festival in the Scottish cultural calendar Suzannah V. Evans: I’m delighted to be part of StAnza this year. The international nature of the festival is a cause for celebration – it builds bridges between people, cultures and languages at a time when, politically, it can feel like these connections are being lost. Jim Crumley: StAnza is a shining light that reflects great credit on St Andrews and Scotland. It’s an honour to be involved, particularly with the emphasis on climate change in this year’s festival. On poetry’s enduring power within society, both for poets and readers Suzannah V. Evans: I think poetry, like other kinds of literature, helps to build empathy: it 18 THE LIST 1 Feb–31 Mar 2020w

immerses us in lives, stories and words which are not our own. For poets themselves, I think poems can act as talismans, protective spells that can be learned by heart and carried around always. Alex Finlay: Poetry and art can seek to represent experiences which culture obscures and, in doing so, offer the complexity of experience. The poem depends on and extends the different meanings that words contain, which is a characteristic that suggests generalised opinions flatten reality. Nancy Campbell: The present state of the world shows that we urgently need to imagine a new way of being, and while poets can’t directly make policy, they can certainly be part of a drive to imagine – and communicate – better or alternative futures. On whether poetry and climate activism can go hand in hand Suzannah V. Evans: Poetry can play an important role in articulating this grief, in reaching outside the facts and figures to a more human, felt understanding of the crisis. Matthew Caley: Poetry affects people at a micro-level – profoundly sometimes. As Kafka said, art should ‘take an axe to the frozen sea within us’. I guess we should try to do that whilst keeping the polar ice-caps frozen. There’s many ways to put your shoulder to the wheel. On interpreting StAnza’s theme of ‘Coast Lines’ in their own works Alex Finlay: I’ve written three books on renewable energy and culture and one of these, minnmouth, is a mapping of the sea and coast, exploring the meanings of place-names which describe skerries, tides, bays and mouths. I found that the names were a way to reveal and test whether the knowledge of the past that

the names contain can be useful in adapting to marine renewables. Jim Crumley: Coastlines have coursed through my work for more than thirty years. Whatever the nature of the landscape, the place where the edge of the land and the edge of the sea meet is incredibly fertile for a nature writer. And right now it is the front line of the climate crisis. Nancy Campbell: I’m keen to document how coastlines are changing, and explore how this affects the communities living beside them. Writing these stories has taken me from living with hunters who work the shifting sea ice of Greenland’s north-west coast in my book Disko Bay to a new book, Beachcombers, based on my childhood in Berwickshire. On general hopes for the wider poetry scene in terms of action and resolution as we move further into the climate emergency Matthew Caley: Any poetry festival – even one as good and engaged as StAnza – can only do so much; provide a space for the imagination to roam across these subjects and issues. StAnza has a beautiful, rugged coast on its doorstep, a good deal of environmental research being pursued at the University of St Andrews to draw on and a long, poetic tradition that includes politics. So it’s well-placed to bring the science and art together in unusual and stimulating ways. Jim Crumley: I’m not sure action and resolution of the climate emergency is the job of poetry and literary festivals. But what they can do, and should do, is provide a platform and a mouthpiece where poets can articulate nature’s case, and hopefully do it better than politics, using original and creative language that can persuade people to stop and think about what is happening. That is the poet’s job. ■ StAnza: Scotland’s International Poetry Festival, St Andrews, Wed 4–Sun 8 Mar.

poetry that imagines alternative futures

Top: Matthew Caley, (credit: Iris Hobson-Mazur), Alex Finlay (credit: Tom Mannion) Middle: Suzannah V. Evans / Bottom: Nancy Campbell (credit: Annie Schlechter), Jim Crumley

BIG PICTURE

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WEE DUB FESTIVAL Back in 2011, the Wee Dub Festival was just that, with a single event at Edinburgh’s Studio 24. The festival is much less wee now, with dancehall, roots and grime all represented over a long weekend of gigs and club nights in the capital’s Old Town and Leith, while there’s also space for workshops, a film screening and record stall. Among the acts showing up for this tenth annual extravaganza are Messenger Soundsystem, Dutchie, Channel One, Kibir La-Amlak, Vixen Sound, Charlie P, Skillis and North Fire Sound. ■ Various venues, Edinburgh, Thu 13–Sat 15 Mar.

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MANIPULATE

PHOTO: JAKA VARMUZ

Ljubljana Puppet Theatre’s Open the Owl

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MANIPULATE

NO LI MI TS The latest season of visual theatre festival Manipulate promises another brilliant international roll call of boundary-blurring productions. Lorna Irvine caught up with the creatives behind two of the festival’s major shows to find out what audiences can expect

ow entering its 13th edition, Manipulate has, as ever, a superb line-up of circus, physical theatre, puppetry, cabaret and animation, from international artists to local companies. The festival has relocated this year from the Traverse Theatre to Summerhall and The Studio at Edinburgh’s Festival Theatre. But the focus is still on breathtaking work across various disciplines, all with an iconoclastic approach, featuring a line-up of companies including Collectif AÏE AÏE AÏE from France, Pearly Oyster, Oceanallover, Paper Doll Militia plus new work from dancer-choreographer Katie Armstrong. Formed in 2011, wildly ambitious Ljubljana Puppet Theatre from Slovenia will bring a singular, audacious take on the Faust tale to Manipulate with Open the Owl. As their general manager Uros Korencan explains: ‘We see the production as a special homage to 100 years of puppetry development in our territory. It is a mixture of historical references and contemporary approach.’ Korencan says the piece is unconventional as the audience is not seated. ‘In this sense, the show is reminiscent of gallery performance art. It also has unconventional dramaturgy – the stage transforms and forces the audience to move. In this way, we engage the audience more and they will have different readings of the performance, depending on the position of the viewer.’ Collaboration is another vital component of the company’s discipline. ‘Our theatre is eager to collaborate with artists that cross borders of genre, because we would like to be a part of the development of contemporary theatre that uses puppets, objects and other performance registers,’ says Korencan. ‘The best of our productions go through a collaborative process – I believe that if the complete creative and artistic team [together with actors] develop the creation together, we get the best results.’ Two Destination Language, the Scots-Bulgarian company based in the UK, make unique work which is immediate, playful and thought-provoking. Their new piece, Fault Lines is an immersive experience, as co-artistic director Katherina Radeva explains. ‘Fault Lines foregrounds the bodies, stories and histories of a group of women who come from different walks of life and backgrounds. It takes the form of a fashion show, but in true Two Destination Language style, stuff starts

lopsided, falls apart, and then of course, it gets rebuilt again. ‘But this time round, we get to rebuild it with a new focus in mind – focusing on celebrating the differences between us and remapping the landscape around us,’ she says. ‘It’s a very fun show, with great music and so much energy. It is ultimately about identity and belonging, and it stems from a long interest of how cultures interact. Each audience member gets to choose between soundtracks throughout, so there are any number of possible journeys, and that feels right in a piece that’s focused on the individual experience.’ As Radeva is also a visual artist, crossing genres is a vital component, with art, music and cinema providing influences. ‘The kind of work we make is about discovering little fragments all over the place, and putting them together into something new – and we never want the influences to be from just one art form. We aren’t even going to get started on music, because it’s such a big part of the audience experience in the show!’ As Ljubljana Puppet Theatre and Two Destination Language prove, expectations around the limitations of form within puppetry and physical theatre productions are constantly shifting, as work becomes increasingly sophisticated and forward-thinking, taking on political and societal issues while providing entertainment that works on numerous levels. This year’s festival also features some exciting workshops – Nataly Leboulex on animation, and puppeteer Gavin Glover for those looking to learn more about work processes with puppets – while Tashi Gore will lead Liz Lerman’s Critical Response Process, a method for giving and getting feedback on a work in progress. The event will focus on After Metamorphosis, a new take on the Kafka tale created by Lewis Sherlock and Ali Maloney. Effortlessly blurring creative boundaries and revitalising the post-festive season slump with its inventive and exciting programme, this 13th edition looks set to be a lucky one for Manipulate. Manipulate Festival, Summerhall and The Studio, Edinburgh, Thu 31 Jan–Sat 8 Feb. 1 Feb–31 Mar 2020 THE LIST 21

MANIPULATE

DAR E TO BE D IF F E R E N T Manipulate’s artistic director Simon Hart talks to Anahit Behrooz about the ethos behind the festival and selects some highlights to look out for in its latest edition

22 THE LIST 1 Feb–31 Mar 2020

PHOTO: FIONA OLIVER LARKIN

anipulate – Scotland’s only festival dedicated to visual theatre, puppetry, and animation – is back and ready to break the moulds of traditional theatre once more. Now in its 13th year, Puppet Animation Scotland’s annual festival continues to subvert and diversify the ways in which stories are told with a programme that is bigger, richer and more innovative than ever. From haunting, eerie circus feats in Dreams of Small Gods to adventures on the high seas of shadow puppetry in Twa Pirate Quines, Manipulate’s 2020 line-up is thrillingly varied. What unites each work, however, is their emphasis on pushing the boundaries of performance and expression. Whether it be through puppetry, animation, dance or aerial and circus work, the narrative of each piece is driven primarily by visual means, eschewing the text-based framework of conventional theatre for something more immediate, ambiguous and daring. ‘It becomes about the materiality of traditional theatrical themes,’ explains Simon Hart, Manipulate’s artistic director. Scanning the programme, he stops at Mina, an experimental reworking of animated film Paper Thin by theatre company Improbable Dolls, which combines film, animation and physical theatre to explore the trauma of conversion therapy. ‘There’s a lot going on visually to absorb,’ Hart considers. ‘You have this main character, you have this film, this dance – it informs the narrative in a more elliptical way. I think that’s where the centre of live performance is increasingly.’ Another piece, After Chekhov by French theatre company Samolet, takes Chekhov’s Three Sisters as a starting point rather than as source text, drawing out themes of lost love, home, yearning for a better life and trying to express them purely through visual and physical language. ‘With puppets and with objects,’ Hart laughs. ‘That’s the sort of work I’m looking for.’ This ability to translate text-based theatrical themes and concerns into a new, visual medium does not limit Manipulate’s offerings – on the contrary, it extends their creative possibility. Rather than the familiar framework of scripts,

Top to bottom: After Chekhov, Mina, Twa Pirate Quines

actors and direction, each piece of visual theatre ‘has to create their own grammar from scratch every time,’ Hart explains. And this new grammar doesn’t only push the theatremakers, but the audience as well, engaging them in the interpretative process. ‘It’s their responsibility to work out, “what’s my relationship to this piece of work?”’ Hart says. ‘They’re bringing a lot more of themselves as individuals into the performance space.’ This explicit focus on audience involvement is especially true of the Rising Voices and Cabaret@Manipulate strands. Rising Voices, a collection of 14 shows at varying stages of development, gives artists an opportunity to showcase their unfinished works in front of a supportive audience, while giving the public access to the process of creating and honing a show. Cabaret@Manipulate, meanwhile, is new to the festival this year. Made up of a series of works-in-progress and snapshots by some of Scotland’s leading visual theatremakers, including Ruxy Cantir, Lucy McGreal and Two Detectives, these free ticketed shows held in a laid-back cabaret environment continue to dissolve the rigid binary of formal theatre performance and passive audience observation. Cabaret@Manipulate’s emphasis on Scottish theatremakers also speaks to the festival’s specific ambition to seek out and nurture local talent. Although Manipulate is proudly an international festival, welcoming participants from Europe, Canada, and the rest of the UK, its programme has a distinct Scottish focus, encouraging a visual theatre scene that has otherwise been somewhat neglected. ‘Theatre here has historically been text-driven, whereas on the continent there’s always been a much greater mix with visual, innovative type of work,’ Hart explains. ‘When I set up the festival it was initially to bring great international work to Scotland and through that to help inspire Scottish theatremakers to have similar ambition. We’re just flying the flag for the art form in Scotland.’ With such a compelling, inventive programme of events, it’s safe to say they’ve succeeded. For the full programme, see manipulatefestival.org

EIIF

t the end of February, Edinburgh venues Assembly Roxy and the Scottish Storytelling Centre will be buzzing with the sounds and sights of people making it all up as they go along. One of the key aspects to this year’s Edinburgh International Improv Festival is getting more kids involved in the improv game. To that end, organisers have once again teamed up with Scottish charity Children 1st to improve the opportunities for younger people to see and take part in improv. ‘One of the things that I’ve always been a firm believer in is the power of improv,’ says Jason Perez, the festival’s co-founder and artistic director. ‘It’s an artform that truly teaches all of the aspects that you need to know to be successful in life, whether it’s in business or socially or for your own vanity. It teaches you how to work with others, and teaches you good listening, critical thinking and imagination: it’s such a strong tool and I want to see kids doing more of this.’ For Children 1st’s part, the festival is an ideal fit with their own ethos. ‘We love innovative ideas that help to give children in Scotland the best possible start in life,’ says Gary Dewar, Children 1st Edinburgh service manager. ‘Being able to offer free improv skills workshops to some of the schools we work with here in Edinburgh is a great opportunity. We’re hoping these will help children express their thoughts and feelings, build their confidence and their ability to form connections. All of which can improve a child’s self-esteem and their resilience. The free session from Showstoppers offers children the chance to enjoy a show and see how the skills they’ve learned can be put to

use. It gives them access to a fun activity they might not otherwise get the chance to take part in.’ Among the highlights of the festival this year are top US performers Will Hines, Heather Anne Campbell, Rebecca Drysdale and Billy Merritt (all of whom will be running workshops), while the gala evening at Assembly Roxy (Thu 27 Feb) is headlined by Showstoppers who have been picking up awards and putting out the sold-out signs since 2008. Plus, there are appearances from improv groups across the UK such as Couch and The Clap (both from Glasgow), Coventry Improv, I Heard Pillow (born in Iceland, now based in Edinburgh), Shetland’s The Imposters, and London’s The Committee. But all the while, organisers will be keeping an eye on how all this will draw in younger audiences and get the next generation making it all up on the spot. ‘Unlike ballet or sports or musical theatre, there’s no cost to improv,’ insists Perez. ‘The only thing you ever truly need is two chairs and people on stage doing whatever they want. I truly think that it’s one of the most accessible artforms that exists. One of the reasons we paired with Children 1st is that there are a lot of kids out there who aren’t given the opportunity to go into things like the arts because it costs too much money for them to see it or be a part of it. With improv, you don’t need to put mum and dad into debt to see it or do it.’ Edinburgh International Improv Festival, Assembly Roxy and Scottish Storytelling Centre, Edinburgh, Thu 27 Feb–Sun 1 Mar.

M A K ING IT UP As the second Edinburgh International Improv Festival prepares to unleash all manner of adlibbed delights on audiences, organisers are keen to make one thing clear: it’s high time kids got involved. Brian Donaldson finds out why

PHOTO: JAMES ARMANDARY

1 Feb–31 Mar 2020 THE LIST 23

FEMSPECTIVES

RA I SE YO U R VO I CE As Glasgow’s only feminist film festival prepares for its second outing, Deborah Chu speaks to co-founder and producer Lauren Clarke about breaking through stereotypes to explore the complex lives of women everywhere

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ongratulations to those men,’ said Issa Rae, stony-faced, as she announced the all-male nominees for Best Director at the 2020 Academy Awards. A new decade; an old problem. Despite a growing number of women taking their place behind the camera and directing some of the most interesting and commercially successful films in recent years, there still remains a critical lack of institutional recognition towards cinema helmed by women. Some have stepped up their game in recent years – the Edinburgh International Film Festival, for instance, featured a strand of entirely female-directed films for its 2019 edition – but Lauren Clarke and Kathi Kamleitner weren’t satisfied with films by women being relegated to a ‘specialist’ strand. ‘Glasgow has such a vibrant and innovative film exhibition landscape, but there wasn’t a festival solely dedicated to celebrating and elevating the work of womxn filmmakers,’ says Clarke, the co-founder and producer of Femspectives. ‘When Kathi and I started Femspectives in 2018, we wanted to create a space for everyone to come and engage with film and use it as a springboard for discussion about feminisms, politics and social issues. We wanted to champion the work of womxn and highlight some of the innovative, intelligent and radical work being produced.’ The response to their inaugural festival last year was enormous, which has emboldened them to double the programme for this second edition, and present a wider slate of films from 11 different countries. The festival opens this year with VAI, a portmanteau feature directed by nine Pacific filmmakers, which explores the disappearance of indigenous traditions across island communities through the lens of one woman’s life. Elsewhere in the programme, a woman resists mounting pressure from her in-laws and husband to have another child in Costa Rican feature The Awakening of the Ants, and two indigenous women’s lives are changed forever after a chance encounter in The Body Remembers When the World Broke Open. But it is documentaries that make up the bulk of Femspectives’ programme, exploring

24 THE LIST 1 Feb–31 Mar 2020

the past and present struggles of women amid social and economic pressures, and suggesting that the search for justice and equality are ongoing processes. The hidden lives of Filipino domestic workers pose trenchant questions around modern day slavery in Sung-A Yoon’s Overseas, while In Search . . . follows Beryl Magoko’s encounters with fellow survivors of female genital mutilation, and her journey towards reconstructive surgery. Other highlights include the Scottish premiere of The Archivettes, a documentary centred around the Lesbian Herstory Archive which was founded in New York City over 40 years ago and has continued to flourish since, and nîpawistamâsowin: We Will Stand Up, Tasha Hubbard’s award-winning documentary on the murder of Colton Boushie and anti-indigenous racism in Canada. The programme is organised into three thematic strands, centred around relationships between women, the role that memory plays in political resistance, and the right to make decisions over one’s own body. But Clarke is keen to stress that these themes should not be viewed in isolation from one another. ‘Even though we split them up into these strands, the films interlink and connect at various points,’ she says, ‘emphasising that no issue really stands on its own.’ Indeed, the diversity of Femspectives programme speaks to how the lives of women – and the work of female directors – resist all categorisation. In bringing them together, however, the festival makes a powerful case for the power of the collective and the differences therein, rather than seeking out a single truth to tell about the lives of women. ‘We try to select films that will resonate with lots of different people coming from varied experiences and walks of life,’ says Clarke. ‘It’s important for us to foster non-hierarchical conversations where everybody has space to contribute and there is value in everyone’s position. It’s not about fitting everyone into one box, but rather about finding strength in the diversity and multiplicity of experiences, backgrounds and perspectives.’ Femspectives, Civic House, Glasgow, Thu 20–Sun 23 Feb.

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ANGEL OLSEN

he days and weeks following the release of an album are vital for any artist. For someone as uniquely intertwined with her own music as Angel Olsen, it’s been a hectic, unrelenting spell, one marked by radio appearances, TV performances and a string of headline shows. New album All Mirrors is deserving of this attention, however. A dynamic, theatrical, beautifully overwhelming experience, its author remains refreshingly distant from the acclaim lavished on her creation. ‘It surprises me to know how epic it is to anyone,’ she admits. ‘I’m still in that creative phase. It’s a little weird to see it on these end of year lists when it’s not even been out very long. It needs to be out a little bit longer before I really feel its impact.’ Right now her focus is on those live shows – painstakingly piecing together the set, she’s removed some of the lush tapestries that adorn All Mirrors while inserting fresh passages to explore different dimensions within her work. ‘I think performing is so much more intimate than listening to a record,’ she insists. ‘I’m glad people listen to the records, but it’s a challenge for me to put myself out there and sing a certain way and look them in the eye. It’s a really wonderful gift, and I’m really happy that I have been able to do it for so long.’ Performing live comes with its distinct challenges, though; for such an assertive creative voice, Olsen admits to a certain degree of self-consciousness onstage. ‘It’s always nerve-racking playing

HEAV

PHOTO: CAMERON MCCOOL

26 THE LIST 1 Feb–31 Mar 2020

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the first few shows of a tour. And I think performing solo can still be difficult for me. But I guess that people are there to see or hear my music, so they must be fans . . . and that helps me relax and play the song.’ Peering through her catalogue to construct the set, Olsen is able to be the true curator of her work, linking fan favourites to deep cuts with personal resonance. ‘It took quite a bit of warm-up before we went out, but now we’ve finally become a well-oiled machine, you could say. I’m feeling really good about the material – we’ve been on tour for a little bit now so it feels great.’ Each show sits on top of the last, with these experiences lifting Olsen to a different space. ‘I feel like I’m always building,’ she says. ‘I made All Mirrors and a lot of that is very different sounding, but it’s challenging to mix it all up and to create something with the past and the present, and see how they work together.’ In conversation, Olsen peppers her answers with subtle asides, gentle jokes, and a side order of self-deprecating humour. She’s intensely serious about her work, but often flippant about herself, and that easygoing vibe exudes from the musicians around her. ‘I’m surrounded by a lot of good people, and we all joke around together. It’s not a stiff environment in any way – even though the songs on this record are more theatrical and darker, we still tend to have a good time together and loosen up once we’re in the middle of the set. I never take anything

so seriously that you can’t have a good time with people, and I think that’s important.’ Hitting Glasgow’s fabled Barrowland Ballroom for a February 14 show, Olsen laughs recalling past Valentine’s misadventures. ‘I think I got into a fight on Valentine’s Day once!’ she gasps. ‘I don’t remember what it was about. Then my dress ripped and I got upset . . . but it actually ended up being a really good night. It turned itself around!’ While relishing the opportunity of spending Valentine’s Day with her fans, Olsen is never certain what to expect from one of her shows. ‘I feel like it’s a separate realm,’ she admits. ‘I have to come ready to expect a small audience or a big audience, for people to care or not to care. Each show is it’s own experience in that way.’ One thing is certain, however, and it’s that she won’t be looking back. All Mirrors is still fresh on the shelves, but this songwriter is already looking to the next challenge, to the next project. ‘I did write quite a bit in the summer,’ she reveals, ‘before I had to start touring, so I’ve been taking a break recently. I never know how things are going to take shape until I’m in the studio. So we’ll see.’ And that’s how we leave Angel Olsen – on the cusp of possibility, embracing creativity and wondering aloud about the future. All in all, it’s a good place to be. Angel Olsen, Barrowland Ballroom, Glasgow, Fri 14 Feb.

AVEN SENT As independent and versatile as ever, Angel Olsen’s fifth record is proof of her unwavering status as indie heroine. The singer-songwriter speaks to Robin Murray about the success of All Mirrors, performance nerves and her upcoming Valentine’s Day gig

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PORTRAIT OF A LADY ON FIRE

P I CT U R E P E R F ECT French film director Céline Sciamma is firmly on the up with her new movie about an 18th-century love story. James Mottram talks to the filmmaker and her lead actors about emotions, ideas and criticism

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rom its bow in Cannes, winning Best Screenplay, to recent nominations at the Golden Globes and BAFTAs, it’s been a remarkable ride for Céline Sciamma’s sublime Portrait of a Lady on Fire. An 18th centuryset French-language lesbian love story, about a female painter (Noémie Merlant) and her subject (Adèle Haenel), it’s been feted wherever it’s played. Well, almost. ‘Cahiers du Cinéma gave me zero,’ grumbles Sciamma, when we meet in London. ‘Zero means you’re an enemy. They just despise me.’ The aforementioned French film journal may well not like Sciamma, but there can be no doubt this fourth movie of her career is a major step up. ‘There is something very intricate between ideas and sensuality and emotions in the movie . . . it’s so well balanced,’ says the 31-year-old Haenel, who starred in Sciamma’s 2007 debut Water Lillies. She returns here as Héloïse, a betrothed woman who refuses to sit for a portrait due to be sent to a man she’s never met. Scripted by the 39-year-old Sciamma, the film feels like it belongs in a novel or an historical account, but it came fully formed from her imagination. ‘I wanted to craft a love story from scratch, especially because it’s pretty rare that a period piece is not adapted from a book or historical events,’ she explains. ‘But the fact is, this book hasn’t been written; there is no book to adapt. That’s the whole point actually.’ While they may have slipped into obscurity, the history of female painters from this era is rich, such as Élisabeth Louise Vigée Le Brun,

who painted Marie Antoinette. ‘As they were so numerous, I wanted to invent one to talk about all of them,’ says Sciamma. Her tale sees Merlant’s painter Marianne instructed by Héloïse’s mother to befriend and secretly sketch her daughter, before feelings unwittingly spark between them. Arriving in the era of gender equality and #MeToo, Portrait of a Lady on Fire throws off the shackles of period drama to feel

man, because it’s an experience that only women can live,’ says Merlant. ‘It’s about the oppressed sex. It’s a woman’s story with a woman’s vision. If it would have been made by a man, it would be significantly different.’ Sciamma claims it was not her intention to craft a ‘feminist gaze manifesto’. But much like her 2014 all-female urban drama Girlhood, she naturally gravitates towards stories from

utterly modern, despite the use of luminous natural lighting and costumes that are accurate to the time. ‘I think the movie asks questions that are not often asked,’ adds Haenel. ‘It’s very serious about its ideas. But it’s also joyful and gives space to imagination.’ Filmed along the stormy Brittany coastline, could Portrait have been made by a male director? ‘I don’t think it can be made by a

a woman’s perspective. Nor is she apologetic about the idea that her story portrays a female utopia, something that doubtless annoyed Cahiers du Cinéma. ‘I’ve experienced sometimes, in my life, a world without men,’ she smiles. It’s a new world order. Portrait of a Lady on Fire is on general release from Fri 28 Feb. See review, page 69.

NIXON IN CHINA

HISTORY CHANNELED Nixon in China was the opera that cemented John Adams’ reputation as a modern composer to watch. As Scottish Opera’s new co-production hits the stage, Carol Main speaks to director John Fulljames about how this story fits snugly with 21st-century politics

n the internet age, where even the smallest movements of politicians and celebrities can be instantly splattered across billions of electronic devices, it’s hard to believe that major news events used to reach us only through TV, radio and printed newspapers. In 1972, it was headlines all round for US president Richard Nixon, arriving in Beijing to meet with Mao Tse-tung, chairman of the Communist Party of China. Although the visit shifted to the annals of history, it sparked the imagination of theatre director Peter Sellars. How better to give the story a makeover than turn it into grand opera? With poet Alice Goodman, Sellars approached composer John Adams and, after two years completing the score, Nixon in China was premiered in Houston, Texas in 1987. Now, its first Scottish Opera staging – strongly cast with American baritone Eric Greene as Nixon and Mark Le Brocq as Mao – is a new co-production with the Royal Danish Theatre and Teatro Real Madrid. Changing perspectives of time, history and media run through

director John Fulljames’ approach. ‘It’s really difficult to put the mind back to 1987 when the events of the piece were already 15 years old, even though it was a major TV event, second only in coverage to the moon landing,’ he says. ‘Sellars, Adams and Goodman were young artists, sort of messing around, and it was a radical and extraordinary idea to make a documentary opera.’ In the early 70s, Nixon and Mao could construct their own narratives, define their legacy and tell us how they, as superpowers, were opening up diplomatic relations between the USA and China. ‘But when the piece was written, it was the start of the age of zeitgeist media politics,’ says Fulljames. ‘The production speaks to the 21st century, not the 1980s, and how politics now is almost as much about communications and media as about policy and context.’ The opera also explores the humanity of its main players. ‘One of the strangest things is that the most powerful people in the world become utterly powerless in the face of history, facing, like we all do, death and oblivion,’ says

Fulljames. ‘They become human beings trying to do the best they can and failing, so we empathise with them, something that is particularly important today in our polarised political age. Nixon, who was a figure of fun, is taken seriously and we see him become a Verdian hero.’ The production is contemporary, no longer a documentary opera, but a history opera, complete with film footage and what Fulljames describes as ‘wonderfully enjoyable music with a showstopping aria for Madame Mao’. It’s set in an archive, in a northern European world peace research institute, where the audience sees Nixon’s diaries, Kissinger’s letters and Mao’s armchair. ‘One of the lines in the libretto is “history is our mother”, which sort of sums up our approach to what it’s all about,’ notes Fulljames. ‘Although when I went to see John Adams, his advice was “make sure you get the humour right”.’ Nixon in China, Theatre Royal, Glasgow, Tue 18, Thu 20, Sat 22 Feb; Festival Theatre, Edinburgh, Thu 27, Sat 29 Feb.

PHOTO: CAMILLA WINTHER

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ADVERTISING FEATURE

Clockwise from left: The Glasshouse, Regius Keeper Simon Milne with colleagues at the 350th anniversary launch, Leith Walk (the Garden’s third site) with its Glasshouses and plantings to the rear, Robert Sibbald (RBGE co-founder), the first site of RBGE located near the Palace of Holyroodhouse, John Hope (after whom the John Hope Gateway is named)

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As it marks its 350th birthday, the Royal Botanic Garden Edinburgh unveils a year-long programme of events

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The Royal Botanic Garden Edinburgh is marking its 350th anniversary by undertaking a year-long programme of events and activities to celebrate its historic collections, its national and international achievements and to highlight the growing need to protect the world’s plants. The Garden has just revealed a packed programme of events for 2020, from a research expedition to Papua New Guinea to a big birthday party for the public in June. The story began in 1670 when two intrepid doctors, Andrew Balfour and Robert Sibbald, established a physic garden near the Palace of Holyroodhouse to study and supply plants for medicinal purposes. The Garden prospered and, in 1675, moved to a larger site at Trinity Hospital, where Waverley Station now stands. In 1763, under the leadership of John Hope and with an endowment from the Crown and Royal status, the Garden moved from the Old Town to Leith Walk. It remained there until 1820, when the Garden began the move to its current site in Inverleith. Today, the Botanics is one of the world’s leading botanic gardens. It has many faces: a beautifully

landscaped Garden growing rare and exotic species; an internationally renowned scientific institution; a popular visitor attraction for Edinburgh residents and tourists; and a centre for historically important archive materials. The Botanics works in partnership with more than 35 countries on research and horticulture projects and its scientists discover and describe an average of one plant species new to science every week. Each year, its four Gardens in Scotland – Edinburgh, Benmore, Dawyck and Logan – attract over one million visitors and its education programmes reach 12,000 students around the globe. The global challenges of the climate crisis and biodiversity loss will provide the focus of the organisation’s effort for years to come.

RBGE’S 350TH BIRTHDAY HIGHLIGHTS BIG BOTANICS BIRTHDAY PARTY Visitors will be invited to celebrate the Garden’s 350th at a special birthday party. With a focus on its global influence, the Botanics will create a world festival featuring music, dance, food and a birthday cake. Celebrations will also take place at the Regional Gardens of Benmore, Logan and Dawyck during the summer months. Sun 14 Jun. GARDEN OF TRANQUILLITY OPENING A new area will open at the Botanics that will provide a safe, peaceful and sensory space for visitors living with dementia and their carers. Jun. ARTISTS RESIDENCIES, INVERLEITH HOUSE Over the course of a year, three artists – Christine Borland, Karine Polwart and Pippa Murphy – will produce artworks inspired by the Garden’s rich archive and historic collections. Jul. EXPEDITION TO PAPUA NEW GUINEA The Royal Botanic Garden Edinburgh will undertake a four-week research expedition to Papua New Guinea. In collaboration with the Papua New Guinea Forest Research Institute and the National Museum of Scotland, the expedition will set out to discover and record new species of plants and insects, and monitor biodiversity by using next generation DNA sequencing. Aug. NATURE’S VOICE GALA CONCERT The Botanics will collaborate with Dunedin Consort to perform music that celebrates nature, from Telemann’s Water Music to Vivaldi’s Four Seasons, at a concert at the Queen’s Hall, Edinburgh. Tickets are on sale now at rbge.org.uk/concert and 0131 668 2019. Sat 10 Oct. CHRISTMAS AT THE BOTANICS The annual Christmas light trail promises to be even more enchanting than ever during the Garden’s 350th year. From Fri 20 Nov. HALTING PLANT EXTINCTION DEBATE Leading scientists will explore the biodiversity crisis from a botanical perspective in collaboration with the Royal Society of Edinburgh. Thu 26 Nov. ■ For more info, visit rbge.org.uk/350

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ROAD TO SOMEWHERE With the lack of nominations for female directors this awards season, Mark Cousins’ epic Women Make Film is a timely documentary. Nikki Baughan speaks to the journalist and filmmaker about how his 14-hour film aims to keep a cultural revolution on track

n this age of Weinstein and #MeToo, the film industry has seemingly been seized with a new commitment to diversity and inclusion, with women being targeted by a variety of equal opportunity initiatives. Yet, despite these efforts and passionate engagement with the discourse, how much is actually changing? Is the cinematic landscape becoming less white, less male, more varied? A glance at the options in a typical multiplex, the depressing statistics of myriad diversity studies, or this year’s woefully narrow BAFTA and Oscar nominations would suggest emphatically not. For every step forward – Kathryn Bigelow’s Oscar win, a female superhero finally given her own movie – it seems we take three steps, or often a dramatic plunge, backwards with major awards snubs and diversity panels made up entirely of white men. The most frustrating thing of all is that there has always been legions of women making exceptional movies, seizing the opportunities for themselves without waiting to be asked. Help in that regard comes in the form of Women Make Film: A New Road Movie Through Cinema, the comprehensive documentary from Mark Cousins, a journalist and filmmaker who has long championed the work of female directors. A true passion project, which Cousins has been making under the radar and with no money for well over a decade, it’s a five-part, 14-hour movie covering the work of female directors across the world, from the earliest pioneers of silent cinema to the modern day. This is a film school of sorts, an introduction to 40 filmmaking topics – openings, tracking, tone, framing – with illustrative examples from movie makers who happen not to be men, and narrated by Tilda Swinton, Adjoa Andoh, Kerry Fox, Jane Fonda, Thandie Newton, Sharmila Tagore and Debra Winger. ‘The film absolutely is not about how women see the world,’ says Cousins when I speak to him ahead of the documentary playing in its entirety at the Glasgow Film Festival. ‘There’s loads of other good work out there about the female gaze, but that’s not what we’re trying to do. And we weren’t going to talk about these women as being victims of anything. We just wanted to treat them like filmmakers, to look at these people as great practitioners of the art, craft and language of cinema.’ So in the first instalment, the film takes in the likes of American Dorothy Arzner, whose opening to 1943’s First Comes Courage is a fluid 32 THE LIST 1 Feb–31 Mar 2020

masterclass in the wide-medium-close-up crane shot, and Tunisia’s Moufida Tlatli who, by contrast, begins 1994 drama The Silences of the Palace with an intimate close-up of her protagonist’s haunted face. Elsewhere, Cousins shines a light on women including Bulgaria’s Binka Zhelyazkova, France’s Alice Guy-Blaché, Soviet director Yuliya Solntseva, American Oscar-winner Kathryn Bigelow and Belgian grande dame Agnès Varda. If you haven’t heard most of these names, you’re not alone. Cousins expects that Women Make Film will prove illuminating even for the most hardened cinephile, because it’s traditionally been so difficult to find anything out about these filmmakers. ‘We have all been weighed down by the lack of knowledge, and the lack of opportunity to discover this stuff,’ Cousins notes of the institutional predominance of male directors. ‘I think a lot of people don’t intend to be sexist. But they have never been on the other side of the fence and therefore they simply exclude. Loads of men that I know, they can go and do something, make a great piece of work, without noticing that there’s not a single woman in the room.’ As befits the film’s working title, ‘Eye Opener’, Cousins hopes that Women Make Film will help its audience appreciate all the movies they’ve been missing and, with the help of a supporting website, be encouraged to seek out more varied work from female directors. ‘Every time someone makes a generalisation about the sorts of films women have made, it makes my blood boil,’ he says. ‘I think there’s a real danger that we can straitjacket these great directors if we try to generalise and say they make films about relationships, or childhood, or domestic things. Women make films about everything and have been for years. We want to shock people into recognition that now is the time, you have to inform yourself about this stuff. You cannot be an activist in the movement for change, you cannot call yourself “woke”, you cannot talk about the proportion of women in the industry if you have not also informed yourself about what has happened before. I do think that the revolution is happening, and hopefully the debate is moving on. I think of Women Make Film as a shoulder to that wheel.’ Women Make Film: A New Road Movie Through Cinema, Cineworld, Glasgow, Fri 6–Sun 8 Mar.

