I have just written a "fan letter". It feels a bit strange. I was going to say that it was the first one I have ever written but I know that isn't true on at least one count. I can quite confidently say that it is the first one I have written for over 15 years, however.
My previous fan letter was to Sylvester McCoy, and I'm pretty sure it was to the actor Sylvester McCoy rather than the fictional Doctor Who- but I can't be certain. I also remember being quite surprised when a reply came back because I thought I had thrown the letter away and not sent it. I think it must have been rescued by the parents and sent. I'm glad they did because the signed photo I got in return has been treasured ever since, indeed I admired it only this afternoon, as it was pinned up on my kitchen notice board.
I have my parents to thank for so many things, and most of the autographs I have are down to their persuasive skills that I could approach Sam Torrance (Dunhill Cup 1987) or Johnathon Watson (St Andrews 1990) or Terence Stamp (Filmhouse 1987 - he even bought me some posters!) or Peter Davison (Aberdeen 1995) or Neil Innes (Aberdeen 1999 with stinking cold) and ask them for their name on a bit of paper and tell them I enjoyed whatever it was they did. It was this influence that means I now have a copy of Goodbye Yellow Brick Road signed by Richard "sleazy" Whiteley or Elvis Costello's Armed Forces signed by Jimmy Nail (both good stories, but not to concern us here).
Today's fan letter was to Chip Taylor. Who? I hear you ask. Well, put simply Chip Taylor is the man who wrote Wild Thing and Angel of the Morning. I first became aware of his particular brand of Americana (ok, country music) when my Dad bought a CD called "Chip Taylor's Last Chance" and played it one Sunday morning. It turned out this was one of the great long-lost albums, which he had encountered at University, but lost track of thereafter. We went to see Chip in Aberdeen in 2001, and after that he became one of the things that got me through the hell that was the pre-Apollo days with a certain large semi-public distribution company. In the years since I've seen him again in Edinburgh at the height of the Apollo deluge in 2002 and, remarkably and coincidentally, in Texas in 2004. And now Chip is coming to Edinburgh, to within five minutes of my front door, and the tickets are booked and the fan letter was written to let him know how much I'm looking forward to it, and how much I've enjoyed his music.
The truth is, though, that Chip is only one of many, many of my favourite musicians who I have been introduced to by my Dad, his list is the hipper end of my taste (The Beatles, The Band, early Rod Stewart, Dylan etc.) but he's never been too disparaging of the artists I like that her thinks are massively over-rated (Bryan Ferry, Steely Dan and, of course, Lord Paul of McCartney - First Duke of the Alofted-Thumb) and he's never berated me too much for buying music and enjoying it. I think in his own cynical and grumpy way he still enjoys music with the same wonder he did when he was younger, the same way I do.
So, thanks Chip, but most of all, thanks Dad.
16 October 2006
25 September 2006
Oggi! Oggi! Oggi!
We won the cup !!
(as Golf Monthly once put it)
..and now the recriminations will inevitably begin in the USA. How could the team that once so dominated this event (holding the cup from 1959 to 1985 with only 1 draw in 1969) now seem so unlikely to hold it again?
Looking round the US media commentators they seem rather lost for an answer. Tom Lehman seemed to do a good job as captain, certainly the team on the course seemed more bonded than I can ever remember, even Tiger seems to have forgiven his caddy for dropping his nine iron in the water.
The truth is in the scorelines; results ground out on the 18th green, half points fought for and won by Europe when they could just have easily gone as a full point to the USA. In 2002 Europe were passionate, determined (all credit to Sam) and incredibly lucky, in 2004 the US imploded, in 2006 two teams met and to a large extent matched each other stroke for stroke, putt for putt, with Europe just edging it through dint of still wanting it more. The scars of Brookline have healed but are still irritating at the sight of the cup with the little man on it, like the dull ache of arthritis on a cloudy day.
Why can't the Tiger perform in the Ryder Cup? It's the same reason his dominance is so disheartening to the club golfer. He doesn't play any one hole, he doesn't even play one round, he plays 72 holes. His game is geared towards that. Look at the way he wins tournaments, 4 under on Thursday, 8 on Friday, 12 on Saturday, 16 on Sunday. He doesn't have good rounds and bad rounds, the round he plays on Thursday will more than likely be the round he plays on Sunday. In between his nearest rivals will have started well, or had a cracker on Saturday, and probably a stinker on Sunday. Consistency is the key to Tiger's dominance, and in Matchplay the last round has no bearing on this round, the last hole has no bearing on the next, and in Foursomes the last stroke wasn't even yours. How can the embodiment of "total golf" play as well under these conditions? (the fact that there's no money involved seems spurious given his poor showing at the World Matchplay)
Unfortunately he is so good a player that successive captains have been unable to drop him from the first two days play, and you can understand why, he kept the pressure on, even when he didn't make the points, and what if he had caught fire, especially in Fourballs?