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Clockwise from left: Mark Cousins with Jane Fonda, Alice Guy-Blaché, Vera Chytilová, Lotte Reiniger, Agnes Varda

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Three more films to check out as part of GFF’s Sound and Vision strand which celebrates the bond between music and film

WHITE NOISE Rubika Shah’s debut documents the shortlived yet immensely influential grassroots movement Rock Against Racism. Claire Sawers catches up with the director to discuss how solidarity and positivity shone through in an era that was often depressing and scary

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ur job was to peel away the Union Jack and reveal the swastika,’ says Red Saunders, founder of Rock Against Racism (RAR). White Riot, a new documentary by Rubika Shah, charts the rise of the mighty grassroots cultural campaign and protest movement that began in London in 1976 and went on to organise 500 gigs over six years. Shah’s film follows RAR over two years until the first Carnival Against Racism, a DIY event where 100,000 people marched from Trafalgar Square to Victoria Park for a concert featuring the Clash, Tom Robinson, Steel Pulse and X-Ray Spex. ‘The atmosphere was really dark and hard,’ remembers Saunders, describing the sinister backdrop that prompted him to set up RAR: social service cuts, racist scapegoating in the right-wing press and a surge of interest in the National Front, who were selling their newspapers outside schools. Run by a team of activists, RAR began organising gigs in East End pubs and sharing tips for DIY gig organisers who wanted to set up other UK nights on a shoestring, ideally without crowds getting injured or PAs being destroyed. They published the fanzine / mini manifesto Temporary Hoarding, with artist interviews and photocopied collages, and sold it for 20p at gigs. ‘We want rebel music, street music,’ wrote radical socialist David Widgery in the first issue. ‘Music that breaks down people’s fear of one another. Crisis music. Now music.

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Music that knows who the real enemy is. Love music, hate racism.’ ‘I just couldn’t believe this story hadn’t been told before,’ says Shah, who had made shorts about David Bowie, Spike Lee and Gore Vidal before winning Best Documentary at the London Film Festival last October for this, her first feature-length film. White Riot mixes deeply nasty footage of Enoch Powell speeches with archive images of Siouxsie Sioux wearing a swastika armband, or an ex-Rod Stewart fan declaring his former idol ‘full of shit’ after hearing him say, ‘this country is overcrowded: the immigrants should be sent home’. The documentary also recognises that many punk acts of the time had National Front followers for fans, some of whom were open to having their minds changed while others were not worth reasoning with. Despite chilling stories of firebombings, bullets in the post, urine through letterboxes and police brutality during demos, Shah’s film manages to beam out an energising, defiant and resilient tone. ‘I’m glad that’s coming through because it wasn’t all doom and gloom in that era,’ she says. ‘There was a lot of positivity and people coming together; black, white, Asian, whatever. Solidarity. Which is good for us to remember, 40 years on.’ White Riot, Cineworld, Fri 6 & Sat 7 Mar. White Riot Afterparty with Love Music Hate Racism, The Blue Arrow, Fri 6 Mar.

BILLIE A UK premiere for James Erskine’s documentary about the incredible and complex Billie Holiday, made using piles of unheard tapes from the 1970s by an American biographer who died mysteriously (no spoilers) before she could write her book. Cineworld, Sat 7 & Sun 8 Mar.

GAY CHORUS DEEP SOUTH The San Francisco Gay Men’s Chorus formed in 1978, a month before the assassination of Harvey Milk. Here they team up with the Oakland Interfaith Gospel Choir for a road trip through the Deep South, spreading messages of tolerance and unity in response to Trumpera anti-LBGT+ laws. Expect songs, personal stories and some drag in David Charles Rodrigues’ film. CCA, Tue 3 & Wed 4 Mar.

I WANT MY MTV Like the channel itself, Tyler Measom and Patrick Waldrop’s documentary is a fast moving, fun look back on the 1981 launch of MTV featuring interviews with Devo, Pat Benatar, RunDMC, Twisted Sister and the original VJs, chopped up with many iconic music videos. CCA, Sat 29 Feb & Sun 1 Mar. Festival Club: I Want My MTV Afterparty with MILK DJs, The Blue Arrow, Sat 29 Feb.

CANADA GOES GLASGOW Learn more about Canadian events and shows in Glasgow across 2020 The eagle-eyed among you may have started to notice a little red maple leaf appearing alongside listings and in brochures, highlighting some of the many cultural events happening in Glasgow this year. This icon shines a light on the wonderful Canadian talent that lives within and visits your city each year, which we are celebrating in 2020 as part of our year-long programme, Canada Goes Glasgow. Representing the magnificently diverse and creative communities across Canada from coast to coast to coast, the programme will draw attention to the strong connections that Canada and the UK share, which are rooted in a common history and shared values. Keep an eye out for the maple leaf icon in 2020 and share your experiences of attending a Canadian show or a gig by tagging us and using the hashtag #CanadaGoesGlasgow

#CanadaGoesGlasgow

L AD I ES F I R ST Over 20 years since the publication of Alan Warner’s novel The Sopranos, a film version comes to Glasgow. Katie Goh catches up with actors Tallulah Greive and Marli Siu to discuss bonding, 90s music and honest portrayals of awkward sex

ove over Derry Girls, there’s a new 90s gang in town. Based on Alan Warner’s bestselling book The Sopranos which was also adapted into a successful stage musical, Our Ladies is the story of six bold and brash Catholic school girls who go on a daytrip from the Highlands to Edinburgh. Unsurprisingly, mischief follows them as they set about completing their day’s missions, from having sex for the first time to buying the latest record. ‘I made Pinterest boards and Spotify playlists,’ laughs Marli Siu, who plays the rebellious Kayla, as she talks about getting immersed in the film’s setting and culture. Primal Scream, the Ramones, Fleetwood Mac, Janis Joplin and Northern Soul all featured heavily. ‘The make-up and costume teams were so brilliant and listened to us about which outfits we loved: especially Kayla’s leopard-print coat! It was a great way to collaborate and create the characters.’ As well as clothing and music choices, bonding together as a group of six was essential for the film’s authenticity. Luckily the cast clicked straight away. ‘We all just hung out for three weeks, rehearsing and living together, which I think really shows,’ says Tallulah Greive, cast in the film as the kind-hearted Orla. ‘We got to kick about and try on costumes and create our characters together. It was so joyful; we still have a fairly overactive group chat!’ Our Ladies is the latest in an upsurge of film and TV that has embraced honest representations of teenage girls on screen, especially when it comes to sex. ‘What’s so brilliant is that the characters are sexual but they’re never sexualised in the way that you see so often in popular culture,’ says Greive. ‘The girls are 36 THE LIST 1 Feb–31 Mar 2020

unapologetic and really in charge of who they are. It’s really refreshing to see young women on screen talking about sex because when I was growing up there weren’t a lot of films out there doing that.’ ‘I think the coolest thing is that they all love sex and I think that’s true for a lot of girls but something people are tentative to show onscreen,’ adds Siu. ‘You’ve got so much stuff like The Inbetweeners about guys coming of age and going through awkward stages, but you don’t see that with girls. Our Ladies is an honest portrayal of girls figuring it out and enjoying themselves while they do so. There’s no trying to sweep it under the carpet or trying to make it more presentable.’ Both actors speak fondly of experiences on set that clearly translated into their performances. ‘We were all so excited about doing a film with other girls and not just being a sidekick or a love interest,’ explains Sui. ‘These are our characters’ stories and we really lack films that tell these kinds of coming-of-age stories. We’re normally the ones who come in for a few days as supporting characters, but on Our Ladies it was the guys who would come in for a few days and be the ones lusted after by our characters. You don’t realise until you’re given the opportunity to have your own story that you’ve never had that chance before.’ ‘It was magic,’ adds Greive. ‘It gave me a new idea of what acting could be like, working with a group of girls around the same age and feeling close to everyone to push myself in different directions. It’s making me nostalgic just thinking about it!’ Our Ladies, Glasgow Film Theatre, Fri 28 & Sat 29 Feb.

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In his second movie as a director, Craig Roberts unflinchingly tackles mental health. He tells David Pollock about the magnetic draw of Oscar-nominated actress Sally Hawkins and turning negative stereotypes into positive statements

he second feature by director, writer and actor Craig Roberts, feels like the kind of film which rarely gets made any more. Eternal Beauty is a gentle, measured drama which isn’t afraid to build a vivid portrait of its characters’ inner lives, while still proving unflinching in its exploration of the effects of a mental health crisis. Sally Hawkins’ masterfully formed lead, the schizophrenic Jane, is to be sympathised with, but not pitied; amid the mess those closest to her find their lives in, her fortitude gives her an uncanny power. ‘It’s nice that people think it’s a character piece,’ says Roberts, the 29-year-old star of Richard Ayoade’s 2010 coming-of-age drama Submarine, who has more recently been seen in the Amazon drama Red Oaks and last year’s Tolkien. ‘I think in a world of Marvel movies, Scorsese would be happy with that. There are many elements which make it hard getting a film like this made, and part of that is what people are consuming now. From just the experience of this film, the mental health aspect was also hard; people were unsure as to how it would be told or how people would respond to it.’ Yet Roberts has taken a very personal subject and breathed life into it with relatable realism, while resisting the urge towards the feelgood. ‘I set out with the idea of trying to recast the perceived weakness of mental health as a strength,’ he says. ‘Maybe it’s something more than a weakness: maybe it’s a power? I grew up with somebody in my family who had this superpower, and I didn’t dig deep when I was younger, but about five years ago I started asking

a lot more questions. I found it fascinating and wanted to share it with the world. She also lights up every room, so I wanted to stay away from the stereotypes and highlight the positives.’ The only film which Roberts said he could find which was a direct influence – in terms of centring upon a lead female character in the throes of mental illness – was John Cassavetes’ A Woman Under the Influence from 1974, although Adam Sandler’s anxiety-stricken lead in Paul Thomas Anderson’s Punch-Drunk Love was also a reference point. In tone, the film is reminiscent of Lynne Ramsay or Mike Leigh, and the latter’s influence runs across the casting. The brilliant Hawkins (who came to this on the back of her second Academy Award nomination for The Shape of Water) was the breakout lead of Leigh’s Happy-Go-Lucky (2008), while David Thewlis – Jane’s unpredictable lover Mike – lit up the screen in Leigh’s 1993 Naked. Amid the rest of a great cast, Penelope Wilton is a hellish mother and Billie Piper plays Jane’s self-obsessed sister Nicola with visceral unpleasantness. ‘As soon as Sally attached herself, it made it easier because actors want to work with her,’ says Roberts. ‘She helped push the whole thing through. I’m glad we got to tell this story. It’s just about the average person; it’s not A Beautiful Mind, not about a genius who has been forced into this state of mind. It’s just about a person who is living her life.’ Eternal Beauty, Glasgow Film Theatre, Wed 4 & Thu 5 Mar.

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‘I FO UND MYSE L F H EM ME D I N AND TRAPPE D ’ Kicking off our Glasgow Comedy Festival coverage, Jordan Brookes talks to Murray Robertson about winning the Edinburgh Comedy Award, breaking through in the business and struggling with his mental health

hen he won the Edinburgh Comedy Award six months ago, Jordan Brookes balanced his understandable joy with a healthy dose of pessimism, explaining that he didn’t expect the prize to guarantee him a successful career, at least not in the short term. ‘I feel almost aggressively like that is the case,’ he confirms, putting to bed any notion that winning comedy’s biggest award has gone to his head. ‘It’s difficult to put into words without seeming entitled to anything but it’s definitely not opened any doors,’ he laughs. ‘These things aren’t instantaneous, so who knows. But I do think that the industry has a bottleneck with a lot of very talented people trying to access a limited number of opportunities. And I think that whether you’ve won an award or not, that bottleneck remains.’ Brookes has spoken very candidly in the past about difficulties he’s had with his mental health, and he was very careful about how he processed this overnight attention and acclamation. ‘When you first start, the award is something that you really fantasise about winning. But by the time you get there you’re like, “oh no, this isn’t really what’s gonna make me happy”.’ It’s obviously lovely to have won and there was a part of me that was absolutely elated, but I think you also have to temper that with a bit of pragmatism, and not over-invest in those things. These systems and these institutions are not all set up to benefit everyone, and when something like that exists and makes people sad or competitive then I think you have to approach it with a bit of caution.’ One benefit of winning the award is that he’s now able to put less pressure on himself in the run-up to August. ‘I can now get out of that torrid Edinburgh annual cycle of getting to September or October and thinking about a show, then writing it, and it just sort of sitting over me for nine months. Often I get very preoccupied where it’s the only thing I think about for months and months, and that’s not necessarily a good thing for mental health. So I guess now I don’t have to think about that so much and I can use Edinburgh as a place to develop a show as opposed to showcase one. In that sense, yes, I feel like I’m freed up a little bit.’

I’ve Got Nothing requires Brookes to get fully involved with his audience, fearlessly confronting, seducing and ultimately misleading them. It’s a dangerous kind of comedy which he relishes while having no qualms about it all going awry. ‘I think the worry that it’ll go wrong is part of the thrill because it’s the only time I feel fully present: “OK, what do I say now? What do I do now to pull this back?” and to follow those impulses as well, to get really used to noticing a twitch or seeing someone being a little bit uncomfortable or enjoying themselves too much. It made me enjoy comedy a lot more because it’s a style that’s very spontaneous, felt very in-the-moment and unrepeatable which I think is really exciting.’ It’s a change of course from his previous show, Bleed, a technically challenging endeavour employing the use of binaural headphone recordings. ‘I enjoyed building that show and I was working with a sound designer, Ciaran Clarke, who’s an absolute delight, and Bríd Kirby, my producer. They were both very much part of the process but I found myself ultimately hemmed in and trapped. Once the headphones came out, the show was basically on rails and had to play out exactly the same way every night. I found that incredibly stifling and restrictive.’ Even while at the coalface of a comedy festival, Brookes enjoys seeing other people’s shows. ‘I love comedy,’ he says. ‘I love watching it, I love being an audience member, I love surrendering myself to someone for an hour and seeing what they’ll do with me. I think it’s such a lovely experience.’ He says he’s always enjoyed the work of other performers without comparing himself to the competition. ‘It’s OK to enjoy and appreciate what they are doing and to be inspired by it. I always try to find the value in someone’s act and find the joy in it and not to be bogged down by negative feelings. So no, I don’t really compare myself to anyone. I think you have to remain open and then it frees you up as a performer. I think it makes you better, and it doesn’t trash your mental health because you’re in a good place.’ Jordan Brookes: I’ve Got Nothing, Monkey Barrel, Edinburgh, Sun 8 Mar; The Old Hairdressers, Glasgow, Fri 13 & Sat 14 Mar. 1 Feb–31 Mar 2020 THE LIST 41

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ubbed the Godmother of Scottish comedy and called ‘a fucking great comedian’ by none other than Billy Connolly, Janey Godley has never lacked plaudits from critics, audiences and fellow stand-ups. But there’s one opinion that she holds particularly dear, that of her comedian daughter Ashley Storrie. ‘She’s watched me go on stage in some rough rooms where I’ve nailed it,’ notes Godley. ‘And she’s said “I don’t know how you do that ma; it makes me angry because I can’t bottle what it is you just did”.’ While comedy is clearly in that family’s blood, Godley insists stand-up is not her first love or even particularly a passion. Acting was her true calling and back in the 90s she was determined to get an Equity card which would allow her more opportunities to secure roles. Having been advised that earning any kind of stage time would help her get that golden ticket, she tried her hand at stand-up, found she had a natural ability for it and set aside those acting dreams. In recent times, she’s appeared in Wild Rose (staring Jessie Buckley, Julie Walters and Sophie Okonedo) about a young woman trying to make her way in the world of country music, and has written and directed a short film entitled The Last Mermaid, while she’s also had a onewoman play run Off-Broadway. ‘I do comedy because it’s a job and I’m good at it,’ Godley

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We have a little natter with Janey Godley who’s putting the final touches to her Soup Pot show. She tells Brian Donaldson that while standup might not be her first love she’s happy to be an inspiration for others

insists. ‘I don’t watch comedy; if it comes on the telly I turn it off and I certainly wouldn’t sit in a room and watch comedy for an hour.’ Despite this reticence for the artform, Godley has been a standard bearer for young workingclass females who might fancy a stand-up career. ‘I was the first working-class Scottish female comic to do Have I Got News for You. There are girls from Glasgow who saw comedy as being Kevin Bridges and Frankie Boyle; they all went “that’s not our job, that’s for Scottish men”. But when they see me and Fern Brady, they think “yeah, that’s also a woman’s job”.’

Godley has been doing something different with her job lately, and the result is her Soup Pot tour which has two servings at the Glasgow Comedy Festival. She’ll be wielding a variety of talents as she delivers the kind of forthright stand-up which has earned her a strong reputation on the comedy circuit and that loyal band of followers. But Godley will also be displaying her skills at improv, as she stands by a screen and narrates adlibbed voiceovers of people (many of whom are today’s crop of politicians), giving them a heavy Scottish accent and inventing stories, many of which involve making soup for the community. ‘The soup pot is very universal: if you’re in Australia, America, Brazil, France Germany or Alaska, and someone dies or gets married, people will make soup. The soup pot is the hub of the community. When someone died near us when I was a kid, somebody would make the big soup pot so all the visitors had something warm to drink and eat. It’s part of us all being in it together. Of course, that was before people discovered they were gluten free and worried about being allergic to lentils.’ Janey Godley’s Soup Pot Tour, Byre Theatre, St Andrews, Tue 3 Mar; King’s Theatre, Glasgow, Sun 22, Wed 25 Mar.

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9 - 10 Feb GLASGOW, Royal Concert Hall 0141 353 8000 11 Feb DUNDEE, Whitehall Theatre 01382 434940 12 Feb EDINBURGH, Usher Hall 0131 228 1155 BOOK NOW! peppapiglive.com

A wild and beautiful retelling of the classic story. Unfurling across Scottish stages this Spring. More info & booking: www.redbridgearts.co.uk @RedBridgeArt

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Alternative comedy changed the entire landscape of British entertainment in the late 70s and early 80s by tackling boneheaded bigotry and rightwing governments. But in this age of diverse comedy styles, splintered political opinions and rampant cultural metanarratives, can it be defined so easily? Jay Richardson speaks with some Glasgow Comedy Festival acts to explore what constitutes alternative today

DIF F ER ENT A

lternative comedy’s legend endures. Alexei Sayle and Ben Elton are touring, while podcasts eulogise the 1980s when you could afford to live and perform in London while signing on, sharing stages with eccentric ‘spesh acts’ melting giant ice blocks and smashing vinyl records to smithereens. A majority Tory government is again in power but comedy has changed unrecognisably. The biggest names occupy massive arenas, digital media affords unprecedented exposure, and there are more wannabe comics than ever. Yet the noughties’ boom is a fading memory with some stand-ups who appeared on Live at the Apollo and Mock the Week having second jobs, and Edinburgh Comedy Award nominees returning home to live with their parents. Can any comic still afford to be alternative now? Admiring leftfield acts like Spencer Jones, Paul Foot and Paul Currie, 29-year-old Edinburgher Donald Alexander stands out with his angular physicality and offbeat delivery. ‘I look weird, and I’m big and gangly,’ he admits. ‘For me, the best gigs are the ones where I come on and a proportion of the audience are laughing before I’ve said anything. I like using my body with the words, or the offset between them. Sometimes, just lifting my leg works. I try not to over-think it. Keep it loose and fun.’ Invariably ‘quite alternative for Scotland’, he does feel a ‘phony’ claiming the alternative comedy tag for himself. ‘I’ve never thought of myself in that camp but I do get told I am. I’m a man talking about my experiences. There’s a slight surreal

44 THE LIST 1 Feb–31 Mar 2020

fadeover but it’s still storytelling.’ When he plays an avowedly alternative night, he questions his peers’ financial prospects. ‘But I wouldn’t recommend anyone get into stand-up if money is their goal.’ Besides, telling jokes to strangers is inherently ‘quite surreal’, he reckons. And anyone pursuing such an alternative vocation must ‘feel a bit of imposter syndrome. Unless they’re a psychopath.’ Tom Mayhew can empathise. His show, I, Tom Mayhew, explored demonisation of the working class and recounted his time on the dole, becoming a cult hit at the Edinburgh Fringe which earned him a Soho Theatre run and writing experience for Radio 4’s The News Quiz. ‘It was the first time I’d been near a BBC building and I was really excited, like a kid who’d won a competition to meet Willy Wonka,’ the 28-year-old from Hertfordshire recalls. ‘But I didn’t have a laptop so I had to borrow my girlfriend’s. They’d have provided me with one, but I didn’t want to be that guy and feel really self-conscious. But the opportunity made me feel less disenfranchised and I thought, “OK, there is a place for me in this industry”.’ Still, he was signing on again shortly after his News Quiz stints and he still feels an outsider. ‘There’s very little to support working-class voices. And that comes from society.’ Enormously successful acts like Micky Flanagan and Frank Skinner have cultivated a working-class, boy-done-good persona. But Mayhew reckons there are very few comics speaking openly about their financial struggles. ‘I’m looking at the political and societal issues, and the actual reasons why

more people are using food banks. No one else is doing that.’ Far from being charity cases, oncemarginalised voices are enriching mainstream comedy when given the chance. Co-founder of The LOL Word, a comedy night which showcases queer female acts, Chloe Petts is keen to point out that ‘lots of blokes and straight people come to the gig and have a nice time’. Signed with Avalon, one of comedy’s biggest management companies, a love of football is already winning her Radio 5 Live and talkSPORT appearances. ‘To me, an alternative comedian is someone doing something structurally or formally different,’ the south London-based 26-yearold suggests. ‘And I’m not necessarily doing that. I could be mainstream.’ Her debut stand-up hour Alpha is about being a masculine woman and explores macho culture from the perspective of a female football and darts fan. Albeit one who’s occasionally mistaken for a man. ‘And it’s about how sometimes people think my masculinity is derivative of male masculinity, but how female masculinity can be just as valuable. The mainstream may not be quite ready for something as rad as The LOL Word, and maybe I can be branded alternative because I’m not a cis white male, but I’m talking about issues that they might discuss.’ Donald Alexander: Yikes!, The Stand, Glasgow, Tue 17 Mar; Tom Mayhew: I, Tom Mayhew, The Vacant Space, Glasgow, Sat 28 Mar; Chloe Petts: Alpha, The Vacant Space, Sun 29 Mar.

T STR O KES Providing an alternative? (left to right) Tom Mayhew, Donald Alexander, Chloe Petts

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FOOD & DRINK FOR THE LATEST NEWS, LISTINGS AND REVIEWS, GO TO LIST.CO.UK /FOOD&DRINK

JUMP SHIP BREWERY Scotland’s first alcohol-free brewery After a successful crowdfunding campaign, Sonja Mitchell has launched Jump Ship, Scotland’s first alcohol-free brewery. 2020 sees her pioneering Yardarm, a light and refreshing lager with less than 0.5% alcohol. While most alcohol-free beers are brewed as normal with the alcohol removed at the end of the process, Jump Ship is dedicating their entire enterprise

to creating a non-alcoholic beer. Every stage of the brewing process is tweaked and adjusted to keep the flavour but lose the alcohol. Brewed on the outskirts of Edinburgh, Sonja pedals (literally, delivering by bike) her cans across the indie beer sellers and pubs of the city. It can also be bought through alcohol-free specialist drydrinker.com ■ jumpship.beer

1 Feb–31 Mar 2020 THE LIST 49

FOOD & DRINK

DRINKS NEWS

NEWS & REVIEWS

Beloved Edinburgh cocktail bar Bramble is ripping it up and starting again with a complete menu redesign. A frequent entry on ‘best bars in the world’ lists, this Queen Street icon has stuck to the same crowdpleasing Celery Sours and Campbeltown Cocktails since opening in 2006. After two years of development in their R&D space, their new menu is ready to go.

COMMUNITY SERVICE A new street food hub is breathing life into Leith’s abandoned railway arches. Suzy Pope discovers a place with people in mind

n the cavernous belly of the old arches on Manderston Street, there’s a new place for Edinburgh’s street food pedlars to gather. The industrial insides of Leith Arches are dappled in fairy lights, giving everything a thrown-together, laid-back look. A solid rotation of street food vans park up outside. From bao buns to poke bowls, cupcakes to artisan pasta, each weekend sees something totally different served in the alfresco area out front. Keep an eye on their Facebook page to see the latest vendors to fill the parking spaces. The team behind Leith Arches have a history of rescuing neglected buildings in the capital having renovated the Old Chain Pier pub, Bar Brig and Hare of the Dog. Leith Arches will be no exception. Formerly an abandoned space beneath the old Caledonian railway line, this forgotten corner of Leith Walk now has a buzzing street food venue at its core. Craft beer from Brewdog and Drygate is served in (biodegradable) plastic cups. A light and hoppy Bearface lager is the perfect pairing with relaxed conversation between friends. For something more substantial, Nourish@ are always in residence, serving up vegan café food.

Their curried vegetable pie has crisp pastry and a hit of spice that warms the back of the throat. The pulled jackfruit wrap is spicy and smoky, deliciously filling and works wonderfully with a dollop of refreshing guacamole on the side. Cakes and bakes offer loads of gluten-free options. The apple and almond cake is a stodgy slice of goodness that you don’t even have to feel guilty about. Winter months see the roar of industrial heaters inside and fleecy blankets on the back of every chair, while summer nights are made for the cluster of chairs and tables around the food trucks and the secret beer garden out back. Live music and community events take place throughout the year, but pop along any night they’re open and you might find a guy in a hoodie tinkling away on the upright piano. Leith Arches is a welcome addition to the area where its ethos and atmosphere fits in perfectly with Leith’s rough and ready charm.

A welcome revitalisation of the arches on Manderston Street

Beer garden/smoking area feels unfinished

LEITH ARCHES 6 Manderston Street, Leith, EH6 8LY, leitharches.com Street Food & Bar: Fri 5–10pm; Sat/Sun 10am–10pm Nourish@ Arches Café: Mon–Thu 8am–4pm; Fri 8am–10pm; Sat 10am–10pm; Sun 10am–8pm Average cost of two course lunch/dinner: £8 50 THE LIST 1 Feb–31 Mar 2020

Glasgow’s fermented tea specialists, Clever Kombucha, recently finished a successful crowdfund to expand their brewery into a full-blown taproom and event space. Situated near the Citz, it’s due to open in March with drinks on tap to sample and take away in refillable bottles, plus Culture Club, a seasonal food and drink experience.

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The rather spiffing A-listed Botanic Gardens Garage on Vinicombe Street has been revitalised thanks to Ox and Finch – the small plates specialists who helped put Finnieston firmly on the food map. Ka Pao – their second venture – opened in late January,

and is run by the core Ox and Finch team: bossman Jonathan MacDonald, head chef Daniel Spurr and FOH manager Andy MacSween. Expect their diligent take on dishes inspired by South East Asia, as sampled previously at their pop-ups and residencies around town.

News to nibble on Glasgow’s first ever Bartenders Ball, honouring our hard-working hospitality people (it’s not easy y’know), took place at Saint Luke’s on 20 January. The event – featuring premium drinks, street food, jazz and ceilidh bands – also hosted the ‘BAFTAs for bartending’, the inaugural Glasgow Bar Awards. Winners included Wheesht for best cocktail list, Le Petit Cochon for wine, and Inn Deep for beer. The spirits award went to Pot Still – whose Geraldine Murphy won Hospitality Legend – while Blue Dog won the best bar team. But spare a thought for Alasdair Shaw of The Gate – winner of worst chat. Back in the day, your choice for a pre-flight swally at Edinburgh Airport was a cheap pint from the ’Spoons or a furtive swig from a duty-free bottle. Upmarket whisky

bar Usquabae has opened in the departures lounge so you can now savour the peaty taste of home before the boarding call. Sláinte! In Edinburgh small plates are the Big Thing. A glimpse at a couple of the new Indian restaurants on the scene confirm it. Cutting Chaii in Leith styles itself after the roadside cafés of Mumbai, proving a cosy place to sample a whole host of small, spicy plates. Masti in Morningside has gone for tapas-style traditional dishes, while the folks from the awardwinning Vinyasa restaurant have opted for bigger is better, opening a massive new restaurant out at Blackhall. The Cove serves North Indian and Bangladeshi cuisine with specialist citrus fruits imported from Bangladesh and a dish featuring naga, officially the world’s hottest chilli.

l, a c i , h t y l e d r n u e o i r y f s ll t o c a c r u Fo ble, e prod 99 a e ovveerr££33 n e i r f a t sus plasticy ffoorroorrddeerrss o andeeUUKKddeelliivveerry FFrree

37 Broughton Street, Edinburgh EH1 3JU | 8 Brougham Street, Edinburgh EH3 9JH 1 Feb–31 Mar 2020 THE LIST 51

FOOD & DRINK

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RECENT OPENINGS

After phenomenal success making pizza, it’s time for pasta, served in an iconic Glasgow building, as Bronwen Livingstone discovers

he newest member of the Paesano family, Sugo Pasta, turns its considerable attention from pizza to fresh pasta, delivering dishes that strive for an authentic regional identity. Made daily in-house – the house being the impressive A-listed former Herald building by Charles Rennie Mackintosh – the various pastas are carefully matched with sauces and ingredients traditionally found in regions of Italy, from Veneto to Sicily. The menu comprises nine mainstays and three seasonal specials – with tempting choices such as ravioli with veal, potato and cavolo nero from Emilia Romagna, and Sicilian squid ink pasta with baby squid ragu and lemon pangrattato. Chitarra (named after the wire ‘guitar’ that’s used to form the noodles) takes on bold saucing with confit tomatoes, chilli and punchy anchovies. A selection of sides include wild boar salami, burrata with sweet San Marzano tomatoes and excellent sourdough bread, while a short dessert menu features icecream, lemon tart and ricotta-stuffed cannolo with pistachio and chocolate. Portions are well-judged – ample, not overwhelming – and, as with the Paesano pizzerias, there’s a no booking policy, so be prepared to wait at busy times.

SUGO PASTA 70 Mitchell Street, City Centre, Glasgow, G1 3LN, sugopasta.co.uk £15 (lunch/dinner)

The best of the new restaurant, café and bar openings in Glasgow and Edinburgh. Prices shown are for an average two-course meal for one.

Glasgow

BOWLARAMA BOWLING ALLEY & TIKI BAR 20 Glassford Street, Merchant City, 0141 553 1100, bowlarama.co.uk, £15 (lunch/dinner) Scotland’s first late-night ten-pin bowling alley has proved an attractive solution for those gonestale office parties. Owned by Glasgow’s Tiki Bar proprietor, Ian McColm, this boozy skittle alley holds a restaurant, tiki bar and four lanes of ten-pin fun featuring prime Brunswick equipment. The menu is US-inspired, with generous portions of deep-fried starters the precursor to stacked burgers. If a patty isn’t what you’re looking for then maybe their duck and waffle is. Plus there’s an array of cocktails to liven things up. One game can go rather quickly so book a few rounds for added fun.

VIN-CRU WINE BAR Merchant Square, Merchant City, 0141 553 1786, vincru.wine, £14 (lunch/dinner) It’s ‘East meets West’ with this new wine bar from members of the Dennistoun Bar-B-Que and the Hug & Pint. It’s an expression of the style for 2020, with all the 40-plus wines being natural, biodynamic or low-intervention – and a focus on accessibility. Food is principally tacos, which could jar a bit (matching wine with Mexican) but veggie ones have the H&P’s pedigree, and DBBQ’s slow-cooked meats hit all the right points with smoky, slurpy gusto. They’re all about

£4, as is a pint of Tennent’s. These constituent parts might not quite make overall sense, just yet, but there’s plenty to invest in.

GLORIOSA BISTRO 1321 Argyle Street, West End, 0141 334 0594, gloriosaglasgow.com, £18 (lunch) / £28 (dinner) Chef-proprietor Rosie Healy’s new venture offers similarly sublime yet simple Mediterranean dishes that marked her out at former kitchen Alchemilla. It’s in the old Firebird spot – looking clean and bright with exposed support beams and white walls adorned with a France-Lise McGurn mural. The menu is ever-evolving but expect delicious little flatbreads, Ottolenghi-spicerack dishes of seasonal meat, fish and veg, along with seafood pasta, ceviche and clever little salads that sing. Wines are all natural and from small producers, and there’s a handful of classic cocktails.

Edinburgh THE CAULDRON COCKTAIL BAR 57a Frederick Street, New Town, 01314661973, thecauldron.io/edinburgh, £35 (cocktail experience) This wizard-themed speakeasy has now confirmed permanent tenure in its basement nook on Frederick Street. Their immersive cocktail experience sees participants don wizarding robes and wave gnarled, old wands around while concocting bubbling cocktails in (you guessed it) a cauldron. There’s just the right level of dry ice and self-aware humour from your ‘potions master’ to avoid cringing. The resulting drinks from the ‘potions class’ are potent and please

anyone with a sweet tooth (a virgin version is also available). The bar serves bookish and fantasythemed cocktails, with the Basil Bramble, garnished with fresh basil from the bar’s space-age plant pods, stealing the show.

MASTI INDIAN RESTAURANT 86 Morningside Road, Morningside, 0131 447 4777, masti.uk, £15 (lunch/dinner) This casual space in an old Bruntsfield townhouse has a relaxed atmosphere. Exposed brick walls show off the skeleton of the building while the deep green paint job and sparkling chandeliers add a splash of class. The food is served tapas-style, a nod to India’s street plate culture. Onion bhajis are a crisp, light start. Chicken tikka masala is succulent and fresh. Goan fish curry is a welcome detour from the classics and ordering it rewards with a spicy yet fruity taste of the tropics. BYOB keeps the pricetag cheerfully low, and a thick and refreshing mango lassi means you don’t even miss the booze anyway.

LE MONDE COCKTAIL BAR 16 George Street, New Town, 0131 270 3939, lemondehotel.co.uk, £18 (lunch/dinner) Boasting a fresh refurbishment, this renowned cocktail bar on George Street oozes class, just like the extensive cocktail list. The refreshing Berlin cocktail has a cleansing snap of watermelon for those that don’t like anything too sickly sweet. The wine-list focus is champagne with Laurent-Perrier being the star. After the breakfast menu ends, the market menu continues until late, featuring tapasstyle plates. The spinach and cheese croquettes are gooey on the inside and crispy on the outside. Elsewhere, there’s a nod to Scottish tradition in dishes like the juicy chicken thigh in a whisky haggis sauce, and the vegan cranachan which has a delightful coconut hint.

Independent write-ups on all the restaurants worth knowing about in Glasgow and Edinburgh are available on our online Eating & Drinking Guide at list.co.uk/food-and-drink 52 THE LIST 1 Feb–31 Mar 2020

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Art Heals Wellbeing & Body Art Workshops with Fantoosh We’re planning some beautiful, unique & simple art based workshops with theraupetic intent. They will be small, fun group sessions run in central-ish Edinburgh locations (or could be held at your workplace) To ﬁnd out more & note your interest simply e-mail lynn@fantooshart.co.uk

Special Easter Sunday Funday Interact with cute animals from Urban Nature Retreat Sunday 5th April | 10am-4pm | open to all | age 0-14

We are open every Sunday throughout the year at

22 Eyre Place Lane, Edinburgh EH3 5EH

theyardscotland.org.uk/SundayFunday Scotland Yard Adventure Centre (known as The Yard) is a registered Scottish Charity SC002538 and Private Limited Company registered in Scotland 101671.

16TH MAY 2020

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EDINBURGH WELLBEING FESTIVAL Basement Jaxx’s Felix Buxton collaborates with the Got Soul Choir The Edinburgh Wellbeing Festival returns to the Assembly Rooms with talks and classes covering topics from menopause to mindfulness, disco yoga to plant-based diets, and with guest speakers including BBC Breakfast doctor Rangan Chatterjee, zero-waste chef Max La Manna, and endae. Ut quia parchit, venis quae maion est Dame Kelly who willmolorum be running one of her new Toriame queHolmes, volo magnate quoditatis aperit acesto excesciatque voluptatet, iusci Military in et Motion classes. aut ex es moluptas aut expeliquisit porectem ex et que volesse quiamus, Amongreictatur, the partner charities in attendance, for Life, ipicabo tenis eturio dit escitae pel Playlistcon sunt Music for Dementia 2020 and Alzheimer Scotland will joinfuga. Im imil mod que pore, tet debis maximusant fuga. Tioreriatur si occus sendae. audis velecat dolescipiet fugit, simusandi representatives from Edinburgh University to discuss research Oditatem quoditat fuga. Os aut ex elesequid ut doloratur, seque dende inum quamus exerum, on how music canea drastically improve quality of life for delici aciassincit si aces etur, quodthe maximet velesequas voloreperum qui si archil mo te dementia sufferers.faccum ex ea que plandem aut erita cus.Rem doluptatur?Evenda inum sitis mil eic tem. exAnd evendigendel eiur?Ommoloratia acesendis there are further holistic sounds from special guest Pudignis ipidellendi quo mo occupta tincto dance is molora Felix Buxton (pictured) of ebullient duo Basement Jaxx, dolo consed et autas seque estissi ommolor ectio. Orest earuptasita voles nimagniet is elignam, oditistor ab illecto‘Love Frequency’, who has written a bespoke composition, necerum fugit offictem et, omnim dia doluptat essintenis essiti quoditi to perform apelest with thearion Got Soul Choir. ‘I’veossitati been exploring the faccum eat. ut latquiproperties corem non anihil healing ofpor sound forilibeate several nus. years,’ says Buxton. Temos ex et harum quid et re, sequo et, Busdande voluptu reperis ‘Through my que explorations I found inihit a lot of the music that is peliqua eriamusapedi ate volumquis aborporrum es aut net,of sam restia being createdium andquis listened topra is “out tune” with ussequae as human eosRorrorent ut que esequos quassitate volore, sum,not que sitio molores nis untio our greatest beings and in etur alignment with us discovering parumquam con est omnissi modita veliquis aut offiindividuals. ciur ad potential as healthy, happy, enlightened One of the illiciant acesequam rem reperume best ways we can heal ourselves and make our cells resonate with joy is to sing with others, so it was a joy to be asked to create something with the Got Soul Choir.’ (Fiona Shepherd) ■ Assembly Rooms, Edinburgh, Sat 1 & Sun 2 Feb.

ABOREHENAT DOLUM

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1 Feb–31 Jun–31 Aug Mar 2020 2019 THE LIST 55

AROUND TOWN | HIGHLIGHTS

AROUND TOWN HIGHLIGHTS Events are listed by city, then date. Submit listings for your event at list.co.uk/add

GLASGOW GLASGOW THREE AGES POETRY SLAM Tron THE Theatre, BLEND BY SunCHIVAS 7 Apr, tron.co.uk Mharsanta, until Wed Feb, chivas. Three teams of poets go 5head-tocom in Learn history of Chivas head this about poetrythe slam competition, Regal and craftsmanship divided upthe intoskills ageand categories it takes to make their signature blended ‘Teens’n’Twenties’, ‘Thirtysomethings’ whisky with a complimentary drink in hand. and ‘Old Enough to Know Better’. Then, getbyhands-on and create your own Hosted Robin Cairns. whisky, with a 200ml bottle blend to take home that night. MODEL RAIL SCOTLAND SEC, Fri 21–Sun 23 Feb, modelrailscotland.co.uk The model rail

exhibition fires up its engines for another year of displays, new designs and practical advice. HINA MATSURI JAPANESE SPRING FESTIVAL Kibble Palace, Sat 29 Feb, japanese-matsuri-glasgow.org.uk Take part in this celebration of Japanese culture by checking out a spot of taiko drumming, trying your hand at origami and sampling some Asian sweets. HARLEM GLOBETROTTERS Braehead Arena, Thu 5 Mar, harlemglobetrotters.com The Harlem Globetrotters, known for their international basketball skills, perform some of their best tricks and slams. Check out the skills of Special K Daley, Big Easy Lofton, Flight Time Lang and

the rest. Also touring, see list.co.uk/ days-out for details. CIRQUE DU SOLEIL: CRYSTAL Braehead Arena, Wed 11–Sun 15 Mar, cirquedusoleil.com Acclaimed circus company Cirque du Soleil blend acrobatics, aerial arts and ice skating in their new production Crystal. Also touring, see list.co.uk/days-out for details.

EDINBURGH MOONSTRUCK: 500 YEARS OF MENTAL HEALTH Royal College of Physicians of Edinburgh, until Fri 28 Feb, rcpe. ac.uk An exhibition that explores the changing understanding of mental health over the past 500 years.

PHOTO: CHRIS SCOTT

A CELEBRATION OF CHINESE CULTURE St Cecilia’s Hall, Sat 1 Feb, stcecilias.ed.ac.uk A celebration of Chinese culture, featuring music, song, poetry and dance, in celebration of the Chinese New Year. BEN FOGLE: TALES FROM THE WILDERNESS King’s Theatre, Sun 2 Feb, benfogle.com TV adventurer Ben Fogle tours with his latest evening of storytelling. Also touring, see list. co.uk/days-out for details. YEAR OF THE RAT CELEBRATION CONCERT Royal Botanic Garden Edinburgh, Thu 6 Feb, rbge.org.uk The Rainbow Melodies music ensemble from Tianjin University perform a selection of Chinese folk music on traditional instruments, such as the erhu, Chinese zither, drums, pipa and suona horn. CAPITAL SCI-FI CON Corn Exchange, Fri 14–Sun 16 Feb, capitalscificon.co.uk Science-fiction convention aiming to raise funds for Children’s Hospices Across Scotland (CHAS). There will be large-scale props from movies plus live special

Museum Late: Jurassic Party

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XXX MANIPULATE Xxxx FESTIVAL Xxxx Various venues, Edinburgh, Fri 31 Jan–Sat 8 Feb, manipulatefestival. org World-class animation, puppetry and related performing arts of all styles and techniques from a range of international artists and companies. The

56 THE LIST 1 Feb–31 Jun–31 Aug Mar 2020 2019

2020 event features late-night music events, café-cabarets, workshops and more. See feature, page 20. GLASGOW FILM FESTIVAL Various venues, Glasgow, Wed 26 Feb– Sun 8 Mar, glasgowfilm. org/glasgow-filmfestival Since 2005,

Scotland’s fastest-growing film festival has become a force to be reckoned with. See feature, page 32. MUSEUM LATE: JURASSIC PARTY National Museum of Scotland, Edinburgh, Fri 13 Mar, nms.ac.uk See the dinos from the museum’s newest exhibition, Tyrannosaurs,

effects presentations, retro gaming consoles, trade stalls and a cosplay competition. Actors and voice-over artists make appearances over the weekend along with cult comic book illustrators and writers AUDACIOUS WOMEN FESTIVAL Various venues, Fri 21–Sun 23 Feb, audaciouswomen.scot A festival for and by women with something to give – breaking down personal, political and institutional barriers and giving a massive shout out to women everywhere. EDINBURGH’S FESTIVAL OF IRELAND Various venues, Fri 13–Sat 21 Mar, edinburghsfestivalofireland. org A little bit of Ireland descends upon Edinburgh around St Patrick’s Day as the city celebrates the rich culture of the Emerald Isle. This is a multi-arts, familyfriendly celebration of the links between Edinburgh and Ireland, with storytelling, music, comedy and lots and lots of dancing.

OUT OF TOWN DUNDEE WOMEN’S FESTIVAL Various venues, Dundee, Sat 29 Feb–Sat 14 Mar, dundeewomensfestival.org.uk Two weeks of events, dramas, discussions and workshops, the theme for 2020 is ‘Women Making Waves’. The idea is to keep informed, stay confident and make a difference. FIFE WHISKY FESTIVAL Cupar Corn Exchange, Fri 6–Sun 8 Mar, fifewhiskyfestival.com The Fife Whisky Festival brings 30 distilleries and independent bottlers from all over Scotland to showcase their whisky wares. LOCHWINNOCH ARTS FESTIVAL Various venues, Lochwinnoch, Fri 6–Sun 29 Mar, lochwinnochartsfestival.co.uk Lochwinnoch’s annual arts festival is a celebration of music, art, dancing and theatre.

after dark and enjoy a series of themed activities. GLASGOW VEGAN FESTIVAL Hampden Park, Glasgow, Sat 28 Mar, veganeventsuk.co.uk/ glasgow-veganfestival Plenty of exciting vegan food stalls, talks, demos and workshops for kids.

PUPPET ANIMATION FESTIVAL Various venues, Scotland, Sat 28 Mar–Sat 18 Apr, puppetanimationfestival. org The UK’s largest and longest established annual performing arts event for children pulls some strings to present a feast of puppet-based xxxx entertainment.

BOOKS FOR THE LATEST NEWS, LISTINGS AND REVIEWS, GO TO LIST.CO.UK /BOOKS

AYE WRITE! Glasgow’s annual lit fest lights up the cultural calendar

PHOTO: MURDO MACLEOD

Aye Write! is back with a bang, again hosted by the beautiful Mitchell Library and with a programme as generous and intriguing as always. Highlights include Booker winner Bernardine Evaristo, TV and fiction powerhouse Prue Leith and dancer extraordinaire Anton du Beke. Taking place over 18 jam-packed days, the festival puts the main focus on weekends but with several midweek treats throughout. There’s also a day of events for young readers scheduled before the main festival starts, so pop 7 March in your diary if you have little bookworms at home. Check out the specific strand of free events, including a talk from Jemma Neville on her new book Constitution Street: Finding Hope in the Age of Anxiety, The Scottish Writers’ Centre Open Speakeasy and much more. Keen writers will love the robust selection of masterclasses and workshops for creative types while book lovers can hear about Maggie O’Farrell’s striking new book Hamnet and Sally Magnusson’s historical treat The Ninth Child. Hasan Kubba and Ash Ali will reveal the secrets to start-up success in an event about their book An Unfair Advantage while important questions will be asked in a series of events featuring local politicians. Make sure you head along to this showcase of sizzling authors. (Lynsey May) ■ Mitchell Library, Glasgow, Thu 12–Sun 29 Mar.

1 Feb–31 Mar 2020 THE LIST 57

BOOKS | PREVIEWS & REVIEWS FESTIVAL

PAISLEY BOOK FESTIVAL PHOTO: MAHTAB HUSSAIN

Nikesh Shukla

Various venues, Paisley, Thu 20–Sat 29 Feb Paisley is in for a literary treat as its brand new book festival brings brilliant authors to town. The ten-day bonanza is packed with events reflecting the theme Radical Voices and Rebel Stories, and celebrates Paisley’s contribution to the Radical Wars of 1820 on its 200-year anniversary. Supported as part of Future Paisley, the festival is a timely addition to Scotland’s roster of bookish celebrations. Sarah Stewart, who will be reading from her poetry pamphlet Glisk, says, ‘we've never needed a festival full of grassroots activism and political conversation more’, while Dean Atta, part of the Writing Queer Identities event, reminds us that just because ‘some voices are getting airtime and book deals, that does not mean all the work has been done’. The opening event, Renfrewshire Rebels, will start the festival as it means to go on, with author Maggie Craig, poet Jim Carruth and singer-songwriter Heir of the Cursed. The wider programme includes plenty of readings and insights from rebellious writers of all stripes, including Jackie Kay, Nikesh Shukla, Hollie McNish, Kirsty Wark and Jenni Fagan. There will also be a variety of in-depth discussions, such as a panel focusing on access to publishing. Panellist and award-winning writer Ever Dundas promises it will be ‘something to get your teeth into, specifically focusing on disability and chronic illness because they’ve been neglected. And we’re not just playing lip service; we’re all working to make a difference.’ Be part of the change, dance in the aisles at a gig from the Fun Lovin’ Crime Writers or raise a glass at the Birthday Bash for John Byrne: Paisley Book Festival has got it all. (Lynsey May)

FAMILY DRAMA

CONTEMPORARY DRAMA

HISTORICAL FICTION

All This Could Be Yours (Profile Books) ●●●●●

Gathering Evidence (Atlantic) ●●●●●

The Shadow King (Canongate) ●●●●●

JAMI ATTENBERG

Jami Attenberg’s seventh novel invites us into the aftermath of a family that’s already unravelled. Victor Tuchman, a criminal and womaniser who never quite had to face the music, is in a coma following a heart attack. His wife and adult children are left with a multitude of unresolved questions. Some people have a power and a presence that seems to defy all sensibility, and here Attenberg examines the prevalent cultural anomaly that allows large and unpleasant characters to dominate the world around them as they receive undeserved love and adoration. Everything is already too late for Tuchman, and there’s no space for him to explain himself. And what a relief, given this era’s excuses, rebuttals and insincere confessions. As Victor dies, we dive deeply into the lives of his wife and children. Barbara, obsessed with tracking her daily steps, is silent when it comes to her husband’s indiscretions. Daughter Alex, a bitingly empathetic character, is desperate to know the truth, while brother Gary stays away, digesting more honesty than he ever wanted. Attenberg effortlessly swoops between points of view to hone in on the moments that best display people as they are, their travails recorded with a satisfyingly empathetic brusqueness. The novel is a paean to self-protection, hope, and the hard truth that in relationships, even familial ones, ‘sometimes love only works one way’. (Lynsey May) ■■Out Thu 5 Mar. 58 THE LIST 1 Feb–31 Mar 2020

MARTIN MACINNES

Martin MacInnes’ second novel starts with a neat but predictable sci-fi story about an addictive app which takes over the world. Thankfully, the Invernessborn author is just warming up. From the second section onwards, Gathering Evidence is every bit as disconcertingly engrossing as its acclaimed predecessor, Infinite Ground. Shel and John are a young couple making a life together. Shel is a scientist on an extended research trip, studying one of the last living troops of bonobo chimpanzees, in a national park controlled by an authoritarian corporation. Soon after she leaves, John, a coder, suffers an accident. He awakes in their home with no memory, and all communication is denied to him by a sinister doctor. Shel and John face urgent, parallel projects: hers is to gather understanding, his to recover it. The characters, like MacInnes’ prose, are sometimes obsessively insistent, sometimes forensically patient. The book makes a conspiracy theorist of the reader, sending them scavenging across the pages for clues and cyphers. Gathering Evidence sits comfortably alongside peers such as Jeff VanderMeer’s Annihilation and Anna Lowenhaupt Tsing’s The Mushroom at the End of the World as a superbly current novel of 21stcentury pattern recognition, portraying a world where digital advancement and environmental devastation might be the same thing. (Aran Ward Sell) ■■Out Thu 6 Feb.

MAAZA MENGISTE

For her second novel, The Shadow King, Maaza Mengiste depicts a subject matter unfamiliar to any British schoolchildren who studied history. Set during Italian dictator Benito Mussolini’s 1935 invasion of Ethiopia, it puts the spotlight on the women soldiers who were written out of African history. Centred around an orphan named Hirut, we are introduced to the girl as she tries adjusting to a tough new life as the maid to Kidane (an officer in Emperor Haile Selassie’s army) and his wife Aster. But when the war begins, Hirut and Aster are forced to team together with other women to help in Ethiopia’s fight against Mussolini’s colonisers. The novel shifts from multiple perspectives, allowing its readers to be in the heads of the enemies and our heroes, creating an epic, lyrical and often contradictory account of war. Mengiste’s inspiration from myth is palpable throughout and sections entitled simply as ‘chorus’ provide a collective voice on the narrative, as they do in Greek tragedies. Although it has been described in its publicity campaign as ‘unputdownable’, it cannot truly be described as such: the multiple changing viewpoints and way in which it so starkly portrays violence may compel the reader to have a few moments away. However, the beauty of Mengiste’s words makes you come back to the author and her women soldiers until the end. (Katharine Gemmell) ■■Out now.

HIGHLIGHTS | BOOKS

BOOKS HIGHLIGHTS GLASGOW FREE ASSOCIATION & MARTA FONTANA TRANSLATING JOYCE LUSSU CCA, Thu 13 Feb, cca-glasgow. com Learn how to translate the work of Italian anti-fascism and anti-imperialist activist, poet, writer and translator Joyce Lussu at this workshop with Marta Fontana. AN EVENING WITH JAMES OSWALD Waterstones, Tue 18 Feb, waterstones.com Crime writer James Oswald discusses the tenth book in his Sunday Times-bestselling Inspector McLean series, Bury Them Deep. Also touring, see list.co.uk/books for details. DAVID LEVITHAN, ALICE OSEMAN, DEAN ATTA AND RYAN LA SALA Waterstones, Fri 28 Feb, waterstones.com Four Young Adult writers discuss their latest works. CREATIVE CONVERSATIONS: TESSA HADLEY Glasgow University Memorial Chapel, Mon 23 Mar, gla.ac.uk Novelist and short story writer Tessa Hadley talks about her work as part of this series of conversations sponsored by the Ferguson Bequest and programmed by Creative Writing at University of Glasgow.

EDINBURGH WATCHMAKER’S WIFE: BOOK LAUNCH Scottish Storytelling Centre, Sat 8 Feb, scottishstorytellingcentre. com Well-known children’s novelist Janis Mackay ventures into the world of writing for an adult audience with an historical fiction/memoir based on the

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WINTER XXX WORDS FESTIVAL Xxxx Xxxx Pitlochry Festival Theatre, Thu 13–Sun 16 Feb, pitlochryfestivaltheatre. com/winter-words-2020 A chilled-out book fest with author events, storytelling sessions, movement workshops and literary lunches. Confirmed authors for 2020 are Val McDermid,

life of her grandmother.

PHOTO: THE FINE ART SOCIETY

Events are listed by city, then date. Submit listings for your event at list.co.uk/add

STACEY HALLS: THE FOUNDLING Blackwell’s South Bridge, Mon 10 Feb, blackwells.co.uk Evening with Stacey Halls in celebration of her second novel, The Foundling. Also touring, see list.co.uk/books for details. CAPITAL SCI-FI CON Corn Exchange, Fri 14–Sun 16 Feb, capitalscificon.co.uk Science-fiction convention aiming to raise funds for Children’s Hospices Across Scotland (CHAS). There will be large-scale props from movies plus live special effects presentations, retro gaming consoles, trade stalls and a cosplay competition. Actors and voiceover artists make appearances over the weekend along with cult comic book illustrators and writers. AN EVENING WITH ELLY GRIFFITHS Waterstones West End, Mon 17 Feb, waterstones.com Evening event with Elly Griffiths in celebration of the release of her newest novel, The Lantern Men. Also touring, see list. co.uk/books for details. OLGA WOJTAS BOOK LAUNCH Topping & Company Booksellers, Tue 18 Feb, toppingbooks.co.uk Lauch event for the second Shona McMonagle mystery by Edinburgh author Olga Wojtas. EDINBURGH’S MEDICAL DETECTIVES: THE RETURN OF SHERLOCK HOLMES Surgeons’ Hall Museums, Thu 20 Feb, museum.rcsed.ac.uk Learn about Edinburgh’s 19th century ‘medical detectives’ and how they influenced literature’s most famous detective. GILL HORNBY ON MISS AUSTEN Topping & Company Booksellers, Thu 27 Feb, toppingbooks.co.uk Gill Hornby discusses her novel Miss Austen, which explores the mystery

John Byrne, appearing at Paisley Book Festival

behind Cassandra Austen’s burning of her sister Jane’s letters. Also touring, see list.co.uk/books for details. TRAWLERMAN’S TURQUOISE: MATTHEW CALEY Typewronger Books, Fri 6 Mar, typewronger.com Poet Matthew Caley discusses his sixth poetry collection, Trawlerman’s Turquoise. THE SHAME GAME BY MARY O’HARA Lighthouse Bookshop, Thu 10 Mar, lighthousebookshop.com Chaired discussion with activist and filmmaker Paul Sng and award-winning journalist and writer of Austerity Bites, Mary O’Hara. CONVERSATIONS WITH RODDY DOYLE Queen’s Hall, Thu 12 Mar, thequeenshall.net A celebration of the career of one of Ireland’s bestloved writers, Roddy Doyle, followed by a book signing.

OUT OF TOWN THE CREATIVITY CODE V&A Dundee, Thu 6 Feb, vam.ac.uk Talk by Professor of Mathematics at the University of Oxford, Marcus du Sautoy, on the nature of creativity and robotics, followed by a book signing. GRANITE NOIR Various venues, Aberdeen, Thu 20–Sun 23 Feb, granitenoir.com Aberdeen’s crime writing festival

Sir Tom Devine, Professor Christopher Whatley, Sue Armstrong and Esther Rutter. PAISLEY BOOK FESTIVAL Various venues, Paisley, Thu 20–Sat 29 Feb, paisleybookfest. com Brand new book festival with the theme Radical Voices and Rebel

Emma Jane Unsworth

Stories. Featuring guest appearances from Jenni Fagan, Emma Jane Unsworth, Val McDermid, Christopher Brookmyre and Doug Johnstone.

returns for a third year with author events, workshops and family shows. JAMES OSWALD IN CONVERSATION WITH NEIL BROADFOOT Waterstones, Kirkcaldy, Fri 21 Feb, waterstones.com James Oswald discusses his new novel, Bury Them Deep, with fellow crime writer Neil Broadfoot. Also touring, see list. co.uk/books for details. BREAKING BONES FOR FUN: CARO RAMSEY Aberdeen Central Library, Aberdeen, Sun 23 Feb, aberdeenperformingarts.com Caro Ramsey leads this workshop drawing on her experience as a writer and osteopath to describe the injuries most commonly obtained during fight scenes. OFF THE PAGE STIRLING BOOK FESTIVAL Various venues, Stirling, Thu 5–Sun 8 Mar, stirling.gov.uk/offthepage This exciting local book festival features a wide range of authors and speakers for adults and children of all ages. DON PATERSON: ZONAL Topping & Company Booksellers, St Andrews, Wed 11 Mar, toppingbooks.co.uk Award-winning poet Don Paterson launches his newest poetry collection, Zonal, which takes inspiration from the first series of The Twilight Zone.

STANZA: SCOTLAND’S POETRY FESTIVAL Various venues, St Andrews, Wed 4–Sun 8 Mar, stanzapoetry. org The cleverly titled StAnza is a literary festival that focuses on verse. Enjoy readings, performances, slams, open mics, jazz, films, workshops and poetry-

related art exhibitions and installations from local and international wordsmiths. AYE WRITE! GLASGOW’S BOOK FESTIVAL Various venues, Glasgow, Thu 12–Sun 29 Mar, ayewrite.com A festival celebrating Scottish and international xxxx and writing. writers

1 Feb–31 Mar 2020 THE LIST 59

COMEDY COMEDY

Fo the latestr n listings a ews, reviews, g nd FOR THEo to list.coNEWS, .uk LATEST /comedyAND LISTINGS REVIEWS, GO TO LIST.CO.UK /COMEDY

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 ommolor earuptasita nimagniet is elignam, oditistor ab illecto Only people whoectio. have Orest worked together voles and known each other for decades would even consider necerum fugittooffi ctemabout et, omnim dia doluptat essintenis apelest arion essiti quoditi ossitatitravelling the world muck on stage and act like big kids. But the two Martins, Steve and faccum eat.revelling in such daft antics for so long that it seems plausible that they know ut latqui corem non por anihil ilibeate nus. Short, have been quid et re, sequo et,Having initially teamed up on the Western spoof Busdande que voluptu reperis inihit no otherTemos way toex beetinharum one another’s company. sequae peliqua eriamusapedi volumquis aborporrum ium quis es aut pra net, sam restia Three Amigos, their finest moments ate on screen may be long behind them now (even those who eosRorrorent que quassitate volore, sum, que etur sitio molores nis untio loved Steve Martin’s ut run of esequos classic 80s comedy films find it difficult to forgive him for his wholly parumquam illiciant acesequam rembut reperume con est omnissi modita veliquis aut officiur ad inadvisable Bilko and Clouseau remakes), both have enough goodwill in the bank to tease out crowds seeking a nostalgic fix. The Funniest Show in Town at the Moment is likely to continue in the vein the pair set in An Evening You Will Forget for the Rest of Your Life, which aired on Netflix in 2018 and went on to nab four Emmy nominations. Rolling Stone described their live shows as ‘wryly hip but unexpectedly touching’, and with punchlines flying quickly and self-mockery running rampant, this should be a night to remember for a reasonable period of time. (Brian Donaldson) ■ SSE Hydro, Glasgow, Mon 9 Mar.

STEVE MARTIN & MARTIN SHORT

Comedy icons team up for a night of gleeful banter

60 THE LIST 1 Feb–31 Jun–31 Aug Mar 2020 2019

STEWART LEE | COMEDY

list.co.uk/comedy

D I VI DE AND ‘I

didn’t get into this Although Lee doesn’t to get big crowds,’ adapt his show for says comedian individual cities, when Stewart Lee. ‘I got into he plays Glasgow is he it to be free to do what tempted to comment I want. People can come on Scotland’s position and see me if they want, now that we know the but it doesn’t make any election results? ‘If difference to the work something local fits I produce. I’d do it into the show without anyway, to no one.’ derailing it and pops up The less Lee panders naturally, yes. Before to his crowd, the more Brexit, I hoped Scotland they seem to like what he would stay in the UK. does. He wrote Content I would be much less Provider after the 2016 happy to be British if I Brexit referendum, didn’t feel Scotland was then toured it around part of that Britishness: As Stewart Lee straddles the line between ‘has-been and legend’, a divided Britain for I have undeserved over 18 months. ‘I don’t sentimental attachments his new two-part show is set to split audiences yet further. really change what I say to my Scottish ancestry Claire Sawers speaks to the man who once believed he was in different parts of the and for a brief period country,’ he explains. I mistakenly thought I rightful heir to the Marquess of Tweeddale ‘I am a graduate who was the rightful heir to works in the arts from a the title of Marquess of 78% Remain-voting constituency so obviously my attitude to Brexit Tweeddale, due to some misinformation on my adoption paperwork. reflects that. I wouldn’t be as aggressive about it now as I was last time The happiest I have ever been was in Orkney, and doing the Edinburgh I toured, because I don’t think anyone has got what they wanted, so it Fringe totally changed my life.’ just seems like a massive tragedy. But I’m not going to change who I Besides his stand-up, Lee is a huge champion of the musical am or what I think, even if it did mean losing audiences. They’ve gone underground. He’s written music reviews for The Sunday Times, did up if anything!’ a live Q&A in 2019 about his music and fiction favourites for The A live recording of Content Provider was shown on BBC iPlayer in Quietus, contributed a chapter on the Fall for The Wire Primers: A 2018 and watched by two million people. ‘Before it went out I grew Guide to Modern Music, and played a key role in the comeback of a massive beard and let myself go a bit so I didn’t get attacked in the folk legend Shirley Collins. What’s next? ‘I’m contributing to a live street. The problem is, I can’t seem to find my way back to normal piece by the brilliant medieval, minimalist improvisor/composer Laura now, so I look like a furry bin bag.’ Lee’s new live show Snowflake/ Cannell in the summer and I’m helping Michael Cumming [Brass Tornado sees him, in his own words, ‘negotiating the thin line between Eye and Toast of London director] make a film about Birmingham has-been and legend’. It’s two one-hour shows back to back: Tornado post-punk band the Nightingales. Hopefully it will avoid the usual is the story of Lee sharing a venue with a famous American comedian rockumentary clichés.’ and getting chased by his security team while Snowflake is more ideasStewart Lee: Snowflake/Tornado, King’s Theatre, Glasgow, driven, about political correctness from someone who describes himself Thu 26 Mar. as ‘a 1980s snowflake liberal’.

CO NQUER

1 Feb–31 Mar 2020 THE LIST 61

COMEDY | PREVIEWS STAND-UP

ALEX EDELMAN

The Stand, Edinburgh, Sun 1 Mar; The Stand, Glasgow, Sun 15 Mar Plenty has happened to Alex Edelman since he was last on Scottish shores storming the 2018 Fringe with his usual eloquent and intelligent analysis on contemporary mores. He’s been working on the third series of Radio 4’s Peer Group, with episode one due up on 5 February as it explores what it means to be ‘cool’. Meanwhile, he made another appearance on Conan last October arguing that Robin Williams is clearly the best comic who ever lived given that a sign-language gorilla called Coco was proven to be a big fan: ‘my comedy barely works if you’re not a Jew from New York City: Robin Williams crossed the species barrier,’ Edelman opined. That 2018 hour was Just for Us, his third full standup affair after the Edinburgh Best Newcomer-winning Millennial and its equally excellent follow-up, Everything Handed to You. This show was triggered by anti-Semitic hate on social media in 2018, and depressingly it’s no less pertinent in 2020. ‘Everyone gets abuse online but I find myself being disproportionately affected by stuff that makes me think that the Nazis are back, and that maybe there’s some real sinister thing going on that I’m not quite aware of. Twitter really was a big impetus for this show, but I also wanted to see the worst the world has to offer without me having to leave Manhattan.’ The reviews of Just for Us (at its core it’s about him infiltrating some NYC neo-Nazis in their own backyard) were golden, and an Edinburgh Comedy Award nomination deservedly ensued. ‘All of my shows have been a little journalisty,’ he states. ‘My first one was almost entirely a reportage of the different types of millennials I was meeting, and the second was about my brothers and religious identity. Yet this show is weirdly my most personal so far.’ (Brian Donaldson)

LOCAL LAUGHS SEZAR ALKASSAB

ANOTHER UP-AND-COMER HAS A GO AT OUR Q&A What’s the one thing you remember about your very first stand-up gig? I was 19, it was a five-minute spot at an open-mic night in London in front of 90 people. My legs were shaking. Luckily I was wearing quite loose jeans so I don’t think anyone noticed. I do remember when I sat back down my knees were bobbing up and down uncontrollably, with the MC, promoter and other comedians giving me praise. It was one of the most adrenaline-filled experiences I have ever felt. You’re curating your own ‘legends of comedy’ line-up: who are the bill’s top three acts? Patrice O’Neal, the greatest comedian of all time, Dave Chappelle who is the greatest living comedian, and Eddie Murphy who had a legendary career in comedy. I think he was 22 and 25 when he performed Delirious and Raw respectively. He went on to focus on acting, but those specials still hold up. 62 THE LIST 1 Feb–31 Mar 2020

Where do you draw the line when it comes to ‘offensive comedy’? Everything offends someone somewhere, but that doesn’t mean everything is offensive. Currently, we’re in this ‘has PC gone mad?’ era and I think comedians should be able to perform however they wish. But I also think audiences have a right to be offended if a comic is giving off a bigoted vibe. What’s the best piece of advice you’ve received from another comedian so far? Keep going, it’s as simple as that. There have definitely been stages where I could have easily just stopped doing it, but just by the fact I kept going and going, I always got better and progressed further. ■ Dram!, Glasgow, Mon 16 Mar; see much more of this q&a at list.co.uk/ comedy

PREVIEWS | COMEDY

list.co.uk/comedy STAND-UP DOUBLE-BILL

SOMETHING ICELANDIC Dram!, Glasgow, Fri 13 Mar

Fresh from her first solo Edinburgh Fringe show, Let it Snow, Snjólaug Lúdvíksdóttir returns to Scotland for a joint gig with Bylgja Babýlons. The pair bring us Something Icelandic in which you can expect plenty of jokes about their heritage and, since both comedians have spent time based in the UK, us Brits might even be on the receiving end of their decidedly black humour. For their split bill (there’s no chance of sharing the limelight, according to Lúdvíksdóttir, as they’re both way too narcissistic), each comedian will take 20-25 minutes to talk about their ‘miserable love lives, indigestion and hypochondria’ as well as the ins-and-outs of Icelandic culture. ‘The fantasy of the “feminist land of vikings and elves” will be ripped to pieces to reveal something much less dignified,’ insists Lúdvíksdóttir. A month-long run in Edinburgh last August highlighted Lúdvíksdóttir’s talents as a confident performer who doesn’t shy away from controversial material. The experience of performing every day to a comedy-savvy audience at the Fringe helped to hone her art, and she says that across a single month she ‘improved more than during five years in comedy’. It’ll be interesting to see how the Icelander applies those learnings to her new set. With just half a bill to play with, it’s sure to be a quickfire round of shots fired with no holds barred. (Lauren McKay)

PHOTO: MATT CROCKETT

MY COMEDY HERO

SARAH KEYWORTH

The Old Hairdressers, Glasgow, Fri 13 Mar; Monkey Barrel, Edinburgh, Mon 16 Mar I’m ten years old and in an area of rural France that I think is called Le Arse End of Le Nowhere. With my parents and my brother Tom, we’re camping in the garden of the oldest and best kind of friends: those with whom you do nothing but drink and reminisce. Unfortunately, I’m ten, so I can neither drink nor reminisce, and also we’ve just been visited by a swarm of hornets so Tom and I have barricaded ourselves inside the house, terrified. My parents’ friends say we can watch any of their DVDs, of which they have two: A Knight’s Tale and something called Absolutely Fabulous. The unreadable text on the latter’s box is crammed together in clashing colours, two gaudy looking women leering at the camera with cigarettes and wine glasses clutched in their hands. We opt for A Knight’s Tale. In fact, we opt for it twice. The adults are still drinking and so we turn our attention to Absolutely Fabulous. I can’t remember which episode we watched, but I vividly recall the exhilaration of watching something so joyously wicked and raucous. I remember laughing, shouting and running to tell my mum (braving hornets) every time Eddy fell out of a car/bed, or Patsy screamed ‘piss off’ at the dreadfully boring Saffy. I was scandalised and in awe. Now, whenever someone mentions AbFab or Jennifer Saunders, I'm transported back to that night when I realised just how gobby and stupid and thrilling comedy could be. (As told to Brian Donaldson)

204 ROSE STREET, EDINBURGH

EVERY FRI & SAT NIGHT DAVID BADDIEL 6 MAR

GRACE CAMPBELL 8 MAR

SCOTT GIBSON

6 FEB, 5 MAR

SONNET YOUTH 19 FEB, 18 MAR

12 FEB, 4 MAR

13, 27 FEB 12, 26 MAR

+ LOADS MORE!