That the scoreline was the same as at Oakland Hills is the amazing part, given the quality of golf the Americans played. It was a victory but it wasn't the drubbing/whitewash/thumping of 2004. It was a hard fought contest between two teams of equals, the Americans may have had the top 3 based on world rankings, but between them and the next US players were Garcia, Donald, Stenson and even dear old Monty. The scoreline flattered to deceive, this was a tough match and the Europeans were as likely to lose as to win in almost every match.
Turning to the future there have been calls for a tougher US captain, to fire up the 2008 team, and having Paul Azinger in the frame would seem to support this. I wouldn't have thought he would have too much of a job to do, in reality, with the reputation of upcoming Euro captain Nick Faldo being of someone who even Tiger might call "a bit stand-offish". In order to reignite the spark of the Ryder Cup in America there needs to be a US victory in Valhalla, and, truth be told, I don't really want Nick to stand in the way of that. Too many memories of the most boring, robotic golfer the UK has ever produced; the heartbreaking demolition of Greg Norman at the Masters in 1996, the typed message of encouragement to the boys at Brookline and, most unforgiveably of all to someone who was there, claiming not to be able to see the pin on the 18th green at St Andrews, one of the most famous holes in golf? even I know where to aim off the tee on the 18th! and the fact every other person could see it. Let's hope Monty doesn't make the team, that Nick's boys are slaughtered as the Americans have been in the past two cups and that the American zeal for this competition returns for another classic in 2010.
But as a final thought on this weekend, I think Tiger did get it right when he said "... they just outplayed us." And the truth is the Americans played as well as they should have. Our boys should be immensely proud.
Ole, ole, ole, ole, ole, ole
(as Golf Monthly once put it)
..and now the recriminations will inevitably begin in the USA. How could the team that once so dominated this event (holding the cup from 1959 to 1985 with only 1 draw in 1969) now seem so unlikely to hold it again?
Looking round the US media commentators they seem rather lost for an answer. Tom Lehman seemed to do a good job as captain, certainly the team on the course seemed more bonded than I can ever remember, even Tiger seems to have forgiven his caddy for dropping his nine iron in the water.
The truth is in the scorelines; results ground out on the 18th green, half points fought for and won by Europe when they could just have easily gone as a full point to the USA. In 2002 Europe were passionate, determined (all credit to Sam) and incredibly lucky, in 2004 the US imploded, in 2006 two teams met and to a large extent matched each other stroke for stroke, putt for putt, with Europe just edging it through dint of still wanting it more. The scars of Brookline have healed but are still irritating at the sight of the cup with the little man on it, like the dull ache of arthritis on a cloudy day.
Why can't the Tiger perform in the Ryder Cup? It's the same reason his dominance is so disheartening to the club golfer. He doesn't play any one hole, he doesn't even play one round, he plays 72 holes. His game is geared towards that. Look at the way he wins tournaments, 4 under on Thursday, 8 on Friday, 12 on Saturday, 16 on Sunday. He doesn't have good rounds and bad rounds, the round he plays on Thursday will more than likely be the round he plays on Sunday. In between his nearest rivals will have started well, or had a cracker on Saturday, and probably a stinker on Sunday. Consistency is the key to Tiger's dominance, and in Matchplay the last round has no bearing on this round, the last hole has no bearing on the next, and in Foursomes the last stroke wasn't even yours. How can the embodiment of "total golf" play as well under these conditions? (the fact that there's no money involved seems spurious given his poor showing at the World Matchplay)
Unfortunately he is so good a player that successive captains have been unable to drop him from the first two days play, and you can understand why, he kept the pressure on, even when he didn't make the points, and what if he had caught fire, especially in Fourballs?
That the scoreline was the same as at Oakland Hills is the amazing part, given the quality of golf the Americans played. It was a victory but it wasn't the drubbing/whitewash/thumping of 2004. It was a hard fought contest between two teams of equals, the Americans may have had the top 3 based on world rankings, but between them and the next US players were Garcia, Donald, Stenson and even dear old Monty. The scoreline flattered to deceive, this was a tough match and the Europeans were as likely to lose as to win in almost every match.