FULL PROGRAMME & TIX at GILDEDBALLOON.CO.UK 1 Feb–31 Mar 2020 THE LIST 63

COMEDY | HIGHLIGHTS

COMEDY HIGHLIGHTS Events are listed by city, then date. Submit listings for your event at list.co.uk/add

GLASGOW MARK THOMAS: 50 THINGS ABOUT US Tron Theatre, Thu 6–Sat 8 Feb, tron.co.uk Storytelling and stand-up about British identity and the ‘divided wasteland that some of us call the United Kingdom’. Also touring, see list.co.uk/comedy for details. FOIL, ARMS AND HOG King’s Theatre, Sun 23 Feb, atgtickets.com/venues/kingstheatre-glasgow Surreal and energetic sketch comedy from the Irish trio. JOHN KEARNS: DOUBLE TAKE AND FADE AWAY The Stand, Sat 29 Feb, thestand. co.uk/glasgow The only ever winner

of both the Best Show and Best Newcomer Edinburgh Comedy Awards presents his latest show.

uncomfortable truths in his latest hour. Also The Stand, Edinburgh, Sun 15 Mar, thestand.co.uk/edinburgh

STEVE MARTIN & MARTIN SHORT SSE Hydro, Mon 9 Mar, thessehydro.com The comedy legends bring their Funniest Show in Town at the Moment tour across the pond. See preview, page 60.

UNCLES: ONE FOR THE ROAD Tramway, Fri 13–Sun 15 Mar, tramway.org Robert Florence and Iain Connell put the world to rights over a pint or two.

SARAH KEYWORTH: PACIFIC The Old Hairdressers, Fri 13 Mar, theoldhairdressers.com The Edinburgh Comedy Award Best Newcomer nominee considers the small stuff in her latest hour. See My Comedy Hero, page 63. Also Monkey Barrel, Edinburgh, Mon 16 Mar, monkeybarrelcomedy.com JAMALI MADDIX: STRIP CLUB EINSTEIN Blackfriars Basement, Fri 13 & Sat 14 Mar, jamalimaddix.com The comedian reflects on social change and

OLGA KOCH: IF/THEN The Old Hairdressers, Sat 14 Mar, theoldhairdressers.com Edinburgh Comedy Award nominee shares a tale of love through the medium of computer programming. Also Monkey Barrel, Edinburgh, Sun 15 Mar, monkeybarrelcomedy.com FERN BRADY: POWER & CHAOS/ ALFIE BROWN: IMAGINATION Òran Mór, Sun 15 Mar, oran-mor. co.uk Double-bill of superb comedy performances taking place for live recording. LAUREN PATTISON: WORK IN PROGRESS The Hug and Pint, Sun 15 Mar, thehugandpint Work-in-progress show from the former Edinburgh Comedy Award Best Newcomer nominee. LARRY DEAN: FUDNUT King’s Theatre, Fri 20 Mar, atgtickets.com/venues/kingstheatre-glasgow Stand-up comedy from the well-respected young Scot. Also touring, see list.co.uk/comedy for details.

Kerry Godliman

HITLIST

JORDAN BROOKES: I’VE GOT NOTHING Monkey Barrel, Edinburgh, Sun 8 Mar, monkeybarrelcomedy. com A chance to catch last year’s Edinburgh Comedy Award winner. See feature, page 40. Also The Old Hairdressers, Glasgow, Fri 13 & Sat 14 Mar, theoldhairdressers.com

64 THE LIST 1 Feb–31 Mar 2020

EDINBURGH FLO & JOAN The Stand, Sun 9 Feb, thestand. co.uk/edinburgh Musical comedy duo and actual sisters Flo & Joan are travelling the country with a new hour of their dark and witty songs. Also The Stand, Glasgow, Mon 10 Feb, thestand.co.uk/glasgow JOHN-LUKE ROBERTS: AFTER ME COMES THE FLOOD (BUT IN FRENCH) DRIP SPLOSH SPLASH DRIP BLUBBP BLUBBP BLUBBPBLUBBPBLUBBP!! Monkey Barrel, Tue 25 Feb, monkeybarrelcomedy.com Comedy show from the critically acclaimed John-Luke Roberts. Also The Stand, Glasgow, Wed 26 Feb, thestand. co.uk/glasgow ALEX EDELMAN: JUST FOR US The Stand, Sun 1 Mar, thestand. co.uk/edinburgh The third solo show by the former Edinburgh Comedy Award Best Newcomer winner. See preview, page 62. Also The Stand, Glasgow, Sun 15 Mar, thestand. co.uk/glasgow

FRANKIE BOYLE: WORK IN PROGRESS The Stand, Mon 23–Mon 30 Mar, thestand.co.uk/glasgow Work-inprogress from the inimitable Frankie Boyle.

DAVID BADDIEL: TROLLS – NOT THE DOLLS Gilded Balloon Basement, Fri 6 Mar, gildedballoon.co.uk One-man show from David Baddiel about his interactions with internet trolls. See First & Last, page 112. Also touring, see list.co.uk/comedy for details.

SUSIE MCCABE: BORN BELIEVER King’s Theatre, Sat 28 Mar, atgtickets.com/venues/kingstheatre Join the former Scottish Headliner of the Year and Glasgow favourite for her new show as she plays the biggest gig of her life. No pressure.

KERRY GODLIMAN: BOSH The Stand, Tue 24 Mar, thestand. co.uk/edinburgh The stand-up and actress is back on tour to discuss her needy cat, the pitfalls of camper-van ownership, mum guilt and more. Also The Stand, Glasgow, Wed 25 Mar, thestand.co.uk/glasgow

TAROT The Old Hairdressers, Glasgow, Sun 15 Mar, theoldhairdressers. com Sketch comedy from the twisted minds behind Gein’s Family Giftshop and Goose. TREVOR NOAH: LOUD & CLEAR SSE Hydro, Glasgow, Fri 20 Mar,

CATHERINE BOHART: LEMON Blackfriars Basement, Sun 29 Mar, catherinebohart.com The Irish comedian returns with her hilarious second hour about sex, relationships and the Teenage Mutant Ninja Turtles.

thessehydro.com Host of The Daily Show returns with his new set.

JANEY GODLEY’S SOUP POT TOUR King’s Theatre, Glasgow, Sun 22, Wed 25 Mar, atgtickets.com/ venues/kings-theatreglasgow Voice-overs and more from the Godmother of Scottish comedy. See feature, page 42. Also Byre Theatre, St Andrews, Tue 3 Mar, byretheatre.com

STEWART LEE: SNOWFLAKE/ TORNADO King’s Theatre, Glasgow, Thu 26 Mar, atgtickets.com/ venues/kings-theatreglasgow A double-bill of two hour-long sets from the comedy legend who will hopefully still upset all the right people. See feature page 61.

FILM FOR THE LATEST NEWS, LISTINGS AND REVIEWS, GO TO LIST.CO.UK /FILM

GLASGOW FILM FESTIVAL SPECIAL EVENTS The popular festival’s 16th edition features a special events programme that’s out of this world For the weekend of Fri 28 Feb–Sun 1 Mar, Argyle Street Arches becomes Neo Glasgow, as the Glasgow Film Festival welcomes science-fiction fanatics to its special events programme. You’ll enter a dystopian future where you must trust no one and fight to survive . . . but still enjoy special on-site events, high-tech light installations and interactive pop-up performances. It doesn’t get much more futuristic than Total Recall (Fri 28 Feb), where the titan of sci-fi, Arnold Schwarzenegger, has a recurring dream about Mars that puts his life at stake. The following evening, it’s time for rebellion alongside Tank Girl (Sat 29 Feb), as the planet begins to run out of water. The younger sci-fi fans are not forgotten either, with a screening of the muchloved Wall-E (Sun 1 Mar), while the grown-ups get busy escaping a zombie infection with Train to Busan (Sun 1 Mar).

If you like a good mystery, the GFF is also holding its traditional Surprise Film screening (Wed 4 Mar), where even the projectionists have no idea what’s going on. If you’d rather know what you’re watching, but don’t mind a little surprise as to where, this year’s secret location screening, presented by The List in partnership with the Glasgow Film Festival, is Final Destination (Thu 5 Mar). They can see death coming, but can they avoid it? Closing the special events programme is the timeless John Hughes classic The Breakfast Club (Sat 7 Mar). Afterwards, pump your fist high in the air at the class of 1984 school dance, as you reminisce about all the greatest hits of the 80s . . . unless you get detention. (Sofia Matias) ■ Glasgow Film Festival, various venues, Glasgow, Wed 26 Feb–Sun 8 Mar.

1 Feb–31 Mar 2020 THE LIST 65

CMY

REVIEWS | FILM

list.co.uk/film

BIOPIC

SCIENCE FICTION

(15) 131min ●●●●●

(12A) 127min ●●●●●

(12A) 105min ●●●●●

RICHARD JEWELL Clint Eastwood continues his run of true stories about unlikely American heroes (American Sniper, Sully, The 15:17 to Paris, The Mule), directing a gripping drama about security guard Richard Jewell who saved countless lives at 1996’s Atlanta Olympics bombing, only to be accused of planting the bomb himself. Jewell is played by Paul Walter Hauser, an actor best known for small roles in BlacKkKlansman and I, Tonya. He plays Jewell as a schlubby mama’s boy who gets into trouble for overzealous behaviour in his various security jobs. That behaviour ends up saving lives when Jewell spots a suspicious package at the Atlanta Olympics. But when an FBI agent (Jon Hamm) leaks to a journalist (Olivia Wilde) the fact that Jewell is their lead suspect, the public turn on him and he hires a small-time lawyer (Sam Rockwell) to clear his name. The performances are terrific; Hauser, in particular, is remarkable, the accuracy of his portrayal underlined by a brief clip of the real-life Jewell. The audience knows from the outset that Jewell is innocent, and Eastwood infuses his film with plenty of righteous anger. It’s a timely tale that sticks extra sharp skewers into both the government and the media. (Matthew Turner) ■■Out now.

DARK WATERS

LITTLE JOE

A public health emergency makes a big screen splash in the latest from Todd Haynes (Carol). Based on a true story, it sees Mark Ruffalo’s corporate defence attorney Robert Bilott switch sides when the plight of his grandmother’s friend Wilbur (Bill Camp) tugs at his conscience; the West Virginian farmer has seen nearly 200 cows ravaged by disease, believing the run-off from the landfill of chemical company DuPont to be the source of his epic misfortune. While the spiralling nature of the narrative sucks you in, Dark Waters lacks the conviction, idiosyncrasy or suspense of something like Spotlight or The Insider – for all Haynes’ qualities, a director more adept at thrillers might have really made it motor, while it sometimes feels heavy-handed. Not every screen crusader can be Erin Brockovich and if Bilott is a touch bland, Ruffalo invests him with integrity as he squirms in his suit in a variety of settings and becomes isolated from peers and family alike. It boasts blood-boiling subject matter, has cinema’s favourite everyman on the case, while the facts are laid out with care. But if Dark Waters bangs the drum admirably, for the good of us all, it doesn’t quite rouse as you’d hope. (Emma Simmonds) ■■General release from Fri 28 Feb.

Balancing work and motherhood is a challenge for single mum and scientist Alice (Emily Beecham). She’s speaking to a therapist, but is struggling with guilt for wanting to spend more time at the lab than with her teenage son Joe (Kit Connor). Then there’s the worry that the plant she has created, Little Joe, may be affecting those who have been exposed to it by subtly changing their personalities. With scientific progress comes ethical debate and clashing opinions, something which Austrian director Jessica Hausner (Lourdes) does not shy away from in this eye-catching sci-fi, co-written with Géraldine Bajard. It’s a confrontational, chilling brainteaser covering a multitude of thorny themes: familial bonds, the impact of mood-altering drugs and toxic attitudes towards mental health. Hausner has crafted a strange hybrid of Little Shop of Horrors and Invasion of the Body Snatchers, with its own distinct aesthetic. From the mint green walls to the mustards of Alice’s attire, the world-building demonstrates a fine attention to detail in a film that oozes oppression. Hausner keeps the viewer guessing as to whether the plant is up to no good, or if it’s all, simply, in Alice’s head. (Katherine McLaughlin) ■■Selected release from Fri 21 Feb.

ROMANCE

QUEEN & SLIM

(15) 132min ●●●●● A Tinder date goes humorously then horrible awry in this welcome twist on the lovers on the run flick from Beyoncé collaborator and debut feature helmer Melina Matsoukas, which combines style, subtlety and a vaguely oddball air. Although they’re dubbed the ‘black Bonnie and Clyde’, the eponymous lawbreakers lack edge, swagger or anything resembling criminal nous. Two beautiful Brits – breakout star Jodie Turner-Smith as Queen and Daniel Kaluuya as Slim – head up this very American road trip romance written by Master of None’s Lena Waithe that sees the mismatched duo cross the divided South following a fatal traffic stop. She’s a strait-laced legal eagle, her emotional walls built high; he’s a laidback nice guy, giving it a shot but a bit bemused by his companion’s lack of courtesy. Although they’re basically a couple of floundering geeks, they have some shady connections to squirrel them away. Queen & Slim slightly glosses over the psychological impact of the initial incident, while the level of glamour applied to the pair’s predicament has attracted criticism. However, it’s a film that burns with anger, highlighting the wrenching divisions and racism alongside the gorgeous people and glorious views. It’s important, too, that this is a story written and directed by black women, fronted by black protagonists. It ain’t no Green Book. If there’s plenty at stake and lots of polish, there’s enough low-key charm to recall the shenanigans of TV’s Atlanta, while the influence of Tarantino is in ample evidence. We watch our protagonists learn to live, and to love, and although there is a sense they could be arrested at any time, the solidarity they inspire on their journey across America makes this a film all about hope. (Emma Simmonds) ■■Out now. 1 Feb–31 Mar 2020 THE LIST 67

FILM | REVIEWS

BIOPIC

MR JONES

(15) 116min ●●●●●

SATIRE

PARASITE

(15) 132min ●●●●● The view from the cramped basement apartment where Ki-taek (Song Kang-ho) lives with his wife (Jang Hye-jin) and grown-up children is grim. The family make ends meet via homebased schemes – folding pizza boxes and leaching off the wifi from a nearby cafe. So when an opportunity arises for their son (Choi Woo-sik) to tutor the daughter of a wealthy family, the clan leap on the chance to improve their lives. South Korean director Bong Joon-ho moves away from the genre tropes of Okja and Snowpiercer to deliver a darkly hilarious, multi Oscar-nominated satire that riffs on economic hardship and capitalism. From the outset, it catches you off-guard with pithy humour and tender interactions. The twists and turns come at breakneck speed as the two families’ fates become dangerously intertwined. Bong guides the viewer through a labyrinth of complex social issues via the setting of an eye-catching modern mansion and a clutch of compellingly written characters. He showcases his skills with gracefully choreographed long shots that capture calamitous violence, expertly balancing farce with devastating human drama. At times, it’s like watching a home-invasion horror, with stealthily polite and manipulative aggressors who don’t really mean any harm. There’s no significant judgment passed on either family – it’s the widening class divide that’s the enemy. To say more would spoil the surprises, but the film unfolds like a warped blend of Jordan Peele’s Us and Hirokazu Koreeda’s Shoplifters in its blazingly brutal, smart and heartfelt messaging. Questioning whether we can exist harmoniously in a society that values commodities more than human life, the answer comes in the form of a tragic and bloody denouement. (Katherine McLaughlin) ■■General release from Fri 7 Feb.

A story of a reporter who has since slipped through the cracks, veteran Polish director Agnieszka Holland (Europa Europa, In Darkness) trains her lens on Welsh journalist Gareth Jones. Holland recounts Jones’ journey to Soviet Ukraine in the early 1930s, where he witnessed the horrors of the artificial famine known as the Holodomor. After his career as private secretary to David Lloyd George (Kenneth Cranham) is cut short, Jones (James Norton) travels to Moscow, following a tip-off from a contact who is later killed. Jones is left to pick up the trail, and he soon encounters New York Times bureau chief Walter Duranty (Peter Sarsgaard), who’s more interested in hosting erotic parties than doing any serious work. When Jones escapes Moscow and heads to the Ukraine, Holland really lets rip. Horrifying scenes greet him: cadavers piled high; children starving. Stalin’s regime was selling the region’s grain production then turning a blind eye to the genocidal consequences. For those who don’t know the story, it’s an eye-opener; for those that do, it’s a painful reminder. With an excellent Norton bagging his best movie role to date, this is an angry and rewarding drama from a formidable filmmaker. (James Mottram) ■■General release from Fri 7 Feb.

SATIRE

GREED

(15) 104min ●●●●● SCIENCE FICTION

COLOR OUT OF SPACE (TBC) 111min ●●●●●

Chaotic, creepy and undeniably entertaining, Color Out of Space is a cacophony of sound and vision. In updating the 1927 HP Lovecraft short story, writer-director Richard Stanley creates moments of effective tension and genuine horror, interspersed with deliberately outlandish sequences that the narrative struggles to contain. Nathan Gardner (Nicolas Cage, adopting his trademark gonzo style) has relocated to small-town Massachusetts with wife Theresa (Joely Richardson) and their children. The family is under strain and shaken again by the arrival of a colourful meteor, which ushers in a series of strange events. This is a bombastic return for Stanley, whose last narrative feature was 1992’s Dust Devil, and he has crammed it with every possible genre trope, from alien invasion to body horror. Ultimately, it is a film to be experienced, rather than studied, and is crying out for a tighter edit. And while it may be the story of a family losing their minds, and each other, Stanley eschews pathos to focus on gore and guffaws. Yet cinematographer Steve Annis and composer Colin Stetson create an impressive intensity, as well as an otherworldly beauty, and the effects are quite something to behold. (Nikki Baughan) ■■Limited release and on demand from Fri 28 Feb. 68 THE LIST 1 Feb–31 Mar 2020

‘I don’t want them at my party,’ whines fashion tycoon Sir Richard ‘Greedy’ McCreadie (Steve Coogan) when he finds Syrian refugees camped out on a Mykonos beach, by the amphitheatre he has had built for his lavish 60th birthday bash. Michael Winterbottom’s pointed satire is part Greek tragedy and part takedown of the super-rich. Coogan turns in a performance of typical gusto playing an obnoxious arsehole, transparently based on Philip Green. David Mitchell is McCreadie’s biographer, who goes behind the scenes of a wealthy clan, with the film inserting snippets of parliamentary testimony and flashbacks to dodgy deals. McCreadie’s monstrous family include his financially savvy ex (Isla Fisher), son (Asa Butterfield) and mother (Shirley Henderson, under prosthetics for much of the duration). As a comedy, it’s enjoyable but never feels smart enough to be truly scathing, while too few of its characters are welldrawn. Winterbottom is clearly seething at the state of the nation but takes aim at an excess of targets: reality TV, tax evasion, sweatshops and the migration crisis. The material is undoubtedly enraging but, in its imperfect execution, Greed feels like an opportunity missed. (Katherine McLaughlin) ■■General release from Fri 21 Feb.

REVIEWS | FILM

list.co.uk/film

CRIME DRAMA

COMEDY DRAMA

BIOPIC

(15) 101min ●●●●●

(12A) 113min ●●●●●

(12A) 110min ●●●●●

CALM WITH HORSES Cosmo Jarvis (Lady Macbeth) is a stand-out in Calm With Horses, an impressive first feature from director Nick Rowland, based on a short story by Colin Barrett. Bulking up for the part, Jarvis plays retired boxer Douglas ‘Arm’ Armstrong, bringing a glowering physical presence to the role. There is a simmering anger in Arm that threatens to boil over into actions he might regret. And yet he has a yearning to become a better man and a good father. His physique and the life he leads stack the odds against him. There are echoes of Of Mice and Men in Arm’s relationship with Dymphna (American Animals’ Barry Keoghan), a manipulative, ambitious drug dealer who needs Arm to settle arguments. The sensitive side of Arm blossoms in the company of his five-year-old autistic son Jack (Kiljan Moroney); Arm melts with tenderness in Jack’s presence and wrestles with the sacrifices that might be required to give him a decent future. Set in a bleak rural Ireland choked with mud and despair, Calm With Horses is a raw, atmospheric drama marbled with black comedy and bursts of shocking brutality. It marks Rowland as a talent to watch and confirms Jarvis as one of the most compelling actors of his generation. (Allan Hunter) ■■General release from Fri 13 Mar.

MILITARY WIVES

RADIOACTIVE

It has taken more than two decades but director Peter Cattaneo has finally found a worthy companion piece to his beloved The Full Monty. Once again, a disparate group find that common humanity helps them bond and endure through the worst of times. Inspired by the true story of the chart-topping charity choir, Military Wives is based around a clash of personalities. When troops go marching off to Afghanistan, Colonel’s wife Kate (Kristin Scott Thomas) believes it is her mission to boost morale. The loss of a son has left her lonely. Scott Thomas is cast to type as a bossy ice queen convinced that she knows best. Kate’s vulnerability makes her more than a one-dimensional foil to snarky, exasperated Lisa (Sharon Horgan), the laidback chair of the social committee. Forming a choir starts to build a sense of solidarity between the two women. An invitation to perform at the Festival of Remembrance becomes their greatest challenge. Never shy to tug at the heartstrings, Cattaneo doesn’t lose sight of the fact that this is a situation in which lives are lost, sacrifices are made and hearts are broken. The extra grit in the mix, and an excellent ensemble cast, ensures that Military Wives earns its tears. (Allan Hunter) ■■General release from Fri 6 Mar.

On paper, a Marie Curie biopic reads like an excellent idea. The two-time Nobel Prize-winning scientist, whose discoveries were instrumental in the fight against cancer, certainly merits the big screen treatment. Unfortunately, this film from Marjane Satrapi (Persepolis) seriously drops the ball. Casting Rosamund Pike as the Polish-born, Paris-based heroine is not the issue, with the British star capturing Curie’s fiery nature from the opening moments. Sam Riley is also credible as Pierre Curie, the fellow scientist who entices her to team up and share findings long before he proposes marriage. Yet when Riley’s character leaves the picture halfway through, the film struggles to regain its spark. Adapted from Lauren Redniss’s graphic novel by the ubiquitous Jack Thorne (TV’s His Dark Materials, The Aeronauts), it falters as ill-advised attempts are made to contextualise the Curies’ work by showing the knock-on effects of their breakthroughs, including the Hiroshima bombing and Chernobyl disaster, misguided moments which take you out of the narrative. Throw in psychedelic visuals and Radioactive begins to feel overenthusiastic and even amateurish. Someone of Marie’s stature deserved so much better. (James Mottram) ■■General release from Fri 20 Mar.

PERIOD ROMANCE

PORTRAIT OF A LADY ON FIRE (15) 122min ●●●●●

Céline Sciamma follows 2014’s gorgeous Girlhood with a queer period drama set in 18th century Brittany that portrays a scintillating slow-burn romance between two women at a time when their lives were determined by social standing and marriage. The film takes place in an environment populated almost entirely by women, and stars Adèle Haenel and Noémie Merlant as eventual lovers Héloïse and Marianne. They are joined by maid Sophie, played by Luàna Bajrami, with Valeria Golino as La Comtesse. Marianne has been employed to befriend Héloïse in order to secretly paint her portrait, and she studies her in meticulous detail. When La Comtesse departs, the three remaining women strike up a nurturing bond, as Sophie is helped through the abortion of an unwanted child. It’s these scenes that bring to mind the themes and interactions of Marilyn French’s seminal feminist novel The Women’s Room. Though the time periods differ, the idea that these trapped women take great comfort from each other’s company is beautifully depicted. There’s pleasure, too, in the graceful handling of Marianne and Héloïse’s flirtation and in their relationship’s ultimate consummation, with tender, teasing sex scenes and windswept walks on the beach. In a film shot through with affection and a sharp intellectual edge, Sciamma expresses what freedom means to each of her characters through the things they desire most. Candlelit interiors sizzle with suggestion, while outdoor excursions alternate between the oppressive and the incendiary. At one point, the lovers walk furtively round an open fire as a group of women erupt into song. It’s an explosively wild, transporting and sexy sequence that truly sets the film alight. (Katherine McLaughlin) ■■Selected release from Fri 28 Feb. 1 Feb–31 Mar 2020 THE LIST 69

FILM | REVIEWS

SCIENCE FICTION

VIVARIUM

(TBC) 97min ●●●●●

WESTERN

BACURAU

(18) 131min ●●●●● Part dusty western, part sharp social commentary, part frenetic fever dream, the winner of the 2019 Cannes Jury Prize Bacurau is an astonishing piece of cinema. While its narrative may be wilfully elusive, writer-directors Juliano Dornelles and Kleber Mendonça Filho preferring to suggest rather than tell, the film has a clear message, and makes its points with confidence and style. It begins innocuously enough, as we follow a woman (Bárbara Colen) returning to her home village of Bacurau, in the middle of the Brazilian outback, for her grandmother’s funeral. This is a tight-knit community which looks after its own, and so when bizarre events start to occur – electricity being cut off, strange drones in the sky, the town literally disappearing from the map – the locals band together in defence. Much like another recent standout South American film Monos, Bacurau’s power lies in its hypnotic visual identity. Cinematographer Pedro Sotero captures the expanse and anonymity of the isolated landscape and lingers on minutiae: beads of sweat, empty streets, seemingly innocent exchanges that seethe with tension and foreboding. A discordant, writhing score adds to the sense that nothing is as it seems. Influences may be obvious – from the South American surrealism of Alejandro Jodorowsky, to the horror tropes of John Carpenter et al – but Dornelles (a former production designer) and Filho (who directed sensitive Brazilian social drama Aquarius) have made something that’s ultimately their own. At its core, this is a story of corruption, of class warfare at its most extreme; it’s a damning indictment of the injustices that run rife in modern Brazil, and the world at large. (Nikki Baughan) ■■Limited release from Fri 13 Mar and on MUBI from Fri 27 Mar.

The housing development from hell is the setting for a stripped-back, vigorously performed sci-fi satire. Turning an unforgiving lens on parenthood, suburbia and gender roles, this is the second feature from Irish director Lorcan Finnegan. Teacher Gemma (Imogen Poots) and gardener Tom (Jesse Eisenberg) are a likeable pair whose encounter with creepy property pusher Martin (Jonathan Aris) leads them to ‘Yonder’, an expanse of identikit, alien-green houses. The lack of residents, actual or prospective, is suspicious. It’s a dead-end development from which there appears to be no escape. Neatly written by Garret Shanley, Vivarium makes clever use of what is clearly a low budget, with cinematography that morphs from hyperreal to haunting. Scenes with The Boy (Senan Jennings as a child, Eanna Hardwicke as an adult – both excellent) see recognisable child-rearing challenges fuse with nightmarish forays into science fiction to troubling effect. It’s a devastatingly simple concept brought to engaging, thought-provoking life by Poots in particular, who transitions from delightfully carefree to desperate and downtrodden. Parents beware: this might resonate more than you would care to admit. (Emma Simmonds) ■■Selected release from Fri 27 Mar.

DRAMA

THE TRUTH

(PG) 107min ●●●●● DRAMA

THE PERFECT CANDIDATE (TBC) 101min ●●●●●

The latest from groundbreaking Saudi filmmaker Haifaa Al-Mansour (Wadjda) opts for a softly-softly approach to highlighting societal change. A young doctor, the apolitical Maryam (Mila Al Zahrani), ends up running for local office, not to stand specifically for women’s rights but in hope of improving the infrastructure around her clinic. She faces daily barriers and outdated attitudes to her campaign, though her musician father Abdulaziz (Khalid Abdulraheem) is a progressive, empowering his three daughters to fight for what they want. Al Zahrani makes for a magnetic lead as Maryam grows in confidence, switching from demure to feisty but never becoming a sassy cliche. The family scenes are a highlight, as Maryam and her sisters – wedding videographer Selma (Dae Al Hilali) and teenager Sara (Nora Al Awadh) – bicker and tease one another. Elsewhere, a fashion show fundraiser in a colourful room full of women stands out – the film is unabashed in its celebration of sisterhood. More of an observational crowd-pleaser than a probing insight into Saudi politics, The Perfect Candidate may feature a number of overfamiliar narrative beats but its warmth and humour offer significant compensation. (Sophie Willard) ■■Selected release from Fri 27 Mar. 70 THE LIST 1 Feb–31 Mar 2020

Palme d’Or winning director Hirokazu Kore-eda’s first nonJapanese work is a respectable, sometimes charming French family drama that only occasionally sparks into something magical. Kore-eda continues to dismantle the inner workings of how families operate and endure, giving Catherine Deneuve a plum of a role as Fabienne, an imperious movie diva who has just published her far-from-reliable memoirs. Her estranged daughter Lumir (Juliette Binoche) returns to the family home in Paris from America with her husband (Ethan Hawke) and their daughter (impressive newcomer Clémentine Grenier). The stage is set for confrontation as Lumir prepares to challenge her mother’s literary claims of exemplary parenthood. Deneuve’s haughty manner and indifference to the hurt she causes others transforms her character into an entertaining, incorrigible old devil. Binoche is very astute at depicting the way Lumir regards her mother with a mixture of exasperation and affection. The two stars lend real presence and weight to a very watchable film with disarming moments, that overall lacks the elegance and assurance we have come to expect from the man who gave us Like Father, Like Son and the sublime Shoplifters. (Allan Hunter) ■■Selected release from Fri 20 Mar.

HIGHLIGHTS | FILM

FILM HIGHLIGHTS Films date. Eventsare arelisted listedbybyrelease city, then date. Submit listings for your event at list.co.uk/add

BIRDS OF PREY: AND THE FANTABULOUS GLASGOWEMANCIPATION OF ONE HARLEY QUINN Margot her Suicide THREERobbie AGEStakes POETRY SLAM Squad characterSun for a7 spin, alongside Tron Theatre, Apr, tron.co.uk aThree cavalcade female teamsof ofother poetsquirky go head-tocharacters. Fri 7 Feb.competition, head in this Out poetry slam divided up into age categories DANIEL ISN’T REAL ‘Teens’n’Twenties’, ‘Thirtysomethings’ When a college suffers a and ‘Old Enoughstudent to Know Better’. serious drama he tries to cope Hosted family by Robin Cairns. with the situation by resurrecting his childhood imaginary friend. But is that really a good idea? Out Fri 7 Feb. DOLITTLE Disney take another stab at the story of an eccentric widowed doctor who discovers that he can talk to animals. Out Fri 7 Feb. MR JONES Biopic about the great Soviet famine in the early 1930s and the Welsh journalist who let the Western world know all about it. See review, page 68. Out Fri 7 Feb. UNDERWATER When an earthquake damages their underwater laboratory, a team of researchers have to escape across the sea bed. Out Fri 7 Feb. EMMA Another adaptation of Jane Austen’s classic novel. Out Fri 14 Feb. FIRST LOVE Takashi Miike’s crime-comedy follows a young boxer and a call girl who get mixed up with a drug-smuggling ring. Out Fri 14 Feb. SONIC THE HEDGEHOG Sega’s speedy blue hedgehog stars in this ‘live-action’ big-screen adventure. Out Fri 14 Feb. THE CALL OF THE WILD Family adventure about a sled dog

XXX Xxxx Xxxx

HITLIST

Parasite

Mulan

struggling to survive in the wilds of Alaska. Out Fri 19 Feb. GREED Michael Winterbottom’s satire about a super-rich fashion and retail tycoon, played by Steve Coogan. See review, page 68. Out Fri 21 Feb. LITTLE JOE A single mum and scientist struggles with guilt for wanting to spend more time at the lab than with her teenage son. Eye-catching sci-fi concerning familial bonds, companionship and mental health; a confrontational and chilling brainteaser. See review, page 67. Out Fri 21 Feb. THE PUBLIC A member of staff at a public library refuses to leave the building to help

homeless people get out of the cold. This act of rebellion turns into a peaceful sit-in that shows social divisions and public hypocrisy. Out Fri 21 Feb.

THE INVISIBLE MAN A woman is tormented by an abusive ex she cannot see. Out Fri 28 Feb.

COLOUR OUT OF SPACE Nicolas Cage’s idyllic life is turned upside down by a fallen meteorite. See review, page 68. Out Fri 28 Feb.

MILITARY WIVES A group of women form a choir while their partners serve in Afghanistan. They soon find themselves at the centre of a media sensation and global movement. See review, page 69. Out Fri 6 Mar.

DARK WATERS A lawyer takes on a chemical company with a long history of pollution. See review, page 67. Out Fri 28 Feb.

ONWARD Adventure set in a fantasy world which has lost its magic due to a reliance on technology. Out Fri 6 Mar.

DOWNHILL A couple’s relationship is severely tested when the husband abandons his family during an avalanche. Remake of the 2014 black comedy, Force Majeure. Out Fri 28 Feb.

PHOTOGRAPH A middle-aged street photographer, who makes a modest living snapping tourists in Mumbai, pretends to his grandmother that a photo of shy stranger Miloni is in fact his fiancée. Out Fri 6 Mar.

QUEEN & SLIM Queen and Slim go on a first date which quickly goes south when the police stop their car. See review, page 67. Out Fri 31 Jan. PARASITE Bong Joon Ho’s acclaimed story about class divide. See review, page 68. Out Fri 7 Feb.

PORTRAIT OF A LADY ON FIRE Two female lovers in 18th-century Brittany negotiate their romance. Scintillating, slow-burn period drama told with affection and a sharp edge. See review, page 69. Out Fri 28 Feb. MULAN Live-action remake of the

Disney classic about a young Chinese maiden who disguises herself in order to rescue her father. Out Fri 27 Mar. VIVARIUM A young couple looking for a home find themselves trapped in a labyrinthine neighbourhood. See review, page 70. Out Fri xxxx 27 Mar.

1 Feb–31 Jun–31 Aug Mar 2020 2018 THE LIST 71

KIDS

FOR THE LATEST NEWS, LISTINGS AND REVIEWS, GO TO LIST.CO.UK /KIDS

SCOTTISH CHAMBER ORCHESTRA Stan and Mabel get into the race for space The School for Wild and Dangerous Animals sounds like a scary place to hang out. But when you’ve got CBeebies regular Chris Jarvis looking after you, there’s nothing to fear. The TV host is back in Scotland to deliver another of Jason Chapman’s Stan and Mabel stories, and this time the music-loving dog and cat are joined by a whole host of beasts hoping to escape the aforementioned institution. Jarvis narrated the Scottish Chamber Orchestra’s first Stan and Mabel adventure in 2016, and is a firm advocate for introducing children to orchestral music at a young age. ‘Storytelling in any form is fantastic,’ he says. ‘But when a young audience enters a concert hall and experiences the sound of an orchestra coming to life, something they may have

heard before but never seen, and then watches it bring a story to life, that’s truly magical.’ Composer Paul Rissmann has created a brand new score to accompany Chapman’s tale, and a YouTube video has been made for families to learn the songs and actions before the gig. But while music is a key component, leaving space for Jarvis to deliver Stan and Mabel’s epic escape was also crucial. ‘We have to stay true to the text,’ says Jarvis. ‘And what’s lovely is that Paul has been very mindful of the fact that while it’s important to hear the orchestra at all times, it’s also important to hear the voice.’ (Kelly Apter) ■ Assembly Rooms, Edinburgh, Sat 8 Feb; City Halls, Glasgow, Sun 9 Feb.

1 Feb–31 Mar 2020 THE LIST 73

KIDS | PREVIEWS PHOTO: BRIAN HARTLEY

STAGE ADAPTATION

ZOG

STAGE ADAPTATION

THE SECRET GARDEN

Platform, Glasgow, Fri 7 & Sat 8 Feb; Tron Theatre, Glasgow, Tue 11 & Wed 12 Feb, and touring It’s over 100 years since Frances Hodgson Burnett’s heroine first found the key to a magical secret garden. During that time, the tale of young orphan Mary Lennox has been turned into a film, TV programme and several theatre shows. And now, Burnett’s novel has been lovingly relocated to rural Scotland, in a new adaptation by Scottish theatremaker, Rosalind Sydney. A fan of the of the book since childhood, Sydney was keen to highlight the relevancy of Mary’s situation in today’s world. Whereas Burnett’s Mary was born into an affluent British family in India, then sent back to Yorkshire after her parents die, Sydney’s character has more in common with asylum seekers fleeing their homeland. ‘It’s not set in the early 1900s anymore, and now Mary is escaping a war-torn city,’ she explains. ‘We see her make this perilous journey at the start to go and live with her uncle in Scotland.’ In the original, Mary is deemed a ‘difficult child’, largely because her parents show no interest in her. In this new version, the reason for Mary’s behaviour is crystal clear. ‘She’s traumatised after having this terrifying experience,’ says Sydney. ‘So the story is about finding family and home, and allowing yourself to make a connection with nature and all the living things around you.’ Once she enters the secret garden, Mary’s life begins to change, and it’s that sense of excitement that Sydney is keen to capture. ‘It’s such a great story and one I’ve been really attached to since I was a kid. And I think it’s still really exciting for an audience today with secret doors, keys that you don’t know where they lead to, and animals you have to follow who tell you a secret. There’s so much magic and mystery, but the story is also really relevant.’ (Kelly Apter)

MUSICAL COMEDY

King’s Theatre, Edinburgh, Wed 12–Sat 15 Feb

JAY FOREMAN’S DISGUSTING SONGS FOR REVOLTING CHILDREN (AND GROWN-UPS)!

When you’ve written almost 200 books, you take inspiration where you can find it. And in the case of Zog, Julia Donaldson’s tale of an accident-prone dragon at school, it came from a couple of sources. ‘Zog was quite unusual, in that the initial idea didn’t come from me,’ recalls Donaldson. ‘My editor said “it would be lovely to have a story about a dragon”, so I started thinking, and the name Madame Dragon came into my head. And then I thought, “what could Madame do, who could she be?” I came up with various ideas and a schoolteacher was one of them, so I took it from there.’ The resulting picturebook, currently touring the UK in a stage adaptation by Freckle Productions, still needed a bit of work on the Princess Pearl character. For that, Donaldson turned to somebody closer to home. ‘My husband Malcolm is a doctor and he also had some input. I knew Zog would keep meeting the Princess, and originally I was going to have them sit together and toast marshmallows. But Malcolm said “that’s a bit soppy, couldn’t it be something with a bit more oomph?” So then I came up with the doctor angle.’ Zog, like Donaldson’s other books, proved to be a big hit and she hopes stage adaptations of her works have a similar impact. ‘It’s the same thing a book gives you: while you’re reading or watching you believe in a different reality. And if it’s a good show, parents love to see that their children, even very young ones, can be transfixed by it.’ (Kelly Apter)

Kids love a good old icky story or nauseating image, don’t they? Well, their appetite for the grotesque will be sated by two appearances from Jay Foreman at the Glasgow Comedy Festival as he brings us a series of ‘disgusting songs’. But does he know where the line is for him not to cross? ‘One of the most fun things about performing for kids is that it’s impossible to out-gross them,’ confirms Foreman who has been doing musical comedy for both big people and smaller ones since around 2005. ‘There’s a lot of audience interaction in my show, so when they shout out suggestions I learn a lot about how horribly disgusting kids’ minds are. I think it’s more accurate to say that my show is too disgusting for grown-ups.’ Once dubbed as ‘Victoria Wood for the Spotify generation’, Foreman’s repertoire of tummy-upsetting tunes includes ‘Caterpillar Sick’, ‘I Fell into a Sewer’ and ‘A Man Covered in Jam’. So what makes his own flesh crawl? ‘My sister once came up with the most gruesome thought I’d ever heard of: a sofa upholstered in living human skin, which sweats and scabs and flakes and stinks and all the other things human skin does. Naturally I decided it should be turned into a song, and I’m pleased to say “Skin Sofa” always goes down an absolute treat in the show. At least it does with the kids, they laugh their heads off, but I’ve seen grown-ups properly wincing during that song, which I think means I’m doing my job right.’ (Brian Donaldson)

74 THE LIST 1 Feb–31 Mar 2020

The Stand, Glasgow, Sat 28 & Sun 29 Mar

HIGHLIGHTS | KIDS

KIDS HIGHLIGHTS Events are listed by city, then date. Submit listings for your event at list.co.uk/add

GLASGOW GLASGOW MACKINTOSH & HIS PALS Kelvingrove ArtPOETRY Gallery and THREE AGES SLAM Museum, Sat 1Sun & Sun 2 Feb, Tron Theatre, 7 Apr, tron.co.uk glasgowlife.org.uk up, create Three teams of poetsDress go head-toyour finger puppets and re-enact headown in this poetry slam competition, the enchanting tale of The Frog divided up into fairy age categories Prince. ‘Teens’n’Twenties’, ‘Thirtysomethings’ and ‘Old Enough to Know Better’. ART FOR BABYCairns. Hosted by Robin Gallery of Modern Art, every Tuesday, Feb, glasgowlife.org.uk Get creative with the little ones: weekly art sessions in a relaxed and welcoming environment. Best suited for ages under 2. CHINESE NEW YEAR Riverside Museum, Sat 8 Feb, glasgowlife.org.uk As we step into the Year of the Rat, celebrate the Lantern festival, dress up in traditional costumes and learn all about the magical world of the Chinese Zodiac animals. PEPPA PIG: MY FIRST CONCERT Glasgow Royal Concert Hall, Sun 9 & Mon 10 Feb, glasgowlife.org.uk An interactive and fun introduction to

classical music for the little ones. Watch Peppa learn to conduct an orchestra while you dance and sing along. Also touring, see list.co.uk/kids for details. WEE ADVENTURERS ON THE MOVE Riverside Museum, Mon 17 Feb, Mon 16 Mar, glasgowlife.org.uk Super fun toddler sessions with messy play, storytelling and museum artefacts. Suitable for ages 2–5.

A magical multi-sensory storytelling session, inspired by paintings in the gallery. Best suited for ages 2–5.

their thoughts on the art works on display.

MARY QUEEN OF SCOTS & THE MISSING SHORTBREAD Scottish Storytelling Centre, Sat 8 Feb, scottishstorytellingcentre. com Join traditional storytellers Brooke Conway and Hannah Mathieson as they travel through Scotland exploring mythical and mystical creatures.

WEE WRITE Mitchell Library, Sat 7 Mar, ayewrite.com A family-friendly programme of activities and readings featuring a mix of authors, illustrators and storytellers.

CRAFTY BURDIES Scottish Storytelling Centre, Fri 14 Feb, scottishstorytellingcentre.com Join Robin Redbreast on his adventures at this storytelling, singing and crafting session where you can create him and Jenny Wren from paper and make them a cosy nest.

THE EXTRAORDINARY TIMETRAVELLING ADVENTURES OF BARON MUNCHAUSEN The Stand, Sat 21 & Sun 22 Mar, thestand.co.uk A group of awardwinning comedians tell fascinating stories about the life of Baron Munchausen, filled with funny, magical and cheesy elements.

WALK, TALK, MAKE: WINTER Scottish National Gallery of Modern Art (Modern One), Sat 15 Feb, nationalgalleries.org Interactive art and music sessions with storytelling and indoor sculpture-hunting. Suitable for ages under 5.

EDINBURGH WEE TREASURES Scottish National Portrait Gallery, Sat 1 Feb, nationalgalleries.org

FAMILY ART TOURS Scottish National Portrait Gallery, Sat 29 Feb, nationalgalleries.org Short, informative and interactive tours to introduce art to children and encourage the whole family to share

THE SECRET GARDEN Tron Theatre, Glasgow, Tue 11 & Wed 12 Feb, redbridgearts.co.uk Ros Sydney adapts this new version of Frances Hodgson Burnett’s wellloved story. See preview, page 74. Also touring,

SOUP GROUP The Stand, Sat 14 Mar, thestand. co.uk Making a soup is easy, but when you keep getting distracted, not so much. Funny and silly physical comedy with two chefs creating some delicious chaos. Suitable for ages 5+.

OUT OF TOWN

PHOTO: PAUL BLAKEMORE

HITLIST

page 73. Also touring, see list.co.uk/kids for details.

THE SLIGHTLY ANNOYING ELEPHANT Festival Theatre Studio, Fri 6–Sun 8 Mar, littleangeltheatre.com David Walliam’s bestselling children’s book is transformed into an entertaining and visually captivating show featuring a larger than life puppet elephant. Also touring, see list.co.uk/kids for details.

SCO: BIG EARS, LITTLE EARS Byre Theatre, St Andrews, Thu 6 Feb, byretheatre.com Live music experience for the wee ones presented by various Scottish Chamber Orchestra musicians in a relaxed environment. THE WHIRLYBIRD Brunton Theatre, Musselburgh, Sat 22 Feb, ecodrama.co.uk A friendly bird struggles to learn how to fly until a special flying seed comes along, in this eco-friendly show. Also touring, see list.co.uk/kids for details. CHILDREN’S CLASSIC CONCERTS: TARTAN TALES Caird Hall, Dundee, Sat 29 Feb, leisureandculturedundee.com Musical adventure with a mini-orchestra – discover Scotland’s fascinating myths and legends while keeping an eye out for Nessie.

The Selfish Giant, part of Puppet Animation Festival

XXX SCO: STAN AND Xxxx MABEL Xxxx Assembly Rooms, Edinburgh, Sat 8 Feb; City Halls, Glasgow, Sun 9 Feb, sco.org.uk Music-loving dog and cat Stan and Mabel are back for another storytelling adventure with presenter Chris Jarvis and the Scottish Chamber Orchestra. See preview,

WEIRD AND WONDERFUL WOODWIND St Cecilia’s Hall, Sat 29 Feb, stcecilias.ed.ac.uk Explore one of the world’s largest clarinet collections, learn all about these elegant instruments and make your own pan flute. Suitable for ages 5–11.

see list.co.uk/kids for details. ZOG: LIVE ON STAGE King’s Theatre, Edinburgh, Wed 12–Sat 15 Feb, freckleproductions. co.uk Julia Donaldson and Axel Scheffler’s charming picture-book about a dragon who tries to earn a golden star at

Madam Dragon’s school is adapted for the stage. See preview, page 74. JAY FOREMAN’S DISGUSTING SONGS The Stand, Glasgow, Sat 28 & Sun 29 Mar, thestand.co.uk Songs, poems and comedy for children of all ages from comedian Jay Foreman. See preview, page 74.

PUPPET ANIMATION FESTIVAL Various venues, Edinburgh, Sat 28 Mar–Sat 18 Apr, puppetanimationfestival. org Plenty of family fun at the UK’s largest and longest-running annual feast of puppet-based entertainment. Also touring, see list.co.uk/ xxxxfor details. kids

1 Feb–31 Jun–31 Aug Mar 2020 2018 THE LIST 75

MUSIC

FOR THE LATEST NEWS, LISTINGS AND REVIEWS, GO TO LIST.CO.UK /MUSIC

KIM PETRAS Rising pop star returns to Britain with her Clarity tour

PHOTO: BYRON SPENCER

Steadily on the up since the release of her breakout single ‘I Don’t Want it at All’ back in 2017, German-born, LA-based songwriter Kim Petras has remained unconventionally independent throughout her career. Racking up Spotify streams in the millions and working with the likes of Charli XCX and SOPHIE, Petras proved herself worthy of this early buzz last summer with the announcement of her debut album. ‘Clarity was about a break-up and a switch in my perspective when it comes to writing,’ Petras explains. ‘I’ve never been that personal in my songs before because the early songs were all about the exaggerated, idealised life I wanted to have.’ A big hit with pop fans, the album’s futuristic bubblegum aesthetic and sleek melodies led to a sold-out headline tour. ‘It has been really amazing. I feel like I’ve laid the foundation for a lot of what’s to come, but I always like to keep improving. I want next year to be even better!’ The songs on Clarity may represent a musical evolution of sorts, but Petras already has big plans for the future. ‘I know exactly what I want to do, but I can’t tell anyone just yet! If I did, my new music wouldn’t be as much of a surprise. I feel like I’m constantly evolving, and I want to keep it that way. I always want to find new things to be inspired by and I don’t ever want to repeat myself.’ (Arusa Qureshi) ■ SWG3, Glasgow, Wed 5 Feb.

1 Feb–31 Mar 2020 THE LIST 77

MUSIC | DJ SHADOW

INTO THE LIGHT

More than 20 years after his landmark debut album, DJ Shadow remains a true pioneer of modern dance music. Ahead of a new tour, Arusa Qureshi asks why his latest release is so heavily influenced by the state of the world

PHOTO: DERICK DAILY

‘I

t’s not humanity’s finest hour,’ Josh Davis says solemnly over the phone from California. ‘There’s a line I really like in the movie Ready Player One: “people stopped trying to fix problems and just tried to outlive them”. I sort of feel like that’s where we’re at right now.’ As DJ Shadow, Davis has been at the forefront of innovation in hip hop and electronic music for over two decades, with his groundbreaking instrumentals and ambitious collaborations leading to some of the most pioneering works within the genre. Our Pathetic Age, the producer’s sixth studio album and first full length since 2016’s The Mountain Will Fall, is the latest in a long line of seminal projects; the difference here being the spark that ignited the fire. ‘There have been several times in my years of putting out records that I’ve felt a need to address in some way what I’m perceiving is happening in the world. I don’t think [Our Pathetic Age] is a political album; I think it’s more of a humanistic album.’ With an hour and a half of fresh material, Our Pathetic Age is a mammoth record of two halves; the first is strictly instrumental, with beat-driven soundscapes leading beautifully into a second section of rap collaborations featuring the likes of Nas, De La Soul, Ghostface Killah and, perhaps unexpectedly, Sam Herring of Future Islands. ‘I think the music always steers it,’ Davis says of the selection process behind the varied list of collaborators. ‘For “Drone Warfare”, I wrote down Pharoahe Monch’s name literally the day I came up with the title. With Sam [Herring] and the title track, I sort of warned him that I was going to be very hands on with what he wrote and how he sang it and I wanted to put that out there before we even started working on it. But 78 THE LIST 1 Feb–31 Mar 2020

I was glad that he was so giving; I wouldn’t have been able to do the song if he wasn’t fully onboard with how particular I was going to be.’ There are certainly lighter moments throughout the record, as on the aforementioned disco-influenced Herring track, but on the whole, Our Pathetic Age remains sombre thematically, with Davis soundtracking a time he considers simultaneously extraordinary and troubling. But as he asserts when asked about the requirement of artists to actively respond to the state of the world in their own works, ‘I don’t think it should ever be seen as a responsibility because I think that’s limiting an artist. I think art should reflect life and I don’t think we are, by and large, consumed with politics 24/7. I think on an average day, you experience a range of emotions and I think it’s important, for me and my music, to do the same. ‘‘Rocket Fuel” is unapologetically feelgood and I want to put that energy out into the world sometimes. And then there are darker songs that hopefully touch on a range of different textures and emotions. But I don’t personally think that artists should be compelled to react.’ From his 1996 trailblazing debut Endtroducing (widely recognised as the first LP created entirely from samples) all the way up to Our Pathetic Age, Davis has never fully stuck to one formula or gameplan, instead choosing to redefine set ideas and methods for the purpose of continued renewal and divergence. So with this in mind, where does he stand on the current status of hip hop and its evolution over the years? ‘I think that every genre has a golden age,’ he explains methodically. ‘Every human endeavour is going to have moments of supreme inspiration and I feel that people are sometimes hesitant to assign

DJ SHADOW | MUSIC

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IN ASSOCIATION WITH PARADIGM AGENCY

THURSDAY 14 MAY FESTIVAL THEATRE EDINBURGH

UK TOUR 2020

+SPECIAL GUEST

TEDDY THOMPSON by arrangement with Satellite Agency

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GLASGOW/SWG3

Thursday 20 Feb

WEDNESDAY 4 MARCH

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Friday 21 Feb OUT

SOLD Mor Oran

Glasgow

Ben Watt plus special guests

LAPS AROUND THE SUN WORLD TOUR 2020

FRIDAY 27 MARCH ST LUKES GLASGOW, UK DOORS 7PM

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golden ages because it inherently signifies that something is longer at its peak. I think the same is true with hip hop. I think its golden age was its inception in the early 70s and then it peaked in the late 80s with records like 3 Feet High and Rising, Paul’s Boutique and Straight Outta Compton. To me, the rap that you hear on the radio now doesn’t really have a lot to do with hip hop culture in its original form, and I don’t think there’s anything controversial in saying that. I think that for the most part, it’s had its day. That doesn’t mean that it’s not worthy of people’s energy or anything like that. I very strongly believe that it’s important not to live in the past exclusively and to continue to engage new music wherever the innovations are happening, whether it’s grime, footwork or whatever genre.’ In Davis’ eyes, hip hop may have lived through its golden era, but he remains a key proponent of the genre, both via his own releases and his passion for the history of the culture. The tour for Our Pathetic Age will undoubtedly be a great chance to catch the master at work, a man who remains refreshingly humble after all these years despite still being a massive inspiration for new generations of DJs and crate diggers around the world. ‘Honestly, I’m excited to come out as well and I do feel grateful,’ he says. ‘When I first started making music and going overseas, I felt very fortunate and somehow through all these years, I feel even more fortunate in the sense that I couldn’t have drawn this up. I feel very lucky to be able to have an outlet to express myself and my ideas about music. So it’s nothing but total gratitude from me.’ DJ Shadow, SWG3, Glasgow, Thu 27 Feb.

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regularmusicuk 1 Feb–31 Mar 2020 THE LIST 79

GEORGIA | MUSIC

list.co.uk/music

PHOTO: JOSEPH CONNOR

ON OUR M IN DS

Georgia’s second album Seeking Thrills is now out in the world. Craig Angus catches up with the London producer and multi-instrumentalist who’s trying to connect more with her audience

ne of the highlights of Lizzy Goodman’s oral history of New York’s earlynoughties music scene, Meet Me in the Bathroom, is LCD Soundsystem’s James Murphy describing his first proper night out in the city. He recalls sharing dozens of packs of Juicy Fruit with strangers and the thrill of dancing in public for the very first time. Chemical assistance aside, it’s a warm tale of an ageing punk curmudgeon finally connecting with people. Like Murphy, the magic of the club experience isn’t lost on Georgia, whose longawaited second album Seeking Thrills invokes that euphoric spirit. The 28-year-old producer and multiinstrumentalist has a stronger connection to electronic music than most. ‘My dad [Neil Barnes] was in Leftfield, and from a very early age I was informed by dance music. That was really my childhood, going to see him perform and see crowds dancing to electronic music. I was returning to my roots really, and I wanted to go to the originators of that music. So I found myself in Chicago and Detroit, and once I found that direction I knew it was pretty much the record’s direction.’ It’s something she’s stuck to during the writing process and is perhaps best evident on ‘About Work the Dancefloor’, which was written after a weekend in Berlin. Effectively, it’s the sound of getting lost in music, right down to the immaculately observed detail of losing yourself mid-thought. ‘I guess I wanted to make this album a bit more accessible to people,’ she explains. ‘The first record, as much as I loved it, just didn’t really connect with people. I didn’t want that to happen this time around.’ She then refers us to some classic songwriter influences, that alongside 80s pop staples like

Depeche Mode and Madonna, inspired the writing of Seeking Thrills. ‘I returned to people like Neil Young and Joni Mitchell. I wanted the vocals to be the main element and I really worked on lyrics and melody. The first record was more of an experiment, chucking loads of ideas into one song; it was really more about the songs this time.’ Seeking Thrills was made with great patience and discipline, the end result sitting between Robyn’s anthemic club bangers and the bighearted electronica of her Domino label mates Hot Chip. The production’s tighter focus is clear, with the time spent honing her craft certainly paying off on an album with multiple highlights. ‘Til I Own It’ (her personal favourite) is a lush soundscape that glistens, while on the other end of the spectrum ‘Ray Guns’ is a technicolour adrenaline rush with percussion that recalls Missy Elliott’s high-energy hits, and the bassheavy ‘The Thrill’ is an aptly titled triumph. Her journey of musical discovery has taken her all over the world, but Glasgow holds a special place in her heart. ‘I’ve spent a lot of time in Glasgow and I love it,’ she says. ‘I’ve had a lot of nights out in the Sub Club, I’m very good friends with The Black Madonna who still thinks the Sub Club is the best club in the world and an amazing place. And do you know who are my favourite band? The Blue Nile. Making this album I got completely obsessed with Hats and tried to emulate some of their production and amazing songs. I love that band and I adore Paul Buchanan’s voice. There’s something about Glasgow that fits those esoteric, dark sounds.’ Georgia, King Tut’s Wah Wah Hut, Glasgow, Wed 4 Mar. 1 Feb–31 Mar 2020 THE LIST 81

MUSIC | PREVIEWS INDIE POP

THE BIG MOON

Summerhall, Edinburgh, Sat 29 Feb

PHOTO: POONEH GHANA

Although London four-piece The Big Moon seemed to arrive fully-formed in 2016 with their springy, pithy indie pop, frontwoman Jules Jackson knows all about the slog, having spent years in bands as the co-pilot, singing someone else’s songs. ‘There are so many people out there in bands who will know how this feels,’ she says. ‘You can spend years and years putting your heart and soul into it and it doesn’t go anywhere. It’s so heartbreaking and eventually you just give up.’ For Jackson, the catalyst for change was a shortlived dalliance with art school. Art’s loss was music’s (re)gain, but this time Jackson was at the wheel, putting her love of Pixies to good use in her maiden efforts at songwriting before wasting no time assembling a band around her: drummer Fern Ford, guitarist Soph Nathan and bassist Celia Archer. Debut EP ‘The Road’ was swiftly followed by their Mercury-nominated album, Love in the 4th Dimension, which Jackson freely admits was all about falling in love. Its newly released follow-up Walking Like We Do is a smoother, less puppyish proposal with some unlikely inspiration from ex-One Directioner Zayn Malik for whom she initially wrote the album track ‘Piece of Me’. ‘When I came back to writing I felt older and I cared about different things, so I guess this album is the sound of me trying to process that,’ says Jackson. ‘I was trying to get out of my rut and one way was to pretend that the song wasn’t my song. It just makes it easier sometimes playing a role; it frees you up a bit.’ (Fiona Shepherd)

EXPERIMENTAL ROCK

BLACK MIDI

Liquid Rooms, Edinburgh, Mon 17 Feb

PHOTO: ANTHROX STUDIO

From racking up a reputation for their eccentric live shows to being nominated for the 2019 Mercury Music Prize, it’s been a whirlwind year for Black Midi. ‘Because we’ve just been playing shows most of the time, I haven’t really had much time to sit back and think about whether it’s gone to plan or otherwise,’ says frontman Geordie Greep. ‘It’s just gone really quick but it’s been really good.’ Bold and frenetic debut album Schlagenheim was reviewed favourably for its chaotic post-punk grooves and imperfect delivery. With the early buzz around the band, Greep notes that they were keen not to overthink things with the album’s release, keeping in line with their generally easy-going temperament. ‘I always thought that if it got really, really, really bad reviews, we’d say “who cares, let’s keep going”. You can’t get too bogged down or over-enamoured with yourselves, you have to just keep doing what you know is good and what you know your standard is.’ For those that haven’t managed to catch Black Midi live yet, the upcoming tour will be a real treat with the songs from Schlagenheim continuing to develop in real-time along with the band’s own individual style. ‘The way we play in this band would probably get us fired pretty quickly from other bands,’ Greep says. ‘But it’s quite enjoyable to play like that. And because we’re all kind of in the same groove, it fits together a bit more. But if Morgan [Simpson, the band's drummer], for example, was to do that crazy drum style in almost any other band, it wouldn’t go very well. More than anything, it’s about fitting it round us as a band.’ (Arusa Qureshi) ALT ROCK

SORRY

Sneaky Pete’s, Edinburgh, Sun 9 Feb Despite the name, genre-juggling bunch Sorry really have nothing to be apologetic about. When speaking from his home in north London about the release of the band’s long-awaited debut this spring, guitarist Louis O’Bryen is still fairly modest about the hype. ‘I don’t even really believe it’s coming out yet,’ he admits, letting out a nervous laugh. ‘Once I see the vinyl then I’ll be like “oh yeah, the album is actually coming out”, but until then I’m still so sure that something’s going to go wrong.’ Even with such a steady output of singles to date, Sorry have kept us waiting for their debut. ‘I don’t feel like a lot of bands spend that much time recording before they go to a studio, but we spent hours and we were a bit precious about it,’ he recalls. ‘We knew how we wanted it to sound and in the early stages of going to the studio we didn’t really find anyone who could translate that.’ Thankfully, now with the right team behind them (the band signed to Domino in late 2017) and that big decade energy in tow, the wait is almost over. To mark the occasion, Sorry will head back out on the road including their first time to the States for this year’s SXSW. Even in the face of O’Bryen’s reticence though, Sorry’s rise from lo-fi Londoners to international wanderers looks fairly certain. And there’s really no reason to feel bad about that at all. (Cheri Amour) 82 THE LIST 1 Feb–31 Mar 2020

www.thequeenshall.net Tickets & Info: 0131 668 2019 Clerk Street, Edinburgh EH8 9JG THE QUEEN’S HALL HIGHLIGHTS

FEBRUARY

MARCH

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Judy Collins: Winter Stories Scottish Ensemble: Chamber Notes Ute Lemper – Rendezvous with Marlene Classic Rock Show Black Glass Ensemble with Linda Buckley

Rob Roy (1922) with live accompaniment by David Allison Mairi Campbell and The Pendulum Band SCO: Alstaedt plays Shostakovich Cello Concerto Scottish National Jazz Orchestra: Planet Wave SCO: Chamber Sunday with Kristian Bezuidenhout Pavel Kolesnikov SCO: Beethoven Triple Concerto with Bezuidenhout

Resonate: Studio to Stage Resonate: Strings & Traditional Martin Hayes Solo Kevin Bloody Wilson The 9th National Showcase of Excellence Conversations with Roddy Doyle John Shuttleworth’s Back! SCO: Nikita Naumov plays Eötvös Double Bass Concerto Resonate: Bands & Orchestras Resonate: Rock Night (at Summerhall) Edinburgh Highland Reel & Strathspey Society The Dodge Brothers Thu 26

SCO: Vivaldi Gloria with SCO Chorus Sat 28

Fish

Sun 29

SCO: Chamber Sunday with Maxim Emelyanychev APRIL Wed 1

Agnes Obel

MUSIC | RECORDS

ALBUM OF THE ISSUE

INDIE / FOLK ELECTRONIC

CARIBOU

Suddenly (City Slang) ●●●●●

Suddenly is Caribou through and through: vivid, psychedelic, plenty of eclectic sampling and unshakeably catchy melodic chunks. Dan Snaith is a prolific musical experimenter, and the project was constructed from over 900 musical scraps gathered over five years, forming a kaleidoscopic patchwork quilt of an album. This vibrancy is quite dazzling at first, but the patchwork quilt soon unfolds, becoming more three-dimensional. Each sonic colour – from the chugging house-y piano line on ‘Never Come Back’ to the disco guitar riff that precedes the ritualistic chanting on ‘Lime’ – has been selected and crafted with exacting detail. Lead single ‘You and I’ epitomises the music’s unpredictable, playful shape-shifting, as well as its emotional depth. Snaith’s tender falsetto sings of the wide-rippling reverberations that can come from unexpected changes in life, over a steady fouron-the-floor beat that abruptly breaks down into a cascading trap bridge. The whole Suddenly concept is explored musically, as well as thematically. The first couple of moments of opener ‘Sister’ feature a very brief sample of a tape recording Snaith’s mother sent home to his grandparents when he was a child, a highly personal vocal snippet buried among the patterns and swirls that surround it, making it indecipherable. Rather than working within any sonic convention or genre, Snaith plays endlessly with the limits of Caribou’s sound, reaching new emotional depth while retaining buoyancy and groove. (Kate Walker) ■■Out Fri 28 Feb.

PICTISH TRAIL

Thumb World (Fire Records) ●●●●● Johnny Lynch’s eighth album as Pictish Trail begins amid gently scything synthesiser waves and a chorus of his own soft, multi-tracked vocals on ‘Repeat Neverending’. The song sounds like a kind of car boot Pink Floyd, or James in one of their most reflective moments, reinforcing the impression that Lynch is hard to categorise as an artist, yet a far more serious artist than his playfully stand-up, dress-up live shows suggest. He's still the Eigg-based commander-in-chief and party coordinator of the Lost Map label, but his association with Fire Records – this is his second album with them, after 2016’s gorgeous Future Echoes – has been good for both parties. In the absence of any other easy genre description, we might call Thumb World folktronica, yet that doesn’t really sum up the distinctive aesthetic here; as the title suggests, this record conjures a very contemporary sense of geographic island isolation amid a decade when the whole world is no more than a thumbscroll away. As ever, the only distant cousins to what Lynch is doing were the Beta Band. ‘Double Sided’ is a piece of softly driving Krautrock motorik, the combination of its insistent groove and Lynch’s warm vocal lending the feel of Kraftwerk on a sunny day; ‘Pig Nice’ and ‘Slow Memories’ are breezy pieces of electroacoustica with a sonorous tone, bearing traces of Radiohead circa two decades ago; and the playful overuse of effects while constructing something epic with ‘Lead Balloon’ and ‘Fear Anchor’ reminds of Super Furry Animals. Such comparisons are filtered through Lynch’s own lo-fi approach, which gives his songs a singular charm, whether straying into the anxious, Graham Coxonesque thrash of ‘Bad Algebra’, the weird, Kanye-like trap groove of ‘Hard Eyes’, or ‘Turning Back’s icy house rhythm. His ambition to conjure many of these key influences may exceed his ability, but that ambition appears limitless, and the reality of what he’s created makes for an eclectic and wellformed collection. (David Pollock) ■■Out Fri 28 Feb.