Turning to the future there have been calls for a tougher US captain, to fire up the 2008 team, and having Paul Azinger in the frame would seem to support this. I wouldn't have thought he would have too much of a job to do, in reality, with the reputation of upcoming Euro captain Nick Faldo being of someone who even Tiger might call "a bit stand-offish". In order to reignite the spark of the Ryder Cup in America there needs to be a US victory in Valhalla, and, truth be told, I don't really want Nick to stand in the way of that. Too many memories of the most boring, robotic golfer the UK has ever produced; the heartbreaking demolition of Greg Norman at the Masters in 1996, the typed message of encouragement to the boys at Brookline and, most unforgiveably of all to someone who was there, claiming not to be able to see the pin on the 18th green at St Andrews, one of the most famous holes in golf? even I know where to aim off the tee on the 18th! and the fact every other person could see it. Let's hope Monty doesn't make the team, that Nick's boys are slaughtered as the Americans have been in the past two cups and that the American zeal for this competition returns for another classic in 2010.
But as a final thought on this weekend, I think Tiger did get it right when he said "... they just outplayed us." And the truth is the Americans played as well as they should have. Our boys should be immensely proud.
Ole, ole, ole, ole, ole, ole
04 September 2006
Nursery Cryme
So, with the festival over (and weren't those fireworks loud!) it's time to return the Valves, as literally no-one is calling the blog, to the usual meandering trivia.
Meandering trivia number one is the analysis of nursery rhymes. As I was reading a book I've been trying to get on with for about a week now I came across a passage dealing with a child who had an imaginary friend called Jack. This led to his father wondering where he had chosen the name Jack from and suggesting Jack Frost, Jack Horner or Jack - brother of Jill.
This struck me as odd because I had never thought that Jack and Jill were brother and sister, only that they were friends. I began to ask people what they thought, and it turns out I am currently in a minority of one. Every other person I have asked has said they thought they were brother and sister.
My first caveat to this is that I have yet to ask anyone else who is an only child, as I think at the early age one is introduced to Jack and Jill one still sees the world entirely in terms of one's own situation. Therefore, I had no brothers or sisters so my first instinct would be that anyone I heard about would be the same.
Secondly I have analysed the rhyme in more depth and concluded that there is one statement in the verse that supports either side. In the "brother and sister" category is the fact that they went to fetch a pail of water, there seems to be consensus that they were sent to do this (although there is no evidence of this in the poem) and this would suggest siblings. However Jill's attempts to nurse Jack I think sway the opposite as I believe a sister would simply have run back home to tell their parents.
Why not have your own analysis of this and other nursery rhymes, and see where the thinking leads you. If you get to the point where you are discussing what the relationships are between the Wombles you'll be well on track!
Meandering trivia number one is the analysis of nursery rhymes. As I was reading a book I've been trying to get on with for about a week now I came across a passage dealing with a child who had an imaginary friend called Jack. This led to his father wondering where he had chosen the name Jack from and suggesting Jack Frost, Jack Horner or Jack - brother of Jill.
This struck me as odd because I had never thought that Jack and Jill were brother and sister, only that they were friends. I began to ask people what they thought, and it turns out I am currently in a minority of one. Every other person I have asked has said they thought they were brother and sister.
My first caveat to this is that I have yet to ask anyone else who is an only child, as I think at the early age one is introduced to Jack and Jill one still sees the world entirely in terms of one's own situation. Therefore, I had no brothers or sisters so my first instinct would be that anyone I heard about would be the same.
Secondly I have analysed the rhyme in more depth and concluded that there is one statement in the verse that supports either side. In the "brother and sister" category is the fact that they went to fetch a pail of water, there seems to be consensus that they were sent to do this (although there is no evidence of this in the poem) and this would suggest siblings. However Jill's attempts to nurse Jack I think sway the opposite as I believe a sister would simply have run back home to tell their parents.
Why not have your own analysis of this and other nursery rhymes, and see where the thinking leads you. If you get to the point where you are discussing what the relationships are between the Wombles you'll be well on track!
28 August 2006
It's All Over Now, Baby Blue
So farewell then, Fringe 2006.
A definite improvement on the 2005 vintage, but there are some issues that need to be faced by the organisers. Chief amongst these is how much more can the Fringe expand? This is especially prescient given the fact that as the number of shows has expanded the area within which the majority of venues is situated has contracted. The so-called big 5 definitely dominate the scene like massive corporate behemoths, with every nook and cranny seemingly an outpost of one or more of them. Ticket sales are up, attendance is up, I have never seen Edinburgh as busy as the first full Saturday this year, yet still they complain the fringe needs more promotion. And, it's so obvious it hardly need be said anymore, it's still far too expensive.
More importantly, the Pleasance Courtyard in particular has become the worst managed venue on the fringe for waiting time for box office (half an hour when the queue is barely out the door) and more importantly, staff attitude. It was not uncommon this year for staff to ask customers to wait a moment whilst they went to get themselves a cup of coffee (I saw it three times) and their knowledge of what shows were about or even whether they were comedic or dance or whatever was useless. A legacy of employing people who "want to work on the fringe, daahling" rather than proper customer-focussed operatives. Running out of booze twice on the opening weekend was signal enough of the dismally poor planning involved.