ALTERNATIVE POP

FOLK

I’m Not Your Soldier (Tantrum Records) ●●●●●

Andromeda (Tin Angel) ●●●●●

MALKA

God knows we all need some sunshine at this time of year. Fortunately, supplementary vitamin D is now obtainable through both store-bought tablets and the music of Scottish songwriter MALKA, aka former 6 Day Riot frontwoman Tamara Schlesinger. Returning with her first album since 2017’s politically-charged Ratatatat, MALKA’s latest LP I’m Not Your Soldier finds the singer in contemplative mood. ‘There’s a lyric on “Get Up” about two worlds aligning,’ she explains in the press notes, ‘and that’s about the mum “me” and the musician “me” trying to balance my life again.’ Indeed, there’s a self-care vibe running through the record’s spirit from start to finish, with each twinkling verse succumbing to a radiant chorus. Sometimes less is more, however, and the phrase ‘bells and whistles’ seems to have been taken literally on occasion. The joyous handclaps and tropical overtones of the aforementioned ‘Get Up’ are delightful, while ‘Taking it Back’ wouldn’t sound out of place on a Tove Lo record. But by the time ‘Moving Together’ arrives, the syrupy choruses have taken on a decidedly saccharine taste, leaving the listener craving something a little more substantial. Similarly, while inspirational messages running through I’m Not Your Soldier are entirely commendable, the lyrical content occasionally feels disappointingly generic. ‘I didn’t light the fire,’ MALKA sings on first single ‘Tiny Fires,’ continuing, ‘and now it’s burning higher.’ Aside from rivalling Billy Joel in the great pantheon of pop star arson-deniers, it’s all a little underwhelming. Nonetheless, when she gets it right, as on the indie-pop stomp of ‘Don’t Believe It’, everything does feel a little brighter in the world for a minute or two. Much like the blister-pack variety, I recommend taking just one or two doses from I’m Not Your Solider, and then marching on with the rest of your day. (Matthew Neale) ■■Out Fri 28 Feb. 84 THE LIST 1 Feb–31 Mar 2020

ALEX REX

Ominously billed as ‘the product of two years spent in therapy, the gym and on Tinder’, any suggestion that this third album by Alex ‘Rex’ Neilson will be heavy going is dispelled by the soft, comforting words of his revered collaborator, Shirley Collins. Her speaking voice infuses the opening ‘Song of Self Doubt’, a mesmerising mantra of birdsong and wind chimes, soothing and unsettling all at once with its uncanny metaphors: ‘I waited for you all day amongst the ruins in the abandoned castle of my body’. Neilson (founder of Trembling Bells) is a distinctly personal songwriter – last year’s second album, Otterburn, was written about the sudden death of his younger brother – and while any true-to-life backstory to this record has been omitted from its narrative, it certainly works as a break-up album, even if it isn’t intended as such. ‘I Am Happy’ surges against the hypnotic funeral march of a repeated electric guitar riff, with Neilson apparently yearning to convince himself of the title’s statement. He sings his own eulogy and bemoans ‘the hazards of feeling good’ on ‘Funeral Music for Alex Rex’, and tells of heartbreak and loss amid ‘Coward’s Song’, with afternotes of Leonard Cohen or Bonnie ‘Prince’ Billy, who has already recorded his own version of this song. There’s a conventional country-rock feel to ‘Rottweilers’ and ‘Alibi Blues’, and a soft, devotional reflection on grief amid ‘The Uses of Trauma’, with visceral, angular pain being aurally exorcised on ‘I’m Not Hurting No More’. The closing ‘Pass the Mask’ (about, we are told, ‘the anxiety of childbearing by someone who has never borne a child’) is a slow-burn epic, and a raw, beautiful coda to an album whose keenly felt emotions are eloquently shared throughout. ‘Nothing can heal or destroy you better than time’, sings Neilson, and we feel gravity press on our shoulders as on his. (David Pollock) ■■Out Fri 7 Feb.

RECORDS | MUSIC

list.co.uk/music ART ROCK

CHAMBER POP

West of Eden (Lucky Number) ●●●●●

Myopia (Deutsche Grammophon) ●●●●●

HMLTD

AGNES OBEL

Hailed for several years as ‘ones to watch’, London quintet HMLTD have finally released their debut album. West of Eden is a glam odyssey that attempts to explore multiple genres while never veering too far from the band’s self-consciously ‘epic’ style. Bursting onto the scene in 2015, HMLTD (originally called Happy Meals Ltd, before the McDonalds lawyers came calling) quickly turned heads with their dynamic live shows and snappy dress sense. The early buzz led to a contract with Sony, which seemed to fall apart quicker than it took to come together as the group left an aborted album and joined indie label Lucky Number. West of Eden is an album of big ideas and even larger ambitions (as hinted by its Steinbeck-referencing title). Album opener ‘The West Is Dead’ outlines this, as slick guitars and driving synths underpin proclamations from lead singer Spychalski (real name Henry Chisholm) that ‘Three years ago I said / The West is dying right underneath my nose / And I’ll be so glad when it finally goes.’ It introduces a band searching for something important to say, but in looking so hard merely loses all its vitality. Unfortunately, this tone is carried throughout the album. Nonetheless, the musicality on display can be impressive, and the talent to segue from early 2000s indie to sweeping 1980s New Romanticism and on to EDM in a single song is not to be dismissed. Largely, the commitment to pursue ideas to extremes leads to the album’s best and worst attributes. Throwback ballad ‘Mikey’s Song’ stands out for its commitment to a relatively simple notion, whereas glam-rock stomper ‘Blank Slate’ aims for an anthemic target (somewhere between Soft Cell and Arcade Fire) and misses magnificently. This seems to be music engineered for festivals and perhaps in that environment HMLTD could really work. However, listening to the album on its own means that the endless barrage of pseudo-intellectual catharsis quickly becomes meaningless and exhausting. (Sean Greenhorn) ■■Out Fri 7 Feb.

Apparently, when working on a new record, Danish-born songwriter Agnes Obel prefers to work as a solo entity in her Berlin home studio. Under selfimposed isolation, she removes all outside influences and distractions during the writing, recording and mixing process. It’s also said that to snap out of this singular vision, the platinum-selling artist likes to go to the pictures. Perhaps unsurprisingly then, her latest release Myopia is both introspective and cinematic. The album marks Obel’s first new material since 2016’s Citizen of Glass which introduced the ghostly electronics and voice modulation she’s since become known for. Those references are all present and correct in Myopia, a self-confessed album about trust and hope. The first teaser from this collection came in the form of ‘Broken Sleep’, a track pulled along by plucked strings. Obel’s cascading melodies tumble around like the fits and bursts of a dreamlike state just out of reach. Elsewhere, ‘Drosera’ leans more on her classical accomplishments with the haunting keys and slinking flute conjuring up an Exorcist-like suspense. Meanwhile, closer ‘Won’t You Call Me’ paints enchanting moonlit landscapes through Obel’s soothing vocals and wild lyricism. From an anatomical point of view, myopia is a common vision condition where the viewer can see nearby objects clearly, but those further away appear to be blurry. Of the record’s creation, Obel admitted, ‘paradoxically, for me, I need to create my own myopia to make music’. And that could be true for us all when it comes to fuelling our New Year enthusiasm at the moment. If you’re still struggling to conjure up your big decade energy, follow Agnes Obel’s approach with some self-imposed solitude and get intimate with her latest cut of artful chamber pop. (Cheri Amour) ■■Out Fri 21 Feb.

DANCE / ELECTRONIC

POST-PUNK

NEVAEH (Hyperdub) ●●●●●

Mind Hive (pinkflag) ●●●●●

MHYSA

In the ‘Opening Skit’ of MHYSA’s second album, she invites us to celebrate ‘the everyday / something that has tried to kill her and has failed’. What unfolds is just that, an intimate, often vulnerable tribute to MHYSA’s existence as a black queer femme. ‘Opening Skit’ is in fact a recitation of Lucille Clifton’s 1994 poem, ‘won’t you celebrate with me’, and is the first of many references to black popular culture that are pivot points in the record. ‘Breaker of chains’ – an insistent incantation over a cascading tambourine cadenza – quotes NAS, and the spiritual ‘when the saints’ is a motif that pops up more than once. MHYSA describes NEVAEH (‘heaven’ backwards) as ‘a prayer for black women and femmes to be taken to or find a new and better world away from the apocalypse . . . NEVAEH is a safe space, a sort of negro heaven.’ The second track, ‘Float’, a glitchy choral fantasia, elevates us to this space and draws back the curtain to nod towards the palette of sounds MHYSA uses to paint this nirvana. Heavy use of reverb and lo-fi electronica tinge much of the album, which generally has a distinct lack of grooves; the abrasive trap beat of lead single ‘Sanaa Lathan’ stands out as one of the only bops. With R&B-inflected vocals, MHYSA pays tribute to 90s trailblazing divas such as Aaliyah and Whitney Houston, but these are often far more vague and tonally ambiguous than big and belting. On ‘w_me (Interlude)’ – an ode to self-care – MHYSA sings almost entirely inwardly, and numerous moments of unaccompanied vocals magnify the already heightened intimacy, celebrating a power that can be held in softness. Although this often minimalist gathering of pastiches and vignettes can feel slightly disjointed, recurring themes glue together what is a highly experimental and complex celebration of empowerment, queerness and resistance. (Kate Walker) ■■Out Fri 14 Feb.

WIRE

With just a few years off here and there for good behaviour, Wire have been chipping away at the geopolitical coalface, gnawing at the foundations of capitalist consumerism and pushing back against the socio-political tide for over four decades. Their earliest dispatches, Pink Flag, Chairs Missing and 154, were re-issued last year, sounding as fresh and essential some 40 years on. But a suave, subversive post-punk band’s work is never done, as evinced by the opening track of their 17th album. The sinister prowl of ‘Be Like Them’ unearths an unused lyric from 1977, and lobs it into 2020 with unsettling relevance to the negative forces of today. Wire have always been smarter than your average man-the-barricades pop polemicists, taking wider aim at global systems with their thought-provoking but claustrophobic response to the bigger picture. Insidious corporate language is woven through the low-slung industrial punkfunk of ‘Primed and Ready’ but even when the oppressive atmosphere lifts on ‘Off the Beach’, this relatively blithe angular jangle is not entirely as it seems, its catchy chronicling of everyday life gradually zoning in on those clinging on at the fringes of society. There follows another dynamic shift to the flowing lyricism and pastoral psychedelia of ‘Unrepentant’. This dovetails seamlessly into ‘Shadows’, where the contrast between a soothing ambient wash of the music and grim lyrics on genocide produces the darkest lullaby. There is some levity in the John Cale-like gothic melodrama of ‘Oklahoma’ with its stand-out observation ‘I admired your sexy hearse’, before the epic, inexorable eight-minute grind of ‘Hung’ is unleashed. Still, the entire album is dispatched in a trim 35 minutes, rounding off with the delicate, plaintive ‘Humming’ which, like much of the album, makes a virtue of the contrast between Colin Newman’s more declamatory delivery and the smooth background interjections of Graham Lewis. (Fiona Shepherd) ■■Out now. 1 Feb–31 Mar 2020 THE LIST 85

MUSIC | GOING UNDERGROUND

GOING UNDERGROUND Stewart Smith speaks to Kay Logan about the 13th Note’s new noise matinee and digs out some of the best underground, DIY and self-released music currently coming out of the Scottish music scene

nderground music will always find a way, but precarious living under Tory austerity has made it increasingly difficult to sustain a practice and put on events. That’s why Glasgow-based events like Tony Bevan’s Help Me I’m Melting, Glasgow Improvisers Orchestra’s GIODynamics, 1.5 Months and Soup, Zuppa – not to mention the noise and improv nights at Henry’s Cellar Bar in Edinburgh – are so important to creative communities. The latest of these is the 13th Note’s noise matinee on the third Saturday of every month. Organised by Kay Logan, aka Helena Celle/Outlet Archival, Find The Others offers ‘an afternoon of sonic experimentation, meditative drone and glistening noise’. As Logan puts it, ‘any form or organised sound is encouraged, but leaning toward the unconventional or typically undesired, ideally. Noise fits that bill.’ ‘It’s about getting individuals with similar concerns in the same vicinity on a regular basis,’ she continues. ‘The calendar is a powerful tool.’ By making the event a matinee, Logan hopes to attract musicians and audience

TIME BINDING ENSEMBLE Timebound Suite #1 ●●●●●

In addition to her gig organising, Kay Logan has been quietly releasing music on her Outlet Archival Bandcamp page, from the experimental electronics of Otherworld to a Helena Celle jam with Leeds underground legend Neil Campbell. Timebound Suite #1 gathers a series of chamber music pieces recorded to Dictaphone. Strings, synth, vibraphone and flute drift in and out of a ferric fug, revealing minimalist figures and long tones. As the suite reaches its conclusion, the music becomes increasingly tense, as dissonant harmonies swell over desolate vibraphone strikes. EGO DEPLETION s/t ●●●●●

Hair-raising clatter and drool from the Glasgow based duo of Fritz Welch and Adam Campbell, joined by guests Lucy Duncombe and Tony Bevan. Welch works with percussion, objects and voice, conjuring a mind-boggling array of outsound around the fizz and warble of Campbell’s modular synth. The performance deftly fuses the gnarly with the uncanny. Duncan’s processed 86 THE LIST 1 Feb–31 Mar 2020

members who struggle to fit weeknight shows into their schedules. She aims to make the event friendly and inclusive. ‘In our case, there’s no imposition of outsideness on those who abide by certain presuppositions. It’s a very consensual matter. At the first event we have two artists who are entirely new to the live performance of this sort of thing. ‘I hope to discourage any presuppositions of conventional merit or worth to encourage individuals to try something new. There’ll be a table for anyone in attendance to bring along their own wares for trade and sale. With regards to audiences, it’s hard to say, but they don’t have to pay in if they don’t want to, and they’re welcome to leave at any point. Maybe these terms will encourage people to step outside their comfort zone.’ Over the next year, Logan promises ‘faces both familiar and unfamiliar’. While she’s interested in local artists, she’s open to anyone who is interested in performing and encourages artists to email her on outletarchival@gmail. com. As she says, ‘It’s all about finding the others.’

vocals channel cyborg jabber while Bevan contributes what might be saxophone feedback. Expertly mastered, this live recording has real presence, putting the listener in the centre of the wild and hairy action. BETH GRIPPS Mother Daughter Neither ●●●●●

The perennially underrated Caroline McKenzie returns with a new composition under her Beth Gripps alter-ego. Coming on like a punkier Terry Riley, McKenzie overlays two electronic tracks to create a continually morphing minimalist collage. Oscillators whirl in loose, gloopy cycles, while a shimmering synth moves in and out of phase. The subtle variations in tempo and texture give the piece an invitingly woozy quality, as your ear focuses on the glimmer and burble of the lead line. The relative lack of polish also appeals: these tones have character. MHENWHAR HUWS Body Control ●●●●●

The underground champions behind the Flying Duck’s 1.5 Months event, Mhenwhar Huws take us into a dark and mossy world of improvised string and percussion music

on this debut album. Opening piece ‘Cus It’s The First’ reveals their method, as Rafe Fitzpatrick and John Magill layer slate-like violin and viola tones over Alastair Quietsch’s almost jazz-like double bass. Jagged violin figures usher in a passage of low-end droning and scraping, with Mikey Truswell’s drums subtly stoking the fire. Later tracks venture into electronically enhanced atmospherics and ragged folk song. SOUND OF YELL Leapling ●●●●●

Masterminded by composer and multinstrumentalist Stevie Jones, Sound Of Yell is something of a Glasgow supergroup, featuring members of AMOR, Belle & Sebastian and Trembling Bells. Their acoustic chamber music combines alternative folk and leftfield pop elements with improvisation and modern composition. At times, Leapling could be the soundtrack to an imagined 1970s nature documentary, as wispy vocal melodies, fingerpicked guitar, recorder, bass clarinet and viola flit over expansive percussion. Such a project could end up sounding too lovely, but bowed saw and viola add welcome tension and grit.

THE VOODOO ROOMS

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30 May, 2020

Northern Soul, Mod & 60s R&B Alldayer

Our 7th Annual Alldayer returns to the world famous Glasgow Barrowland Ballroom! Tickets available from www.tickets-scotland.com Early bird tickets £15.00, thereafter £20.00

ORIGINAL VINYL ONLY Join us on Facebook and Twitter for regular updates on guest DJs and ticket information

Doors open 2pm til midnight Barrowland Ballroom, 244 Gallowgate, Glasgow G4 0TT barraloadflyer2019_A5.indd 1

20/08/2019 11:44:34

01 FeB HalF Formed tHInGs 09 FeB Jason manns & PaUl Carella 09 FeB tHe Byson FamIly 12 FeB JammIn’ at Voodoo 13 FeB BIlBo 14 FeB BIlBo 14 FeB KIrK Brandon 15 FeB JUst Beatles 16 FeB GenesIs VIsIBle toUCH 16 FeB morGanway 19 FeB laUrenCe Fox 22 FeB edInBUrGH BlUes ClUB feaT reBeCCa downes + Cow Cow BooGIe 27 FeB aoIFe

Jurassic Party

superheroes

sUn 19 aPr QUeen’s Hall, edInBUrGH

tHe BloCKHeads

tUe 02 JUn st lUKes, GlasGow wed 03 JUn tHe QUeens Hall, edInBUrGH

Beans on toast

FrI 04 deC oran mor, GlasGow + Tensheds + John McMusTard sat 05 deC tHe Voodoo rooms, edInBUrGH tHU 13 FeB tHe old dr sUn 06 deC tHe lemon tree, aBerdeen Bells BatHs, edInBUrGH TickeTs from TickeTweb & TickeTs scoTland card hoTline: 0131 220 3234 www.rencom.co.uk

Get your teeth into a night of after-hours activity themed around major exhibition Tyrannosaurs. Friday 13 March 19:30–22:30

TICKETS ON SALE NOW

nms.ac.uk/lates Strictly age 18+

National Museums Scotland Scottish Charity, No. SC011130

sat 07 mar tHe Voodoo rooms, -The spiriT & sound of sTeely dan edInBUrGH FrI 03 aPr la Belle anGele, sUn 08 mar stereo, GlasGow edInBUrGH

1 Feb–31 Mar 2020 THE LIST 87

MUSIC | HIGHLIGHTS

MUSIC HIGHLIGHTS Events are listed by city, then date. Submit listings for your event at list.co.uk/add

GLASGOW GLASGOW THREE AGES POETRY SLAM Tron MABEL Theatre, Sun 7 Apr, tron.co.uk O2 Academy Sat 1 Feb, Three teams ofGlasgow, poets go head-toacademymusicgroup.com Breakout head in this poetry slam competition, artist onup tour toage support her debut divided into categories album High Expectations. ‘Teens’n’Twenties’, ‘Thirtysomethings’ and ‘Old Enough to Know Better’. JACQUES GREENE Hosted by Robin Cairns. Stereo, Tue 4 Feb, stereocafebar. com The acclaimed DJ and producer from Montreal celebrates his influences with a set dedicated to the best of house and techno. KIM PETRAS SWG3, Wed 5 Feb, swg3.tv Los Angeles-based German pop singer, model and songwriter. See feature, page 77. EROL ALKAN Sub Club, Fri 7 Feb, subclub.co.uk London-based artist, producer, remixer, DJ and founder of Phantasy. ASHANTI O2 Academy Glasgow, Sat 8 Feb, academymusicgroup.com The American singer-songwriter’s sound is a mix of soul, rap, hip hop and pop. THE GAME O2 Academy Glasgow, Wed 12 Feb, academymusicgroup.com West coast rap legend and actor on his Born 2 Rap Tour. EXPLOSIONS IN THE SKY Glasgow Royal Concert Hall, Wed 12 Feb, glasgowconcerthalls.com American post-rock quartet from Texas.

Ashanti

com Punk-rock-garage quartet from Kyoto, Japan. LENNON STELLA SWG3, Mon 24 Feb, swg3.tv Young Canadian pop singer known for her role on TV’s Nashville and as one half of the sister duo Lennon & Maisy.

BABYMETAL Barrowland Ballroom, Wed 19 Feb, barrowland-ballroom.co.uk Japanese pop-metal trio.

LANA DEL RAY SSE Hydro, Fri 28 Feb, thessehydro.com Seductive, selfstyled ‘Hollywood sadcore’ sounds from the pop siren.

OTOBOKE BEAVER CCA, Thu 20 Feb, cca-glasgow.

SLEATER-KINNEY Barrowland Ballroom, Fri 28

HITLIST

XXX ANGEL OLSEN Xxxx Barrowland Xxxx Ballroom, Glasgow, Fri 14 Feb, barrowland-ballroom. co.uk Chicago-based electro pop singersongwriter touring her critically acclaimed fourth album All Mirrors. See feature, page 26. BLACK MIDI The Liquid Room,

88 88 THE THE LIST LIST 11 Jun–31 Feb–31 Aug Mar 2019 2020

Edinburgh, Mon 17 Feb, liquidroom.com London post-punk band whose debut album Schlagenheim was nominated for the prestigious Mercury Prize last year. See preview, page 82. DJ SHADOW SWG3, Glasgow, Thu 27 Feb, swg3.tv The

Feb, barrowland-ballroom.co.uk American indie rock band led by Carrie Brownstein and Corin Tucker, carrying on following the departure of drummer Janet Weiss in 2019. CHARLOTTE DE WITTE SWG3, Fri 28 Feb, swg3.tv Belgian techno DJ and producer. HEATHER WOODS BRODERICK The Hug and Pint, Sat 29 Feb, thehugandpint.com American musician and composer who has worked with Efterklang, Horse Feathers, Loch Lomond, Laura Gibson, Sharon Van Etten and Lisa Hannigan.

American DJs play eclectic cut-and-paste hip hop-influenced soundscapes. See feature, page 78. GOLDFRAPP Usher Hall, Edinburgh, Fri 27 Mar, usherhall. co.uk The glitter-pop pioneers perform their aureate blend of disco,

A WINGED VICTORY FOR THE SULLEN Saint Luke’s & the Winged Ox, Sun 1 Mar, stlukesglasgow.com Ambient post-rock soundtracks from duo Dustin O’Halloran and Adam Wiltzie. IAMDDB SWG3, Sun 1 Mar, swg3.tv British rapper and singer based in Manchester who was listed number three on the BBC Music Sound of 2018 list. BIG THIEF Old Fruitmarket, Mon 2 Mar, glasgowconcerthalls.com American indie-rock four-piece made up of

folk and electronic balladry. MAXIMUM PRESSURE SPRING EDITION SWG3, Glasgow, Sat 28 Mar, swg3.tv Club night with a line-up including Jeff Mills, Slam, Dr Rubinstein, Miss Djax, Volvox, IDA (UK), AISHA and KAI.

Goldfrapp xxxx

HIGHLIGHTS | MUSIC

MUSIC HIGHLIGHTS multi-million selling trio and Brit rock favourites.

MALKA Stereo, Fri 6 Mar, stereocafebar. com Glasgow album launch party for I’m Not Your Soldier.

LEE ‘SCRATCH’ PERRY The Classic Grand, Fri 27 Mar, 432presents.com The godfather of dub, Lee ‘Scratch’ Perry supplies a night of eccentric reggae sounds. Also Summerhall, Edinburgh, Sun 29 Mar, summerhall.co.uk

KISSTORY PRESENTS THE BLAST OFF! TOUR SSE Hydro, Sun 8 Mar, thessehydro. com Tour featuring Nelly, Salt N Pepa, Shaggy, Mya, Blu Cantrell, Fatman Scoop, Oxide and Neutrino. ARLO PARKS King Tut’s Wah Wah Hut, Tue 10 Mar, kingtuts.co.uk Young British musician and poet from South London recently included in BBC Music’s Sound of 2020 list. MICHAEL KIWANUKA Barrowland Ballroom, Sat 14 Mar, barrowland-ballroom.co.uk Acclaimed British singer-songwriter and record producer touring his third album. SEED ENSEMBLE The Blue Arrow, Sun 15 Mar, thebluearrow.co.uk Mercury Awardnominated ten piece band led by alto saxophonist and composer Cassie Kinoshi.

HITLIST

NADA SURF St Luke’s & the Winged Ox, Sun 15 Mar, stlukesglasgow.com Pop melodies and skewed guitar licks from NYC outfit who sound like REM on an Americana tip. XXX Xxxx Xxxx M HUNCHO SWG3, Tue 17 Mar, swg3.tv London hip hop artist and rapper. GRACE CARTER SWG3, Fri 20 Mar, swg3.tv British soul and R&B singer and songwriter from London. ASH SWG3, Fri 20 Mar, swg3.tv Alt.rock with indie and punk vibes from the

PHOTO: JULIAN BAILEY

Adrianneare Lenker, Meek, Max Events listedBuck by city, then date. Oleartchik, and James Krivchenia. Submit listings for your event at list.co.uk/add GEORGIA King Tut’s Wah Wah Hut, Wed 4 Mar, kingtuts.co.uk London synthpop singer and songwriter. See feature, GLASGOW page 81. THREE AGES POETRY SLAM JPEGMAFIA Tron Theatre, Sun 7 Apr, tron.co.uk SWG3,teams Wedof 4 Mar, American Three poetsswg3.tv go head-torapperinand from head this record poetry producer slam competition, Baltimore, divided up Maryland. into age categories ‘Teens’n’Twenties’, ‘Thirtysomethings’ LEWIS and ‘OldCAPALDI Enough to Know Better’. SSE Hydro, Thu Cairns. 5 & Fri 6 Mar, Hosted by Robin thessehydro.com The self-proclaimed ‘Scottish Beyoncé’ who sold out his first arena tour before releasing his debut album in 2019.

THE JESUS AND MARY CHAIN Barrowland Ballroom, Fri 20 Mar, barrowland-ballroom.co.uk Psychedelic noise rock from the Scottish band formed by brothers Jim and William Reid.

PODCASTS WORTH LENDING YOUR EARS TO

NINTH WAVE Òran Mór, Wed 25 Mar, oran-mor. co.uk Noise pop four-piece from Glasgow influenced by 80s new wave and goth pop music. KOJEY RADICAL SWG3, Fri 27 Mar, swg3.tv Londonbased poet, rapper, musician and mixed media artist.

EDINBURGH HAAI The Caves, Fri 7 Feb, sneakypetes. co.uk London-based former psychrocker turned DJ and producer originally from Australia. SORRY Sneaky Pete’s, Sun 9 Feb, sneakypetes.co.uk Grunge and postpunk group from London. See preview, page 82. DRY CLEANING Sneaky Pete’s, Thu 13 Feb, sneakypetes.co.uk Scuzzy indie rock band from London. Also The Hug and Pint, Glasgow, Fri 14 Feb, thehugandpint.com JULIAN COPE Liquid Room, Sat 15 Feb, liquidroom.com One of contemporary rock and pop’s true mavericks and the former leader of the Teardrop Explodes. Also St Luke’s & the Winged Ox, Glasgow, Sun 16 Feb, stlukesglasgow.com

Malka

unusualvenuesedinburgh.com Brighton singer-songwriter in the nufolk vein.

LIGHTHOUSE FAMILY Usher Hall, Thu 20 Feb, usherhall. co.uk British pop duo made up of vocalist Tunde Baiyewu and keyboardist Paul Tucker.

THE BIG MOON Summerhall, Sat 29 Feb, summerhall. co.uk London four-piece whose debut album Love in the 4th Dimension was shortlisted for the prestigious Mercury Prize. See preview, page 82.

SWIM SCHOOL Sneaky Pete’s, Sat 22 Feb, sneakypetes.co.uk Rising Edinburgh four-piece indie pop band.

JON HOPKINS Usher Hall, Wed 4 Mar, usherhall. co.uk Electronica and ambient music performer.

MARIKA HACKMAN The Caves, Wed 26 Feb,

KING CREOSOTE Usher Hall, Sat 7 Mar, usherhall.

co.uk Eclectic indie folk musician, plaintive troubadour and founder of the esteemed Fence Records. Also Glasgow Royal Concert Hall, Thu 12 Mar, glasgowconcerthalls.com BLANCK MASS Summerhall, Thu 12 Mar, summerhall.co.uk Beautiful, complex organic sounds from this solo project from Benjamin John Power (Fuck Buttons). WOLFGANG FLÜR Summerhall, Fri 13 Mar, summerhall.co.uk Kraftwerk’s xxxx electronic percussionist from 1973 to 1987. 1 Feb–31 Jun–31 Aug Mar 2020 2018 THE LIST 89

MUSIC | CLASSICAL

ORCHESTRAL

ICELAND SYMPHONY ORCHESTRA PHOTO: HARALDUR JÓNASSON

L A C I ASS

Usher Hall, Edinburgh, Sun 16 Feb

Known as the land of fire and ice, and home to some of the most impressive glaciers and active volcanoes in the world, Iceland is less well known for the orchestra which also calls this remarkable country home. As part of increasing recognition in its 70th anniversary year, the Iceland Symphony Orchestra undertakes its first tour to the UK with a whirlwind of eight concerts in nine days, culminating in their one and only Scottish performance in Edinburgh. As well as showcasing the orchestra itself, the tour features Icelandic music by composer-in-residence Anna Thorvaldsdóttir. ‘Aeriality’, evoking the atmosphere of the natural environment, was commissioned by the orchestra in 2011 and is now notching up no fewer than 50 performances, an unusually high number for new music. ‘I imagined looking at landscapes from various perspectives and thinking about this in musical terms,’ she says. ‘The title refers to the state of gliding through the air, as if flying.’ Thorvaldsdóttir’s orchestral style takes on layered textures, using the whole canvas of the symphony orchestra in its harmonies. There are quarter tones and clusters of sound coming together to form the orchestra as a single force, alternating with more subtle lyrical passages and an airiness to the layering which is reflective of the piece’s name. She describes it as ‘both portraying the feeling of absolute freedom gained from the lack of attachment and the feeling of unease generated by the same circumstances.’ For many in her audiences, ‘Aeriality’ brings visions of Icelandic landscapes, while for others there are no such associations. ‘It is really nice and interesting to hear those reactions, especially the variety of them,’ Thorvaldsdóttir notes. ‘But listening to music is such a personal experience, and to me it’s really important that people approach music on their own terms.’ (Carol Main)

CLASSICAL HIGHLIGHTS RSNO: BEETHOVEN REVOLUTION: SYMPHONY NO. 7 Glasgow Royal Concert Hall, Sat 22 Feb, glasgowconcerthalls.com/ glasgow-royal-concert-hall In the year when the world celebrates the 250th birthday of Ludwig van Beethoven, the RSNO kick off their series with Symphony No. 7. Also Usher Hall, Edinburgh, Fri 21 Feb, usher hall.co.uk SCO 2019/20: BEETHOVEN TRIPLE CONCERTO Queen’s Hall, Edinburgh, Thu 27 Feb, thequeenshall. net For the first of their special Beethoven concerts, the SCO turn to his triple concerto, the only one he wrote for more than one solo instrument. The SCO’s own principal violin and cello are joined by early music specialist, pianist Kristian Bezuidenhout. Also City Halls, Glasgow, Fri 28 Feb, glasgowconcerthalls.com/ city-halls

90 THE LIST 1 Feb–31 Mar 2020

GLASGOW BBC SCOTTISH SYMPHONY ORCHESTRA: DOHNÁNYI’S FIRST SYMPHONY City Halls, Thu 13 Feb, glasgowconcerthalls.com/cityhalls One to watch: conductor Gergely Madaras from Hungary appears as guest conductor with the BBC SSO for Dohnányi’s First Symphony, starting off the programme with the intriguingly titled Figaro Gets a Divorce by Elena Langer, receiving its UK premiere. RED NOTE ENSEMBLE: EIGHT SONGS FOR A MAD KING Cottier’s Theatre, Tue 25 Feb, rcs.ac.uk The ever-ingenious Red Note are side-by-side with Royal Conservatoire of Scotland students in MusicLab to present Sir Peter Maxwell Davies’ remarkable piece about King George III and his tuneful birds. For male voice and ensemble, it’s music theatre like no other. MILNGAVIE MUSIC CLUB Cairns Church, Milngavie, Fri 20 Mar, milngaviemusic.org Giving the chance to hear top-notch chamber music in Beethoven’s special 250th anniversary year is the Trio Shaham-

Erez-Wallfisch, formed of three of the finest international instrumentalists around. The Piano Trio in C minor and the great Archduke trio, dedicated to Rudolph of Austria, frame the Kakadu Variations, which are not so often heard.

PHOTO: BALAZS BOROCZ

HITLIST

EDINBURGH REID CONSORT St Vincent’s Chapel, Fri 7 Mar, ticketsource.co.uk/reidconsort Formed just four years ago, the Reid Consort is central Scotland’s newest choir on the block and is already noted for its distinctive programming and opportunities it gives professional choral singers. The rarely heard Lagrime di San Pietro by Orlando di Lassus is a haunting Renaissance masterpiece reflecting on the grief of St Peter after his denial of Christ. SEVEN LAST WORDS Greyfriars Kirk, Fri 27 Mar, thequeenshall.net Commissioned by the BBC in 1994, James MacMillan’s astonishing setting of the dying words of Christ was first performed by the Scottish Ensemble in 1994. They now join with Dunedin Consort to rediscover

Gergely Madaras its aching intensity in the lead up to Easter. Also Kelvingrove Art Gallery and Museum, Glasgow, Sat 28 Mar, glasgowlife.org.uk/ museums/venues/kelvingrove-artgallery-and-museum

THEATRE THEATRE

FORFTHE or thLATEST e latesNEWS, t news, LISTINGS listings aAND nTO d rREVIEWS, eviews, GO go to LIST.CO.UK list.co.uk /t/THEATRE heatre

ABOREHENAT DOLUM Id qui berum fugita sa nonseriam fugiature vereritisi dolum ius molo

PHOTO: NICOLA SELBY AND EVE MCCONNACHIE

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endae. Ut quia parchit, venis quae maion est aperit acesto excesciatque voluptatet, iusci con porectem ex et que volesse quiamus, sunt fuga. Im imil mod que pore, tet debis audis velecat dolescipiet fugit, simusandi doloratur, seque dende inum quamus exerum, velesequas voloreperum qui si Julie archilTaymor mo te was asked to lift Disney’s smash hit The Lion King from When director doluptatur?Evenda sitis milthe eicstage, tem. she had to think outside the box. Fluffy animal suits and theinum screen onto Pudignis dolo consed autasof seque estissiplains just wouldn’t cut it. Instead, she dug into her video et images the African ommolor ectio. Orest earuptasita voles on puppetry techniques from Asia and Europe and taking theatrical roots, drawing necerum fugit offi ctem et,obvious omnim route. dia doluptat the least The result will entertain anybody with a pulse. faccum eat. Opening number, ‘Circle of Life’, sets the scene with incredible majesty: it’s a Temos ex et harum quid et re,but sequo showstopper, evenet, with the bar set this high, the show continues to deliver. sequae peliqua eriamusapedi ate thick volumquis The songs come and fast, the pop sensibility of Elton John and Tim Rice eosRorrorent ut que esequos quassitatewith Lebo M’s intoxicating African score. The large ensemble seamlessly interwoven parumquam illiciant remas reperume castacesequam is as important the leads: whether you’re playing a blade of grass or a key character, your presence is essential. But in a show awash with talent, the biggest round of applause has to go to Taymor’s remarkable vision. The beautiful and clever setting for the reprise of ‘He Lives in You’ would be worth the ticket price alone but it’s just one of countless gems this timeless production has to offer. (Kelly Apter) ■ Edinburgh Playhouse, until Sat 18 Apr ●●●●●

THE LION KING

Disney musical proves it’s still ahead of the pack

1 Feb–31 Jun–31 Aug Mar 2020 2019 THE LIST 91

THEATRE | PREVIEWS & REVIEWS R E V IE

CLASSIC ADAPTATION

AN INSPECTOR CALLS

Theatre Royal, Glasgow, Tue 24–Sat 28 Mar. Reviewed at King’s Theatre, Edinburgh lllll Perhaps driven by its resonant themes of social injustice and the looming presence of revolutions and wars, An Inspector Calls has become one of the most familiar scripts from the past century. Director Stephen Daldry’s production has been touring since 1992, reaching around five million theatre-goers around the world, and emphasising how it retains popularity in spite of its raw left-wing intentions. The plot (a mysterious inspector arrives at a wealthy home and exposes how each member has contributed to the death of a working-class young woman) is a simple analysis of capitalist oppression and sexual hypocrisy that manages to condemn an outdated economic philosophy and hint at a future socialism that would assuage its extremes. The characters all represent an aspect of how wealth corrupts, while the twist is less a dramatic denouement than a cheap coup de theatre. Daldry’s direction is sharp as it invokes both the First and Second World Wars (set before the former and written during the latter, JB Priestley’s prediction of a coming conflagration is hardly prescient). Meanwhile the scenography of a large house manages to emphasise the pettiness of the wealthy, lending an element of surrealism to a measured and largely traditional dramaturgy. The message is delivered clearly while the cast is strong and captures the broadly drawn characters (the inspector is appropriately clinical) and the production is tailored to the needs of students considering the script for examination. Liberals wanting a reminder of how bad capitalism is will be cheered, even though the historical remove blunts its contemporary resonance. (Gareth K Vile)

PHOTO: LAURENCE WINRAM

PHOTO: MIHAELA BODLOVIC AND NIALL WALKER

CLASSIC ADAPTATION

MULTIMEDIA

Tron Theatre, Glasgow, Tue 10–Sat 21 Mar; Traverse Theatre, Edinburgh, Wed 1–Sat 4 Apr

Tron Theatre, Glasgow, Fri 6–Sat 14 Mar, and touring

THE METAMORPHOSIS

From contemporary opera, through re-imagining the life and work of the legendary Scottish musician and poet Ivor Cutler, to sharp analyses of death and illness, Vanishing Point’s director Matthew Lenton has established himself as one of the most dynamic and provocative contemporary theatremakers. For The Metamorphosis, the company take on Kafka’s classic tale of alienation. Although Lenton’s approach often takes shape in the rehearsal process, here he works with a well-known text, in contrast to many of his recent productions which have been more personal. Lenton notes that The Metamorphosis ‘is a beautiful and crystal clear metaphor, a funny but tragic story, with a contemporary relevance about how someone becomes the other.’ Seeing parallels in the experience of migrants and refugees, Lenton is aiming for a production that ‘has to pack a punch and show how someone is othered in a visceral not an ideological way.’ While The Metamorphosis marks another shift in Lenton’s career, it continues his international collaboration with Emilia Romagna Teatro Fondazione and Glasgow’s Tron Theatre and will have a scaled-down touring version in a similar format to last year’s Dark Carnival. Plus it holds true to Lenton’s vision of an engaged, experimental theatre, ‘to tell a story that entertains and have people think about how the show affects their actions.’ (Gareth K Vile) 92 THE LIST 1 Feb–31 Mar 2020

MAIM

Evolving from a symposium held in Uist discussing climate change, Gaelic theatre company Theatre Gu Leòr have collaborated with activist group Ceòlas to develop MAIM, an examination of the relationship between the decline of languages and landscape. With words and music provided by Ross Whyte and Alasdair C Whyte, it is a raging cry against the threat of extinction that takes Theatre Gu Leòr into a new, dynamic dramaturgy, incorporating live music, video projection and Alasdair’s research into Scottish place names. ‘Place names tell us how our ancestors saw and engaged with their landscape,’ he explains. ‘They tell us that there was once a symbiotic relationship between us and the land and that’s a major theme of MAIM.’ By recognising how Scotland was once a rich, multilingual nation – and how ‘mono-linguism’ was a deliberate policy of the state – the piece examines how culture and the environment have become victims of degradation and neglect. ‘The crisis in relation to the environment and the loss of minoritised languages and cultures such as Gàidhlig is something that affects us all,’ says director Muireann Kelly. ‘MAIM is our response to a crisis and we hope people will come away having been provoked, inspired and moved.’ (Gareth K Vile)

PREVIEWS | THEATRE

list.co.uk/theatre

PHOTO: LUNARIA.CO.UK

HISTORY PLAY

HOME IS NOT THE PLACE

Traverse Theatre, Edinburgh, Fri 21 & Sat 22 Feb ‘Story is everything and everything is story,’ says Annie George. ‘The personal story is important in my work. I think that this is crucial in helping to diversify the sector: there seems to be a neglect or underappreciation of artists from diverse backgrounds, or indeed of mature artists, like there’s nothing to learn from them. Well, I beg to differ!’ Home is Not the Place examines the writer and performer’s experiences as a migrant, and the life of her grandfather, the Kerala poet PM John. George’s belief in theatre’s potential as a place for both public conversations about the big ideas and personal history manifests in parallel contemplations on her own life and John’s legacy. ‘PM John died 25 years before I was born, so writing this play was a way of getting to know him, and to pass on to my children the history that shaped them,’ she continues. Because John was born in ‘the little village in the middle of nowhere’, he was forced to become ‘a pioneer’ to forge his career as a poet. ‘Most importantly, because he wrote, he lives on through his words,’ George continues. George’s play demonstrates that not only can theatre be a place to capture excluded parts of the past, but can give meaning and vitality to life through language. ‘We each have the right to tell our stories. If we don’t, it’d be as if we never existed. It is our immortality. As I say in the play, we are history, poured out on to fragile pages.’ (Gareth K Vile)

Photography by Mihaela Bodlovic

23 January – 15 February 2020

“Unfettered joy from start to finish” The Herald

By Isobel McArthur after Jane Austen

The Scotsman The Telegraph

What’s On Stage

Plays To See

The Stage

The Guardian Bristol Post

Stage Talk Magazine

The Times

UK Theatre Web

TICKETS 0131 248 4848 lyceum.org.uk Pride & Prejudice* (*sort of) is a co-production between Royal Lyceum Theatre Edinburgh, Tron Theatre and Blood of the Young with partners Birmingham Repertory Theatre, Bristol Old Vic, Leeds Playhouse, Northern Stage, Nuffield Southampton Theatres and Oxford Playhouse. Pride & Prejudice* (*sort of) is brought to The Lyceum stage through the generous financial support of Principal Supporter Stephen W Dunn

Royal Lyceum Theatre Company Ltd is a Registered Company No. SC062065, and Scottish Charity Registered No. SC010509

1 Feb–31 Mar 2020 THE LIST 93

THEATRE | PREVIEWS & REVIEWS CONTEMPORARY DRAMA

I THINK WE ARE ALONE

King’s Theatre, Edinburgh, Tue 18–Sat 22 Feb Co-directed by TV star Kathy Burke and Frantic Assembly’s Scott Graham, I Think We Are Alone is a new play that dives into the challenges and opportunities of social media. Two estranged sisters (Charlotte Bate and Polly Frame) find that text messaging is only driving them further apart while a mother (Chizzy Akudolu) battles grief and maternal anxiety, and Graham (Andrew Turner) visits darker places only to find, in kindness, a possible solution to loneliness. ‘For me this was more about our desire for intimacy and connection and how we are offered greater opportunity to connect,’ says Scott Graham. ‘I wondered how much social media was delivering, given that we tend to curate an image of ourselves. I wondered if that image might hinder connection. We give people an impression of our lives and that might get in the way.’ Despite having been at the forefront of British theatre for 25 years, Graham’s Frantic Assembly retains a dynamic edge that encompasses both formal experimentation and contemporary worries. By working with Burke and playwright Sally Abbott, the company consciously incorporates new voices and continues their collaborative aesthetic of adventure and imagination, while maintaining a core intention. ‘Good theatre inspires an active audience,’ Graham concludes. ‘Their minds are rushing, creating connections and seeing beyond the veneer of a situation. Theatre is a social event and it can explore society’s concerns but I think it must always be aware of becoming didactic. I’m not interested in that.’ (Gareth K Vile)

PHOTO: WASI DANIJU

PHOTO: EOIN CAREY

PHOTO: GALACTIC CARNIVAL

R E V IE

CABARET

CLASSIC ADAPTATION

CONTEMPORARY DRAMA

Britannia Panopticon, Glasgow, Fri 7 Feb and monthly lllll

Royal Lyceum Theatre, Edinburgh, Fri 28 Feb– Sat 21 Mar; Tramway, Glasgow, Wed 25 Mar–Sat 11 Apr

Traverse Theatre, Edinburgh, Fri 20 & Sat 21 Mar

DRAG-OPTICON

Mother of all tuckers, Alana Duvey presents a show which isn’t afraid to speak to modern issues, while retaining a glamorous, tongue-in-many-cheeks aesthetic. Drag-Opticon feels like a welcome riposte to the safe and bland drag that’s been assimilated into mainstream media. CarrieAnn Crow’s burlesque is a witty mash-up of Peaches and 50s pin-up poses. Her bump'n’grind routine feels filthy but fresh, an intoxicating homage to drag past and present, as well as a nod to queer club culture. Meanwhile, shapeshifting artist Dharma Geddon has a glorious singing voice, but her dystopian survivalist routine is where she excels, with a rainbow flag deployed like an updated version of the vaudeville butterfly dance. Rujazzle’s sex-doll becoming sentient is a pointed interrogation of life-sized dolls being consumed by frustrated businessmen. Both her physicality and ideas are mesmerising. Also impressive is Lacy Rain’s parody of vintage cartoon sex offender Pepé Le Pew, with this problematic character given a swift kick to his sense of entitlement. Rain’s slinky dancing, prowling and spraying her ‘scent’ over the audience is spiky drag for the #MeToo era, where consent is both sexy and necessary. (Lorna Irvine) 94 THE LIST 1 Feb–31 Mar 2020

MRS PUNTILA AND HER MAN MATTI

One of Scotland’s best loved crime writers, Denise Mina, is not one for taking predictable routes in her work. Her piece for A Play, A Pie And A Pint, Ida Tamson, had her teaming up with comedic actor Elaine C Smith, a fruitful collaboration focusing on gangsters and the impact on their families. Now they are reunited for Mina’s unique spin on the Bertolt Brecht comedy Mr Puntila and His Man Matti. A lifelong admirer of Brecht since she was stage manager at the tender age of 15 on a production of The Caucasian Chalk Circle at Bromley Little Theatre, Mina aims to repurpose this particular play for a whole new audience. For Mina, the gender swap to Mrs Puntila and Her Man Matti is necessary. ‘Gender blindness is quite the trend in theatre at the moment, and I love it,’ she says. ‘It means that the play is a bit more Harvey Keitel and a bit less Harvey Weinstein. We want it to be really, really funny. We want people to leave feeling uplifted and angry and motivated to take no shit, and stand up for each other. In the original, Brecht says “never accept your rights as charity”, and that’s pretty much the theme of it. We want riots!’ (Lorna Irvine)

SEEDS

Focusing on two mothers, both of whom are trying to deal with the reality of knife crime, seeds is a new script that uses the immediacy of performance to address British’s society’s assumptions about crime, violence and race. ‘The use of the term “knife crime” can be reductive,’ says playwright Mel Pennant. ‘People may feel that it is or isn’t their problem, that it’s about one race or another, or a particular demographic or type of young person. The play seeks to challenge that sort of shorthand. It explores the danger of creating “otherness”: it’s about them or me but never us.’ Amid a Traverse programme that ranges across a variety of new writing and challenging issues, seeds is explicit in both its intentions and belief that theatre offers a unique opportunity. ‘Theatre provides a powerful, magical place where an audience, these two mothers and their story all come together in a moment in time,’ Pennant continues. ‘By their interaction, they evolve with this conversation about who we are. It’s this one opportunity to really dig deep and explore their despair and longing, and how they define their future in a space that has become very limiting for both of them.’ (Gareth K Vile)

PREVIEWS | DANCE

list.co.uk/dance

E C N DA

CONTEMPORARY

BALLETBOYZ: DELUXE

Theatre Royal, Glasgow, Sun 1 Mar; Festival Theatre, Edinburgh, Sun 8 Mar It was a trip to China that sealed the deal. William Trevitt and Michael Nunn, aka the BalletBoyz’ co-artistic directors, had been scouting around for the perfect double-bill to celebrate the company’s 20th anniversary year. On tour in China, they arranged to meet Xie Xin, one of the country’s most exciting contemporary choreographers. And, by pure chance, a former BalletBoyz dancer was also in the country, performing a work by Maxine Doyle with London-based company Punchdrunk. So the pair went along to see him. ‘We went halfway around the world and then worked out what it was we were looking for,’ says Trevitt with a laugh. ‘All of those things in China seemed to tie together, and yet both choreographers are so radically different in terms of the way they create, the style of movement and emphasis on character or pure physicality. So it’s worked out to be a really interesting double bill.’ Both Xie Xin and Doyle have created brand new works for the BalletBoyz’ six male dancers, which will have their world premiere in Glasgow under the show title Deluxe. Known for her work with TAO Dance Theatre and Sidi Larbi Cherkaoui, Xie Xin is making her UK debut, while Doyle, currently Punchdrunk’s associate director, is using live jazz music for her new piece. ‘Xie Xin’s work is very organic, very physical, and as you watch it you’re a little bit transported into another world,’ says Trevitt. ‘Whereas Maxine’s piece is much more immediate, dynamic, gritty and character-led. I don’t think you will, but you could almost imagine that you’d be able to smell it. We’re always looking for opportunities to show off the dancers’ versatility, and with these two choreographers there’s going to be a wonderful contrast on the night.’ (Kelly Apter)

SCOTTISH DANCE THEATRE: ANTIGONE, INTERRUPTED

Traverse Theatre, Edinburgh, Thu 20–Sat 22 Feb, and touring When a play retains its popularity for over 2000 years, it must be saying something worth listening to. But any company operating in the 21st century needs to move with the times. So when Joan Clevillé, artistic director of Scottish Dance Theatre, decided to adapt Sophocles’ Antigone, he knew he needed a mix of past and present-day thinking. ‘When you tackle something like a Greek tragedy, a lot of questions come up,’ says Clevillé. ‘Like why and how? Do you just reproduce what’s been done before? Does the world need another version of Antigone?’ Renaming the show Antigone, Interrupted helped him on his way, a title borrowed from American feminist theorist Bonnie Honig, and a reference to how solo dancer-actor Solène Weinachter performs the piece. ‘Solène delivers text from the original but she also interrupts it several times, to change character, to comment on what’s happening or to relate it to her own story,’ explains Clevillé. Clevillé and Weinachter were both dancers with Scottish Dance Theatre before working together in his own company, where text played a large part. For Antigone, Interrupted, Clevillé sought the help of dramaturgist Ella Hickson, then wrote several sections himself to sit alongside Sophocles’ words. ‘It’s probably about 50/50,’ says Clevillé. ‘I think it’s very clear when we’re immersed in the story, and then Solène might reflect on a particular event or describe the city of Thebes, setting up a scene before we dive into it.’ (Kelly Apter)

PHOTO: JOHAN PERSSON

PHOTO: NICOLE GUARINO

ADAPTATION

CONTEMPORARY

RAMBERT

Festival Theatre, Edinburgh, Thu 20–Sat 22 Feb Scroll through the comments under Christine and the Queens’ ‘Tilted’ video on YouTube and you’ll find a lot of love for Marion Motin. Her choreography for the video receives copious praise, and as with her video for Dua Lipa’s ‘IDGAF’, the moves are quirky yet accessible, taking modern dance to a new audience. Now, for the first time, the French-born hip hop choreographer has created work for a contemporary dance company. On Rambert’s current UK tour, her name will appear front and centre in a triple-bill alongside Wayne McGregor and Hofesh Shechter. ‘I don’t need people to know my name,’ says Motin modestly. ‘For me it’s much better to see comments saying “ah the choreography in this video is good: who did it?” I prefer that they know my work rather than my name. But of course with Rambert, the focus is dance and choreography, so I’m really proud to have my name on it.’ Creating ‘Rouge’ for Rambert, Motin found herself loving the technique the dancers brought; but bringing themselves proved a little harder. ‘I invited them to not just be a corps de ballet but to be who they really are outside of dance,’ says Motin. ‘That’s how I work with people, I like to get to know their personality. We had lots of discussions and it took time for them to just be who they are. But it was all such a pleasure because technically they are amazing and they understood everything so quickly. I would say “do you think you can do this?” And they always could. They have no limits.’ (Kelly Apter) 1 Feb–31 Mar 2020 THE LIST 95

THEATRE | HIGHLIGHTS

THEATRE HIGHLIGHTS Events are listed by city, then date. Submit listings for your event at list.co.uk/add

GLASGOW STRICTLY COME DANCING: THE LIVE TOUR SSE Hydro, Sat 1 & Sun 2 Feb, thessehydro.com Dance extravaganza bringing the Strictly spectacle from screen to stage, with audiences deciding which couple will win the coveted Glitterball trophy at the end of each show. FINNISH EXPOSURE: THE DAYS CCA, Sun 2 Feb, cca-glasgow. com Finnish performers Maria Nurmela and Ville Oinonen perform choreographer Theo Clinkard’s duet about a lifetime in pursuit of care and connection. DRAG-OPTICON Britannia Panopticon, Fri 7 Feb, Fri 6 Mar, britanniapanopticon.org A cavalcade of drag queens covering a broad range of genres and talents,

which previously have included lip syncing, live singing, comedy, ballet and even saw playing. Expect the unexpected. See review, page 94. BRENDAN COLE: SHOW MAN Glasgow Royal Concert Hall, Thu 27 Feb, brendancole.com The first-ever winner of Strictly storms the stage with more passionate Latin dance moves. Also touring, see list.co.uk/dance for details. WE ARE IN TIME Tramway, Fri 28 & Sat 29 Feb, tramway.org The extraordinary story of a transplanted heart is vividly explored in this new production by Stewart Laing, written by Pamela Stewart. Also Traverse Theatre, Edinburgh, Tue 3 & Wed 4 Mar, traverse.co.uk, and touring AJ PRITCHARD’S AJ LIVE TOUR SEC, Sat 7 Mar, sec.co.uk The Strictly Come Dancing semi-finalist performs a mix of classic routines and new high-energy choreography on his UK-wide tour. Also touring, see list. co.uk/dance for details.

CIRQUE DU SOLEIL: CRYSTAL Braehead Arena, Wed 11–Sun 15 Mar, cirquedusoleil.com Acclaimed circus company Cirque du Soleil blend acrobatics, aerial arts and ice skating in this new stunning production. Also touring, see list.co.uk/dance for details. AN INSPECTOR CALLS Theatre Royal, Tue 24–28 Mar, atgtickets.com Stephen Daldry reimagines JB Priestley’s classic thriller in this National Theatre production, centred on the prosperous Birling family and their connection to the death of a young woman. See review, page 92.

EDINBURGH OOR WULLIE King’s Theatre, Sat 1 Feb, selladoor. com Wullie, Fat Boab, Soapy Soutar, Wee Eck and the rest of the Sunday Post gang head out on a musical adventure in celebration of their 80th anniversary. Also touring, see list. co.uk/theatre for details. PRIDE AND PREJUDICE (SORT OF) Royal Lyceum Theatre, until Sat 15 Feb, lyceum.org.uk Irreverent all-female adaptation of Jane Austen’s classic love story, with all the ruthless matchmaking we’ve come to expect, with the addition of some new characters from below-stairs. HOME IS NOT THE PLACE Traverse Theatre, Fri 21–Sat 22 Feb, traverse.co.uk Solo show by Annie George contrasting struggles faced by her grandfather, Kerala poet PM John, shortly before India’s independence, with her own as an immigrant in the UK. See preview, page 93. GERMAN CORNEJO’S TANGO FIRE Festival Theatre, Mon 24 Feb, capitaltheatres.com German Cornejo and Gisela Galeassi perform a sizzling journey through the history of Argentine tango, accompanied by the

Cirque du Soleil: Crystal

HITLIST

I THINK WE ARE ALONE King’s Theatre, Edinburgh, Tue 18–Sat 22 Feb, capitaltheatres.com Frantic Assembly stage Sally Abbott’s bittersweet play about seeking connection, vulnerability and forgiveness in our darkest hours. See preview, page 94.

96 THE LIST 1 Feb–31 Mar 2020

SCOTTISH DANCE THEATRE: ANTIGONE, INTERRUPTED Traverse Theatre, Edinburgh, Thu 20–Sat 22 Feb, scottishdancetheatre. com Solène Weinachter stars in this solo work choreographed by Joan Clevillé, reimagining the classic tale. See preview, page 95. Also touring,

see list.co.uk/dance for details RAMBERT Festival Theatre, Edinburgh, Thu 20–Sat 22 Feb, rambert.org. uk Triple-bill by Marion Motin, Wayne McGregor and Hofesh Shechter. See preview, page 95. Also touring, see list.co.uk/ dance for details

Tango Fuego Quartet. MRS PUNTILA AND HER MAN MATTI Royal Lyceum Theatre, Fri 28 Feb– Sat 21 Mar, lyceum.org.uk Genderbent adaptation of Bertolt Brecht’s class comedy by Denise Mina, which centres upon landowner Mrs Puntila’s drunken mishaps and her chauffeur Matti, who has his eye on Puntila’s daughter. See preview, page 94. Also Tramway, Glasgow, Wed 25 Mar– Sat 11 Apr, tramway.org GIOVANNI PERNICE: THIS IS ME Festival Theatre, Tue 17 Mar, giovannipernice.com The Strictly Come Dancing showman pays homage to the music and dances which have inspired his career, from ballroom numbers to Latin routines. Also Pavilion Theatre, Glasgow, Wed 18 Mar, paviliontheatre.co.uk, and touring MAIM Traverse Theatre, Tue 17 & Wed 18 Mar, theatreguleor.com A collaboration between Theatre Gu Leòr and the band WHYTE exploring the crisis facing both land and language through a hybrid of live music, dance, spoken word and video. See preview, page 92. Also touring, see list.co.uk/ theatre for details. ANTON AND ERIN: DANCE THOSE MAGICAL MOVIES Usher Hall, Sat 21 Mar, antonanderin.com The ballroom stars recreate iconic dance numbers from the silver screen in their latest show, from Breakfast at Tiffany’s and Singin’ in the Rain to The Greatest Showman and Moulin Rouge. Also Glasgow Royal Concert Hall, Sun 22 Mar, glasgowconcerthalls.com THE LION KING Edinburgh Playhouse, until Sat 18 Apr, atgtickets.com Julie Taymor’s puppet-powered stage version of Disney’s spectacular tale of a dead king and an errant son is a feast of exuberant theatre for the whole family. See review, page 91.

BALLETBOYZ: DELUXE Theatre Royal, Glasgow, Sun 1 Mar, balletboyz.com The acclaimed all-male contemporary dance ensemble returns with two new works. See preview, page 95. Also Festival Theatre, Edinburgh, Sun 8 Mar, capitaltheatres.com

THE METAMORPHOSIS Tron Theatre, Glasgow, Tue 10–Sat 21 Mar, tron.co.uk Franz Kafka’s iconic tale about a man’s transformation into a giant insect is brought to life on stage in this international co-production, directed by Vanishing Point’s Matthew Lenton. See preview, page 92.

FOR THE LATEST NEWS, LISTINGS AND REVIEWS, GO TO LIST.CO.UK /TV

TELEVISION

OZARK Return of moreish crime drama with Laura Linney and Jason Bateman When last we met the Byrde family, their plans to finally escape a 20-episode nightmare and head for safety and solitude in Australia had been thwarted at the last gasp. With the final credits rolling to the sound of Dion’s ‘Drip Drop’ (opening line: ‘Hey, the roof is leakin’ and the rain’s fallin’ on my head, it won’t stop’), it seems a clear message that their problems, far from disappearing, are all set to accelerate in this new third season. Ozark stars Laura Linney and Jason Bateman as an unhappily married couple on the brink of splitting up until a business deal goes horribly wrong forcing them (and their two understandably baffled and justifiably angry teenage children) to leave Chicago in a hurry and land in a summer community in Missouri. There they are tracked down by a vengeful Mexican drug cartel while being made to feel distinctly unwelcome by a variety of nasty local gangsters. Each episode is a masterclass in nail-biting tension as the Byrdes somehow keep escaping ultimate disaster by the skin of their teeth. But in Bill Dubuque and Mark Williams’ Emmy-winning drama, there’s also plenty room for complex character development, wrestling with moral quandaries and sumptuous cinematography which has led some commentators to brand the show as a merger of The Sopranos and Breaking Bad. But Ozark is its own boss, and features terrific performances from Linney, Bateman and a strong supporting cast including Janet McTeer and Julia Garner. Time to strap in, people. (Brian Donaldson) ■ Ozark is available on Netflix, Fri 27 Mar.

1 Feb–31 Mar 2020 THE LIST 97

TELEVISION | PREVIEWS

LISTEN UP PODCASTS WORTH LENDING YOUR EARS TO

BLOOD TIES From the makers of Dirty John and Dr Death comes a new scripted drama about siblings uncovering dark family truths after the deaths of their parents in a plane crash. Gillian Jacobs (Community, Love) and Josh Gad (Frozen, Book of Mormon) play the grieving investigators.

SKY FALLS? As Armando Iannucci takes his sarcastic humour into space and Larry David returns to familiar ground, Brian Donaldson wonders if the two comedy titans are set for a scoring draw

n the early days of his dementia, The Sopranos’ Uncle Junior spotted an episode of Curb Your Enthusiasm on TV and was convinced that he and his driver/carer Bobby Baccalà were inexplicably on screen. The lookalikes – a bald and bespectacled Larry David and the heavy-set Jeff Garlin – might not have been too offended at this confusion, but in the opening episode of the new, tenth series of Curb, Garlin is rather more awkwardly mistaken for Harvey Weinstein. This is David’s in to ‘tackle’ #MeToo while other modern issues are raised including MAGA hats, selfie sticks and tattoo proliferation alongside perennial concerns such as wobbly tables, lukewarm coffee and people saying ‘happy new year’ well into January. Requiring a mortal enemy to harbour a season-long grudge against (previously Larry has ostracised people for stealing his takeaway shrimp, leaving stains on varnished tables and stomping around in clumpy boots upstairs), a blast from Curb’s past in the shape of Mocha Joe appears to fit the bill this time around. Strong resentment is built up in Larry about the quality of scones he’s served up by his latest nemesis. While a tenth set of moral dilemmas and brazen pettiness from Larry David feels like a warm, reliable blanket for fans, Avenue 5 has its creator stepping

into fresh territory, geographically speaking at least. Armando Iannucci has long since moved away from contemporary UK-US governmental affairs by recently pitching his sarcastic characters into the past worlds of Joseph Stalin and David Copperfield, but now he’s plunging headlong towards the future with a sitcom set onboard a luxury cruise ship that appears lost in outer space. As ever with Iannucci, incompetent figureheads and bureaucratic minefields clash as Captain Ryan Clark (Hugh Laurie, pictured, in fine form as the accentshifting boss on the Avenue 5 ship) tries to continually pass the buck while awkward customers, playboy billionaires and harassed decision-makers at mission control make his life a stressful omnishambles. While early reviews in the States suggest that David and Iannucci may be coasting a little on past glories, it’s surely far too early to write off two of the most talented comedy scribes of our times. Hopefully the social codes of Curb as proscribed by ‘Larry’ will soon have our anti-hero flexing his hilarious ire while Iannucci’s creations will be delivering innovative insults as only this caustic Glaswegian can pen them. Avenue 5, Sky One, Wed, 10pm; Curb Your Enthusiasm, Sky Comedy, Tue, 9pm.

Our alphabetical column on viewing marathons continues with some B plans Now in its third season, Pamela Adlon’s infectiously downbeat Better Things (BBC iPlayer) follows a single mother trying to keep her three daughters and overbearing 98 THE LIST 1 Feb–31 Mar 2020

mother (Celia Imrie) happy. All the while she struggles to maintain a credible acting career in a business that seems to be downsizing strong roles for women in their 40s and 50s. It’s funnier than all that sounds. Dumped by Fox after five seasons and picked up by NBC the next day, Brooklyn Nine-

THE PEREGRINE He’d probably make the phone book sound captivating, so chances are David Attenborough’s reading of JA Baker’s classic piece of nature writing on the titular bird of prey should be a veritable delight. GETTING CURIOUS Queer Eye’s grooming expert Jonathan Van Ness delivers some weekly wit and wisdom on everything from climate to cosmetics, and terrorism to turtles. The recent interview with presidential candidate Elizabeth Warren is a blast. THE REWATCHABLES Host Bill Simmons recently marked the 100th episode of this film ’cast with Quentin Tarantino chatting about Tony Scott’s thriller Unstoppable. Other movies dissected include The Godfather Part II, Skyfall and The Shining. THE NAKED SCIENTISTS A weekly show that tackles all your sciencey concerns, such as whether recycling is actually beneficial, which sport requires the best fitness levels, and how to survive an avalanche. (Brian Donaldson)

Nine (Netflix) is a zip-fast police procedural sitcom with bundles of gags and flashbacks, and a diverse cast of excellent actors such as Andy Samberg, Stephanie Beatriz and Andre Braugher. Other B binges: Boy Meets Girl (Amazon Prime), Band of Brothers (NOW TV), Bodies (BBC iPlayer).

VISUAL ART FOR THE LATEST NEWS, LISTINGS AND REVIEWS, GO TO LIST.CO.UK /VISUALART

PAULA REGO: OBEDIENCE AND DEFIANCE Powerful response to tyranny from iconic Portuguese painter

PHOTO: MUSEU PAULA REGO: CASA DAS HISTÓRIAS PAULA REGO, CASCAIS

The sense of feminist anger which rips through this lifetime-spanning retrospective by the London-based Portuguese artist Paula Rego is palpable. In her 1990s Dog Women series, painted images of women in unusual poses – lying on the floor asleep atop a man’s suit jacket; hunched on all fours to escape stoning; pregnant and somehow constrained within an armchair – occupy an uncanny space between the celebratory and the unpleasant. In her collection of etchings on female genital mutilation from 2009, the weirdly maternal figure of each cutter looms amid the monochrome of Victorian fairytale illustrations. Meanwhile, in the series of works about abortion, women are shown in defiance before and after the act of undergoing an illegal procedure, Rego offering a stark and uncompromising response to the failure of Portugal’s 1998 referendum on abortion to result in legalisation.

The political is never far from Rego’s work: the disturbing ‘War’ (2003), for example, features anthropomorphic beings, one childlike, bloodied and being carried by a mother, in a hallucinatory response to the carnage of the second Iraq War. And her 1960s paintings are more abstract and Pop Art-influenced in their response to Portugal’s then-prevalent Salazar dictatorship and her liberal father’s stifled outrage. The cartoonish ‘Red Monkey Offers Bear a Poisoned Dove’ and ‘Wife Cuts Off Red Monkey’s Tail’ (both 1981) are visceral and confrontational, providing references to her male relationships, particularly with her husband, the painter Victor Willing. Some pieces bear the quality of a fairytale illustration, others a stark realism, yet all cumulatively add up to a powerful response to the last half-century from a fiercely feminist perspective. (David Pollock) ■ Scottish National Gallery of Modern Art (Modern Two), Edinburgh, until Sun 19 Apr ●●●●●

1 Feb–31 Mar 2020 THE LIST 99

VISUAL ART | PREVIEWS & REVIEWS PHOTOGRAPHY

R E V IE W

OSCAR MARZAROLI

Street Level Photoworks, Glasgow, until Sun 15 Mar ●●●●●

PHOTO: OSCAR MARZAROLI COLLECTION, COURTESY OF STREET LEVEL PHOTOWORKS

The last time Oscar Marzaroli’s iconic black and white images of Glasgow were seen in a major exhibition was in the 1980s, when the dear green place was en route to reinventing itself as culture city. Marzaroli’s iconic depictions of back-street inner-city urchins at play were heroised on the covers of records by Deacon Blue, who sang of the dignity of labour in a city all but razed into rubble. Thirty-odd years on, and with Marzaroli’s archive of more than 50,000 images donated to Glasgow Caledonian University, the 80-plus photographs on show here are given a new layer of poignancy by the distance of time. Most of the images were taken within a short walk from the gallery, but the places and people depicted are pretty much no more. The high rises that loom over a lone Gorbals tenement in ‘The Old and the New’ sets the tone for an array of images depicting half-demolished gable ends, halfbuilt tower blocks and crumbling houses bookending a now empty square, as desolate as the Necropolis beside it. Marzaroli’s greatest hits are here – ‘The Castlemilk Lads’ and ‘Golden Haired Lass’ – as are the artists: George Wylie and his straw locomotive, a young and glaikit-looking Alasdair Gray, Bill Forsyth and Clare Grogan filming Comfort and Joy, and the original cast of The Steamie. But so too are Barrowland dances and the Clyde Fair. The faces of vulnerable-looking boys are etched with experience beyond their years. Plus, the Humblebums and Matt McGinn play on Glasgow Green in support of the 1971 Upper Clyde Shipbuilders work-in, Billy Connolly louchely playing his banjo as the others raise their fists in gleeful solidarity, and thousands of Celtic fans at Hampden Park for the 1963 Scottish Cup Final share a limbo of collective anxiety. In this way, Marzaroli’s work goes beyond social-realism to create a haunting visual poetry of a community at work, rest and play. That’s dignity, alright. (Neil Cooper)

PHOTO: RUTH CLARK

PHOTO: COURTESY OF THE ARTIST

PHOTO: JAMES MORGAN

R E V IE W

NATURE EXHIBIT

MULTIMEDIA

GROUP EXHIBITION

National Museum of Scotland, Edinburgh, until Mon 4 May

Tramway, Glasgow, until Sun 22 Mar

Dundee Contemporary Arts, until Sun 22 Mar lllll

Glasgow-based Hardeep Pandhal has attracted increasing attention since graduating from Glasgow School of Art’s MFA course in 2013. Self-Loathing Flashmob, his 2018 exhibition at Kelvin Hall, was one of only a few by local artists in the commissioned programme for Glasgow International. In the same year, he was shortlisted for the Film London Jarman Award, and was included in the prestigious New Museum Triennial in New York. Now, Pandhal becomes the first Glasgow-based artist for some time to be given the run of Tramway 2, Scotland’s biggest exhibition space. He plans to fill it with work across a range of media (film, drawing, sculpture, rap) in his signature street aesthetic, produced with a healthy streak of sardonic humour. Born into a Sikh family in Birmingham, Pandhal tackles the complexities of race and identity in his work with this Tramway show taking as its starting point a piece of pulp fiction from the 1830s, Confessions of a Thug by Philip Meadows Taylor. The word ‘thug’ originated in colonial India and was used for members of a violent sect; but many now believe the group’s activities were sensationalised by the Brits for political reasons. All of this gives Pandhal and his rap alter ego Pakiveli plenty to get their teeth into. (Susan Mansfield)

Evolution, not revolution is the drive behind this Ursula K Le Guin-inspired group show, in which 12 artists take the nod from the sci-fi pioneer’s 1969 novel, The Left Hand of Darkness. This is clear from Tuesday Smillie’s series of painted reproductions of the covers of Le Guin’s novel across assorted editions, addressing shifts in attitudes towards the book. Changes in the landscape are most obviously apparent in the D’Arcy Thomson Zoology Museum’s collection of marine life specimens of creatures whose biology contradicts prevailing orthodoxies of gender. They’re also apparent in the ever-morphing state of the DCA itself, in which the brilliant white of Gallery 1 gives way to the pulsing utopian warmth of Flora Moscovici’s wall-scape in Gallery 2. Filmmaker Sophia Al-Maria and performer Victoria Sin present a TED Talk in space in ‘BCE’, while the rail of customised blue jeans hung up in Emma WolfHaugh’s ‘Domestic Optimism: Soft Furnishings’ tries on various styles for comfort. If Andrew Black’s video ‘Revenge Fantasy’ rips up the rules of Scotland the Brand, the shifting sands of Isaac Julien’s threeminute film, ‘Encore II (Radioactive)’ surfs the show’s over-riding speculation that, in a world of permanent transience, possibilities are infinite. (Neil Cooper)

TYRANNOSAURS

If the words ‘Tyrannosaurus rex’ still bring back memories of the car chase in Jurassic Park, you’re not alone. The world’s largest dinosaur has been capturing our imaginations for a very long time. However, this exhibition, created by the Australian Museum, is the most comprehensive ever devoted to the tyrannosaur family and aims to expand our ideas about the world’s most feared dinosaur. T rex might be the most famous tyrannosaur but there are at least 25 other members of the family, from feathered critters not much bigger than a human to the giant at the top of the prehistoric food chain. This is also one of the hottest areas of palaeontological study, with several new species discovered in the past decade. The exhibition promises a mixture of science and spectacle, from fossils and cutting edge palaeontology to augmented reality experiences where visitors can interact Jurassic Park-style with life-size dinosaurs. The star of the show is Scotty, a large cast taken from one of the biggest and most complete T rex skeletons in the world. The original was found in Saskatchewan, Canada, in 1991, and named after the excavation crew who toasted their discovery with a glass of malt. (Susan Mansfield) 100 THE LIST 1 Feb–31 Mar 2020

HARDEEP PANDHAL – CONFESSIONS OF A THUG: PAKIVELI

SEIZED BY THE LEFT HAND

HIGHLIGHTS | VISUAL ART

VISUAL ART HIGHLIGHTS Events are listed by city, then date. Submit listings for your event at list.co.uk/add

GLASGOW SHUVINAI ASHOONA: HOLDING ON TO UNIVERSES CCA, Fri 7 Feb–Sun 22 Mar, ccaglasgow.com Work by Canadian artist, inspired by familial rituals and traditions as well as imagined events. EXPLORATION: FROM DEEP TIME TO OUTER SPACE Hunterian Museum and Art Gallery, until Sat 14 Mar, gla.ac.uk/hunterian An exhibition looking at the ways in which natural sciences collections are built up by expeditions. BRUCE HAMILTON: FURNITURE MAKERS The Lighthouse, until Sun 22 Mar, thelighthouse.co.uk Work by furniture maker Bruce Hamilton, who has specialised for years in making (among other things) reproductions of the work of Charles Rennie Mackintosh.

FRANCE-LISE MCGURN: IN EMOTIA Tramway, until Sun 29 Mar, tramway. org Work from Glasgow-based artist, consisting of figurative painting and wall drawings evoking bodies in various locations, suggesting intimacy, ecstasy, sexuality, violence and loss. HAL FISCHER: GAY SEMIOTICS AND OTHER WORKS Gallery of Modern Art, until Sat 30 May, glasgowlife.org.uk/museums/ venues/gallery-of-modern-art-goma The complete works of the American artist who documented the gay culture of San Francisco in the 1970s.

EDINBURGH WOMEN PHOTOGRAPHERS FROM THE AMBERSIDE COLLECTION Stills, until Tue 3 Mar, stills.org Photographs from the archive of Amber Film & Photography Collective, featuring work by Diane Arbus, Martine Franck, Graciela Iturbide, Izabela Jedrzejczyk, Laura Junka-Aikio, Sirkka-Liisa Konttinen, Susan Meiselas, Tish Murtha and Grace Robertson.

MAY MORRIS: ART AND LIFE Dovecot Studios,until Sat 14 Mar, dovecotstudios.com An overview of the work of May Morris (1862–1938), younger daughter of William Morris and one of the central figures of the arts and crafts movement. MOUNT STRANGE AND THE TEMPLE OF FAME Summerhall, until Sun 15 Mar, summerhall.co.uk An exhibition in which four major female artists investigate managed histories, strange landscapes and myth-making: Victoria Clare Bernie, Maria Gimeno, Mina Hedyari-Waite and Alix Villanueva. ALEXANDRA HAESEKER: THE BOTANIST’S DAUGHTER Edinburgh Printmakers, until Sun 22 Mar, edinburghprintmakers.co.uk Contemporary mixed media exhibition featuring works inspired by nature. ACTINIC: PHOTOGRAPHY IN PRINT Edinburgh Printmakers, until Sun 22 Mar, edinburghprintmakers.co.uk Prints by Scotland-based artists which demonstrate the technique of ‘actinism’.

BP PORTRAIT AWARD 2019 Scottish National Portrait Gallery, until Sun 22 Mar, nationalgalleries. org/visit/scottish-national-portraitgallery The very best in contemporary portrait painting is on display for the most prestigious portraiture competition in the world. MARINE HUGONNIER: TRAVEL POSTERS Ingleby Gallery, until Sat 28 Mar, inglebygallery.com Art exploring the Pan Am advertising campaign designed by Chermayeff and Geismar in 1971. NOW: KATIE PATERSON, DARREN ALMOND, SHONA MACNAUGHTON AND LUCY RAVEN Scottish National Gallery of Modern Art (Modern One), until Sun 31 May, nationalgalleries.org/ visit/scottish-national-gallerymodern-art The sixth and final NOW show highlights the work of Scottish artist Katie Paterson, who’s known for collaborating with specialists in science (especially astronomy and cosmology).

PHOTO: JOHN PREECE

PINE’S EYE Talbot Rice Gallery, Sat 29 Feb– Sat 9 May, trg.ed.ac.uk Exhibition exploring what it means to be human in times of ecological change. JULIJONAS URBONAS Collective, Wed 1 Apr–Sun 10 May, collective-edinburgh.art Work by noted Lithuanian artist, informed by his interest in post-phenomenology, space medicine, particle physics and outer space anthropology.

OUT OF TOWN SEIZED BY THE LEFT HAND Dundee Contemporary Arts, until Sun 22 Mar, dca.org.uk Exhibition curated by Eoin Dara and Kim McAleese, featuring work exploring ideas from Ursula K LeGuin’s novel The Left Hand of Darkness. See review, page 100.

May Morris: Art and Life

HITLIST

OSCAR MARZAROLI Street Level Photoworks, Glasgow, until Sun 15 Mar, streetlevelphotoworks. org Major exhibition of 80-plus iconic black and white photographs by the late Oscar Marzaroli, who captured life on the streets of Glasgow from the 50s through to the 80s. See review, page 100.

HARDEEP PANDHAL – CONFESSIONS OF A THUG: PAKIVELI Tramway, Glasgow, until Sun 22 Mar, tramway. org Multimedia exhibition inspired by both the Orientalist pulp novel Confessions of a Thug and the artist’s own rap name, adapted from one of 2Pac’s aliases. See preview, page 100.

SULAÏMAN MAJALI: SARACEN GO HOME Collective, Edinburgh, until Sun 29 Mar, collective-edinburgh.art Work from Glasgow-based artist, the title coming from racist graffiti sprayed on a mosque in Cumbernauld. See feature, page 106. PAULA REGO: OBEDIENCE AND

DEFIANCE Scottish National Gallery of Modern Art (Modern Two), Edinburgh, until Sun 19 Apr, nationalgalleries. org/visit/scottishnational-gallery-modernart A major retrospective of the print work of Portuguese artist Paula Rego, bringing the politics of her work to the foreground. See review, page 99.

RSA NEW CONTEMPORARIES Royal Scottish Academy, Edinburgh, Sat 15 Feb–Wed 11 Mar, royalscottishacademy.org The RSA’s annual exhibition of work by 62 graduates from the 2019 degree shows in art schools around the country, one of the art calendar’s most important showcases for emerging talent.

1 Feb–31 Mar 2020 THE LIST 101

DAVID YARROW Over the Sea to Sky Estimate £12,000–18,000 Sold for £17,500 Scottish Art, September 2019

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ART & DES IGN SCOTLAND IN ASSOCIATION WITH

ART DESIGN In our first issue of 2020, we’re looking at the full year ahead on the visual art calendar. This supplement includes exhibition highlights for 2020, a preview of the next edition of the eagerly anticipated Glasgow International and its revamped Across the City festival programme, plus interviews with three artists who are set to make 2020 their year: Iman Tajik, Sekai Machache, Sulaïman Majali

HIGHLIGHTS

2020

GLASGOW INTERNATIONAL 2020 The ninth edition of Glasgow’s biannual contemporary art festival has as its theme Attention: how do we stay focused on art, others and society in an era of mass distraction? An extensive cross-city list of exhibiting artists includes a Director’s programme featuring Carol Rhodes, Yuko Mohri, Bodys Isek Kingelez, France-Lise McGurn, Duncan Campbell and many others. ■ Various venues, Glasgow, Fri 24 Apr–Sun 10 May, glasgowinternational.org

RAY HARRYHAUSEN: TITAN OF CINEMA

The only international auction house with a continual presence in Scotland since the 1970s, Sotheby’s leads the Scottish Art market and holds a number of world auction records for top artists in the category. Last year we celebrated our move to an enhanced new office space in Edinburgh on St Andrew Square and, together with our international experts in all areas of fine and decorative art, jewellery, watches and whisky, we are delighted to offer complimentary and confidential valuations. To book an appointment or to speak to one of our specialists please contact us on 0131 558 7799 or scotland@sothebys.com

104 THE LIST 1 Feb–31 Mar 2020

Arguably the most anticipated exhibition being held in Scotland this year, this extensive archival display of work from the master of stop-motion cinema is the first such exhibition to make extensive use of the late Harryhausen’s own archive. In his 100th birthday year, the making of classics like Jason and the Argonauts and One Million Years BC will be explored, as well as his influence upon luminaries like Peter Jackson and Tim Burton. ■ Scottish National Gallery of Modern Art (Modern Two), Edinburgh, Sat 23 May–Sun 25 Oct, nationalgalleries. org

TRACEY EMIN AND RACHEL MACLEAN Although full details are unclear, this year’s summer reopening of the Jupiter Artland sculpture park should be a bigger draw than ever, with Tracey Emin revealing a new series of paintings, drawings and bronze sculpture work for her first major Scottish exhibition in 12 years. A new outdoor installation by filmmaker Rachel Maclean will also be seen as part of Edinburgh Art Festival. ■ Jupiter Artland, Wilkieston, near Edinburgh, from Jun, jupiterartland. org

KARLA BLACK The first selected survey of work by Glasgow-based Turner Prize nominee Karla Black threatens to be overshadowed by what’s going on in the gallery around it, with the

Fruitmarket’s £3.75m expansion into the building next door expected to be complete for the summer. This should still be one of the exhibition highlights of August in Edinburgh, however. ■ Fruitmarket Gallery, Edinburgh, Aug, fruitmarket.co.uk

TITIAN: LOVE, DESIRE, DEATH Following its spring run at the National Gallery in London, this exhibition of work by the 16th-century Venetian painter Titian is sure to be a summer blockbuster in Edinburgh. As its highlight, it promises to reunite his ‘poesie’ – five large-scale mythological paintings commissioned by Philip II of Spain and completed between 1550 and 1562 – for the first time since 1704. ■ Scottish National Gallery, Edinburgh, Sat 11 Jul–Sun 27 Sep, nationalgalleries.org

DOUGLAS GORDON: K.364 Named after Mozart’s K364 concerto, this film by the Glaswegian artist Douglas Gordon – whose work includes 24-Hour Psycho and Zidane: A 21st Century Portrait – has been seen before, including at the Gagosian in 2011. Yet this chronicle of a train journey, taken by two Israeli musicians through the historically fraught landscape of Poland and Germany, is making its debut in a UK public gallery here. ■ Dundee Contemporary Arts, Sat 11 Apr–Sun 19 Jul, dca.org.uk

MARY QUANT Travelling to Dundee after its run at V&A London, this major gallery exhibit at V&A Dundee will tell the story of how Mary Quant became a definitive fashion design icon amid the swinging 1960s in London. Running concurrently at the Dovecot in Edinburgh, Mid-Century Modern: Art & Design from Conran to Quant tells the wider story of the period through an exhibition featuring Quant, Terence Conran and Bernard and Laura Ashley. ■ Mary Quant, V&A Dundee, from Sat 4 Apr, vam.ac.uk; MidCentury Modern: Art & Design from Conran to Quant, Dovecot Studios, Edinburgh, from Fri 3 Apr, dovecotstudios.com

IN ASSOCIATION WITH

PHOTO: STILL, IMAN TAJIK, 2018, A TO B II, PERFORMANCE VIDEO.

the

WALK LINE Iranian artist and photographer Iman Tajik talks about his Bordered Miles project with Claudia Zeiske, director of Huntly-based Deveron Projects, and Nora-Swantje Almes, assistant curator of Glasgow International

Nora-Swantje Almes: Iman, your project for Gi2020 – Bordered Miles – investigates and raises attention to the notion of borders through an activist mass performance walk with site installations between Glasgow City and Dungavel, an exhibition and a talk event at Civic House. Can you tell us more about the urgency of this project and your personal motivation? Iman Tajik: The notion of borders has changed through

history but often they are used as tools for political power and capital control. Today’s politics feature rising extreme anti-immigrant sentiment which affects our societies. Also, climate change will affect land and people, leading to more refugees in future. We need to think about these circumstances and prepare ourselves to welcome each other, rather than making immigration detention centres. To me, they are immigration prisons. My motivation for this work came from my own personal experience as a refugee, when I was held in immigration detention at the Dungavel Removal Centre in 2012.

N-SA: Claudia and you have been working together on this project: movement and walking has been central to both of your practices. How did your collaboration develop? IT: Movement is a recurring subject matter in my life and in my

art. But it has always been difficult for me as I didn’t have that experience of free movement in the world, even where I was born. After being advised to apply for Glasgow International, I approached Claudia from Deveron Projects for support. Claudia’s artistic work centres on walking. One of her works, A secular pilgrimage into the meaning of home, responding to Brexit, was a walk from her childhood home where her mother still lives. I see the parallels in our work. Following some conversations, we decided to collaborate. Also, Deveron Projects runs a Slow Marathon programme . . . Claudia Zeiske: Yes, Slow Marathon is Deveron Projects’ annual 42km themed walking event. It began in 2012

with Ethiopian artist Mihret Kebede who attempted to walk from her home town in Ethiopia to Huntly. The walk was abandoned as visa restrictions, border controls and deserts got in the way. Instead, the total 5850 miles distance was walked with many people to reach the distance metaphorically. Since then we have led many walking projects that deal with border restrictions. N-SA: In today’s political climate, it feels very vital to provide a public forum to talk about geographical borders as well as socio-political barriers. What do you hope for people to experience through participating in the mass walk? IT: People will experience the movement from A to

B not only as individuals, but also as groups. We will be passing many invisible borders – some marked by sitespecific installations. I hope the participants will recognise how we are surrounded by borders, created by fabricated and political ideas. They don’t have a strong impact and are not physical borders yet, but they might become one day. Eventually, we will arrive at the Dungavel Immigrant Detention Centre, which exists because there is a conflict between human movement and geographic borders.

N-SA: Why did you think of GI as a frame for the project and are there ideas on how to give this project an after-life beyond the festival? IT: GI is an international art platform, where people can

have conversations about art, politics and social issues. Art has the power to build and transform social relations and to advocate for equality and justice. This is what we want to do with Bordered Miles – bring attention to the injustice of the system, responding to Gi2020’s theme. We hope to also set up a website and make the map available, so people can walk the route individually after the festival. Bordered Miles, Civic House, Glasgow, Fri 24 Apr–Sun 10 May.

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ART DESIGN

In 2020, Sulaïman Majali is taking part in both the Satellites programme at Collective and the Talbot Rice Gallery Residents programme in Edinburgh, as well as Glasgow International. Luke Collins, Satellites’ programme producer, caught up with the Margaret Tait Award nominee Luke Collins: When and why did you decide to become an artist? Sulaïman Majali: If art is something we think and speak and

listen with, then I don’t think I decided to become an artist at all but started making because I had nothing else to speak with. This question feels so hinged on definitions of what art is and can be that I feel like I could give so many answers. I found it hard to communicate and make sense of others as a young person and this meant I was observing constantly from a place of questioning. Making art has become important and has always felt that way. Art tends to survive and feels like a space from which what is speakable about the times we live in can reach into our futures.

LC: Sound is important in both your video and sculptural work. Can you tell us about your approach to sound in these two spaces? SM: I have a strange personal relationship with sound in the

way that my brain is easily overstimulated by it, but I’ve learnt how to find some stillness through the years. It does mean when I’m in a busy café or restaurant that I can hear multiple conversations at once, plus the lights buzzing. I use sound as a way of bringing different spaces into collision with one another. This is nothing sound doesn’t already do by crossing borders, wombs and divides. In my films, sound is often the originator of the image and then splinters and ruptures from there, which can be messy, but similarly, it’s all a way of folding spaces and creating those wormholes where we can reconfigure ways of locating ourselves. There are multiple cores to my use of sound but this feels more rooted in observations on the way sound functions within diasporas and, particularly for me, at the peripheries. LC: Tell us about an artwork that has influenced you. SM: Me, art and influence don’t exactly agree – there’s so 106 THE LIST 1 Feb–31 Mar 2020

much more that impacts me before art, but if I had to say then it would be Huda Lutfi ’s painting ‘Democracy is Coming’ (2008). I didn’t see any art in the flesh until around 2008 and the exhibition of British Orientalist paintings at Tate Britain called Lure of the East. But it was the artist and cultural historian Huda Lutfi who first came onto my radar (talking about the war through my Myspace feed) as I was protesting the Iraq war at school in 2003 and something clicked. In my mind, ‘Democracy is Coming’ is distinctly tied to memories of us all climbing over the fence to escape school and teachers watching as we were beaten by police – we made it to Parliament though. I didn’t really understand what artworks were, to be honest, and that made it more impactful later on in life; maybe artworks only do that in hindsight for me though. I think they really can and do have an impact when we encounter them in the midst of something (an event, a thing, an era) because it’s that process of reflection and the way artworks can create markers in time that feels transformational. They really can clarify and distill things for us in interesting ways. LC: What do you hope for in 2020? SM: I want to say these aren’t hopeful times, but I think hope

is so inseparable from desperation and these are definitely desperate times, and one desperate measure would be hope, so these are also incredibly hopeful times too. I hope we become strong for whatever lies ahead and I hope we grow to hold multiple truths. LC: Can you describe your forthcoming exhibition at Collective in 3 words? SM: No place here. Saracen Go Home, Collective, Edinburgh, until Sun 29 Mar; false dawn, Glasgow International Festival Project Space, Fri 24 Apr–Sun 10 May

PHOTO: AFTER PETRA, JORDAN, MARCH 8TH 1839, PLATE 96 FROM VOLUME III OF ‚ÄÒTHE HOLY LAND‚ÄÔ, DAVID ROBERTS

Paula Rego Obedience and Defiance Scottish National Gallery of Modern Art. Until 19 April

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Katie Paterson, Darren Almond, Shona Macnaughton, Lucy Raven Scottish National Gallery of Modern Art. Until 31 May Last chance to see

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Scotland’s Photograph Album The MacKinnon Collection Scottish National Portrait Gallery. Until 16 February

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nationalgalleries.org Paula Rego, Angel, 1998 Private collection © Paula Rego, courtesy Marlborough, New York and London. Photograph courtesy Museu Paula Rego: Casa das Histórias Paula Rego, Cascais; Katie Paterson, Totality, (detail) 2016. Photo © Ben Blackhall, 2016 Courtesy of the Lowry; John D. Stephen, Dawn of Light and Liberty, 1920s. Collection: The MacKinnon Collection. Acquired jointly with the National Library of Scotland with assistance from the National Lottery Heritage Fund, Scottish Government and the Art Fund; Brendan H Johnston, Arcus, 2018 © Brendan H Johnston. National Galleries of Scotland is a charity registered in Scotland (No. SC003728)

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ALL WELCOME FOR A WEEKEND OF ART AND MUSIC IN THE WILD Come for the day to sketch, hear music, grab some delicious food from Mhor’s food stalls, or stay for the weekend to party with us at night, learn more about drawing and painting with professional artists, take part in capturing some multiple model set-ups or get comfortable with one of our extended weekend-long life poses. Whatever you feel like!

Book accommodation directly with Mhor - make sure you mention you’re coming for the retreat! 1 Feb–31 Mar 2020 THE LIST 107

ART DESIGN Dundee-based multi-disciplinary artist Sekai Machache chats about her upcoming shows at Glasgow International to artist and curator Katherine Ka Yi Liu

Katherine Ka Yi Liu: Can you tell me a bit more about both of your shows at Glasgow International 2020? Sekai Machache: So, I am taking part in a

two-person solo at the Heritage Centre at House for an Art Lover with Thulani Rachia. My solo, The Divine Sky, is going to be curated . . . by yourself, haha.

TRUE COLOURS

PHOTO: COURTESY OF THE ARTIST

108 THE LIST 1 Feb–31 Mar 2020

KL: Yes, yes, I am, haha . . . can you maybe use a few words to describe the show? SM: The Divine Sky will utilise allegory and

performance to tell a complicated history through poesis, immersive storytelling and photography.

KL: I am so looking forward to seeing the work! SM: Thanks! And for the solo at Street Level,

it is called Body of Land. The exhibition is the culmination of a year-long cross-cultural residency project. I am collaborating with a Kenyan artist, Awuor Onyango, to produce a two-person solo reflecting on black femme identity, ancestry and spirituality. KL: Fantastic, can’t wait. So what inspires you for both of these Gi2020 projects? SM: Both of the shows are related to specific

colours. Colour is a very important element in my practice. In Body of Land, the theme colours of the exhibition are black, red and white with each colour representing an aspect of the self/ soul. This is derived from a concept that you find in many cultures including the Luo tribe from western Kenya who believe that the human soul is split into three. This concept is comparable in my understanding to Freud’s concept of the mind which is split into the id, ego and superego. Another example could be the three gunas in Hinduism. I try to find connections and/or similarities across cultures and describe them through my images. KL: I am so touched by the spirituality elements in the show. SM: Thank you! Yes, both shows are linked

to certain healing modalities. I am currently researching the role of pre-colonial African spiritual practices in the emancipation of enslaved and colonised people across the African diaspora. My deepest concern is in describing

IN ASSOCIATION WITH

KL: What is the motivation behind the concept? SM: I think that we often subconsciously hold

within us certain stories. These stories that we tell ourselves about ourselves become our ‘origin stories’ which in turn often become our core beliefs that form an idea of who we are. I think that as artists we have the space to consciously create new narratives that can potentially catalyse a process of healing. KL: The process of decolonising ourselves is part of the healing process, isn’t it? We have to unlearn what we were told then reclaim what was ours and keep practicing it until it became ours. SM: Yes but I would say that it was always ours

to begin with. There was never a point during the history of the transatlantic slave trade and colonial period that people didn’t fight for their autonomy and emancipation. We just don’t get taught about all of the revolts and resistance

movements. It’s in the process of acquiring more accurate information that we decolonise ourselves. KL: Speaking of which, I see a lot of photographic work of yours but which art form would you say is most important in your practice? SM: I would say I am a multi-disciplinary artist.

PHOTO: COURTESY OF THE ARTIST

on some level the effects of racialisation on the psyche of African and African descendant people. In the solo at House for An Art Lover, The Divine Sky, my selected colour is blue. I’m really interested in the ancient indigo dyeing processes across West Africa. There are 12 stages in the indigo dyeing process of Mali and the darkest blues that can be produced are called The Divine Sky. I’ve been researching the work of multi-disciplinary artist and designer Aboubakar Fonana who also sees his work as a form of spiritual practice and has inspired the title of the show.

I utilise photography and performance in my practice for the most part but my photography work could be described as painterly, so for me painting is always an important source of inspiration and a reference point in my work. I’m a painter at heart. KL: I see. Besides Gi2020, what’s your upcoming plan/project? SM: I have just come back from Brazil where

I produced a project supported by the British Council in partnership with Creative Scotland. Hopefully, there will be more opportunities to travel back to Brazil or elsewhere in South America so I can continue with my research. I actually have another solo upcoming but I can’t really say much about it at the moment.

Sekai Machache (Invocation) left, (Kin) above

KL: Oh! Lets keep it there then. Thank you so much for your time with me today, Sekai. SM: Thank you for having me and I can’t wait

for our show!

The Divine Sky, House for an Art Lover, Glasgow, Fri 24 Apr–Sun 10 May; Body of Land, Street Level Photoworks, Glasgow, Sat 25 Apr–Sun 28 Jun.

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ART DESIGN

CENTRE ATTENTION Neil Cooper takes a look at the highlights and new innovations at the heart of Glasgow International 2020

ichard Parry has clearly been hard at work instigating major structural changes and pulling together the programme for this year’s Glasgow International, the city’s bi-annual festival of contemporary art. Following Parry’s inaugural tenure as festival director in 2018, ‘Attention’ is the theme of GI’s three-week city-wide takeover of venues great and small this year. ‘The way we see things is changing,’ says Parry of GI’s theme. ‘We’ve got 24-hour news, we’re seeing things constantly through a screen, and we’re living in a world where we’re required to be constantly “on”. Our attention is changing because of that, and that has both physical and mental consequences. Looking at art in the flesh rather than through a screen, you’re going to see it differently. The sign of great art is that it invites you to look at it again and again and get something different from it each time, and that requires attention.’ This year’s GI programme will see some marked differences in structure. While the Director’s Programme will see a series of major commissions from the likes of Duncan Campbell, Georgina Starr and Sarah Forrest in some of the city’s major venues, the festival’s Across the City programme will showcase and support artists, curators and artist-led spaces working at ground level. This year, a panel comprising artist Alberta Whittle; head of exhibitions at Dundee Contemporary Arts, Eoin Dara; and director of Kunsthal Stavanger, Hanne Mugaas, has worked alongside Parry and Poi Marr of GI to select the programme. This includes work by familiar names including Graham Fagen and Jacqueline Donachie, as well as a plethora of younger artists. Beyond the wealth of work on show, the biggest change to Across the City is about money. Artists have become increasingly vocal about the day to day economics of their practices, and institutions have similarly been called out for not paying fees. With this in mind, the Scottish Government Expo Fund, designed to support and promote artistic innovation in Scotland, has supported GI for the first time. This will enable GI to pay all projects by freelance artists, curators and artist-run spaces selected for inclusion in this year’s programme a minimum of £1500. Awards of £3000 and £5000 will be paid out to other projects, with a top award of £10,000.

110 THE LIST 1 Feb–31 Mar 2020

That top award goes to the Chapter 13 collective for a group exhibition that will include work by French artist Kadar Attia, Japanese video artist Hikaru Fujii and New York-born filmmaker Margaret Salmon. Elsewhere, those receiving funding include Transmission, for a show co-curated with Brazilian artist and performer Ana Beatriz Almeida, and for the nonprofit based Many Studios for an exhibition by Nigerian-based artist Ndidi Dike. The GI Bursary Award of £3000, given to a recent graduate, has been awarded to Iman Tajik for his proposal, Bordered Miles, a performance-based walk linking Glasgow city centre and the Dungavel immigration removal centre (see page 105). Other events include a series of walks by Walker and Bromwich and a group show of tableaux vivants in a city centre garage. This is barely scratching the surface, however, of the vast array of activity demanding attention. In terms of providing tangible support for artists, the signals the new financial model sends out are positive. ‘I’d love to do more,’ says Parry, ‘but this feels like a really important first step. These are challenging times, both for artists and for society as a whole, and I’m not going to pretend any of this is easy. We’ve made a big change to the model of GI, and we’ve only really gone through the first part of the process. We’ll find out how that goes as it happens.’ Glasgow, of course, has a rich history of DIY artistic happenings long before GI existed and helped put the city on the international art map. This is something Parry is aware of, and he seems to relish both GI’s umbilical links with that history and being part of its ongoing evolution. ‘I think it’s a really inspiring place,’ he says. ‘It feels now that Glasgow is one of the key centres in Europe for contemporary art. There is such strength and depth in some of the things artists are doing, and what’s great is that it’s from the ground up rather than top-down. It’s very much about artists doing things on their own terms and making things happen. I’ve not been to too many places with that sort of energy, where artists with more experience are happy to share that with younger artists. What you’re seeing now are new voices with different sets of concerns right across the board, and I think what’s great is that people aren’t afraid to ask questions, and that’s really energising.’ Glasgow International 2020, Fri 24 Apr–Sun 10 May, glasgowinternational.org

IN ASSOCIATION WITH

PHOTO: CATARINE BRUM

PHOTO: JULIA BAUER

Clockwise from top: Illustration by Ruth Mitchell, commissioned by The Gallow Gate for Hushed Tones by Ndidi Dike, digital illustration (2019); Ana Beatriz Almeida, Tchidoun (2018), Catarine Brum; Walker & Bromwich, ‘Mosaic Performance’ (2019)

1 Feb–31 Mar 2020 THE LIST 111

BACK PAGE FIRST&LAST DAVID BADDIEL The acclaimed comedian and writer takes on our Q&A in which he discusses Jimmy Osmond, lying, and lying about Jimmy Osmond First record you ever bought

‘Devil Woman’ by Cliff Richard. I note another question is ‘Last lie you told’. I never lie. Otherwise I would have done for that answer. Last extravagant purchase you made

Hmm. I’m a very unextravagant person. I just bought a new fridge. Not sure you can have an extravagant fridge though. First film you saw that really moved you

ET. I wept and wept and wept. Last lie you told

I don’t lie. First movie you ever went on a date to

Never been on a date.

I was, unusually, lost for words. And then he said ‘Hello David’. Still one of the top moments of my life. First thing you’d do if you ran the country

Step down from running the country. What a nightmare that would be.

Last time you cried

First object you’d save from your burning home

After humans and cats, any laptop that had recent work on it. Last person you fantasised about

Jimmy Osmond. OK, that is a lie.

1 APR

First book you read for a second time

Listening to an acoustic cover of ‘I Believe in Father Christmas’. I cry easily.

Last meal on earth

First thing you do when you’ve got time off work

First time you realised you were famous

‘Three Lions’.

I’m always working.

In an interview with the now defunct FHM where I was relentlessly slagged off.

First person you’d thank in an award acceptance speech

A never-ending all-you-can-eat buffet.

NEXT ISSUE

Ulysses. Didn’t get any better. Last song at your funeral

Last great meal you cooked

I did a roast lamb yesterday and it was good, but felt bad about it as I’m trying to eat less meat. First crush

Jimmy Osmond. Weird. Definitely should have lied about that. Last book you read

Reckless Daughter, a biography of Joni Mitchell by David Yaffe. First great piece of advice you were given

Last time you exploited your position to get something

I occasionally tweet a corporate entity when things aren’t going right between them and me. Last one I did that with was Ryanair. First three words your friends would use to describe you

‘David David David’. By which I mean I am relentlessly me. I never change. It’s so wearying.

‘Listen: Cliff isn’t cool.’

Last time you made an impulse buy and regretted it

Last time you were starstruck

I bought a head massager that gives me a headache.

I met Bowie once. A long time ago. 112 THE LIST 1 Feb–31 Mar 2020

Jimmy O…OK, not funny anymore. Last thing you think of before you go to sleep

Why am I still awake? (ps. I’m an insomniac). First thing you think of when you wake up in the morning

What a shit night. David Baddiel: Trolls – Not the Dolls, Gilded Balloon Basement at Rose Theatre, Edinburgh, Fri 6 Mar; Motherwell Concert Hall, Sat 7 Mar; King’s Theatre, Glasgow, Sun 8 Mar. See more of this q&a at list.co.uk

Spring is upon us and it’s the season for scran, science and The Sopranos. We run the rule over the Edinburgh and Glasgow food and drink scene with the latest edition of our bestselling Eating & Drinking Guide. The capital opens its doors and minds with the International Science Festival, and Christopher Moltisanti, Sal ‘Big Pussy’ Bonpensiero and Bobby Baccalà (well, the actors who played them) will be in Scotland to discuss The Sopranos, a mere 21 years after its very first episode.

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