Luckily, the quality of the shows this year seems to have been very high. Certainly I have experienced a few shows that were, quite frankly, superb. Special mention must go to Black Watch and Tom Crean - Antarctic Explorer here, and old hands like Will Smith, Andy Zaltzman, Justin Edwards and Phil Nichol came up with the goods too.
If there has been a "theme" to the fringe I experienced this year it must be either (a) accordians, (b) self-conscious "opening songs" or (c) close shaves with the smoking ban.
My final sobering thought is the fact that even in a year when I cut down my fringe going (and therefore, spending) I still managed to see more shows than the arts editor of The Scotsman.
Slacker kids rule! You shoulda been here, man!
Back to ranting for another year, then.
A definite improvement on the 2005 vintage, but there are some issues that need to be faced by the organisers. Chief amongst these is how much more can the Fringe expand? This is especially prescient given the fact that as the number of shows has expanded the area within which the majority of venues is situated has contracted. The so-called big 5 definitely dominate the scene like massive corporate behemoths, with every nook and cranny seemingly an outpost of one or more of them. Ticket sales are up, attendance is up, I have never seen Edinburgh as busy as the first full Saturday this year, yet still they complain the fringe needs more promotion. And, it's so obvious it hardly need be said anymore, it's still far too expensive.
More importantly, the Pleasance Courtyard in particular has become the worst managed venue on the fringe for waiting time for box office (half an hour when the queue is barely out the door) and more importantly, staff attitude. It was not uncommon this year for staff to ask customers to wait a moment whilst they went to get themselves a cup of coffee (I saw it three times) and their knowledge of what shows were about or even whether they were comedic or dance or whatever was useless. A legacy of employing people who "want to work on the fringe, daahling" rather than proper customer-focussed operatives. Running out of booze twice on the opening weekend was signal enough of the dismally poor planning involved.
Luckily, the quality of the shows this year seems to have been very high. Certainly I have experienced a few shows that were, quite frankly, superb. Special mention must go to Black Watch and Tom Crean - Antarctic Explorer here, and old hands like Will Smith, Andy Zaltzman, Justin Edwards and Phil Nichol came up with the goods too.
If there has been a "theme" to the fringe I experienced this year it must be either (a) accordians, (b) self-conscious "opening songs" or (c) close shaves with the smoking ban.
My final sobering thought is the fact that even in a year when I cut down my fringe going (and therefore, spending) I still managed to see more shows than the arts editor of The Scotsman.
Slacker kids rule! You shoulda been here, man!
Back to ranting for another year, then.
Let Them All Talk
Talk Radio, Udderbelly
Inside the giant inflatable cow, which I must confess I was sceptical about in my reactionary way, lurks an excellent and comfortable venue. And before me (eventually) were the cast of Talk Radio.
The ubiquitous Phil Nichol stars as night time talk jock Barry Champlain as we are privy to an evening of his show. Eric Bogdosian's play gives us a slice of 80s American life, darkness and all, and the cast throw themselves fully into it. The performances carry the play through the passages where the dialogue is a little too stuck in it's time and Nichol remains as watchable as ever.
A minor classic.
NTW : The not-quite-lighting-a-cigarette moment seemingly de rigeur in every show this year.
JTD : The cast as an ensemble and Nichol in particular
Inside the giant inflatable cow, which I must confess I was sceptical about in my reactionary way, lurks an excellent and comfortable venue. And before me (eventually) were the cast of Talk Radio.
The ubiquitous Phil Nichol stars as night time talk jock Barry Champlain as we are privy to an evening of his show. Eric Bogdosian's play gives us a slice of 80s American life, darkness and all, and the cast throw themselves fully into it. The performances carry the play through the passages where the dialogue is a little too stuck in it's time and Nichol remains as watchable as ever.
A minor classic.
NTW : The not-quite-lighting-a-cigarette moment seemingly de rigeur in every show this year.
JTD : The cast as an ensemble and Nichol in particular
Coming back for more
David Benson - Why Pay More?, Pleasance Courtyard
Fringe institution (and no one is more bitter about that than the man himself) David Benson returns. Having confessedly run out of ideas he turns to the fringe itself for the inspiration for his new fringe show. Swapping the comfort of the Assembly Rooms for a portacabin round the back of Pleasance (as he himself says "Why pay more?") Benson leads his audience on a trip down his own memory lane, punctuated, as always, by bursts of popular song.
The show is a step up from the rather dreary "Conspiracy Cabaret" of 2005, and probably on a par with 2004's "The Haunted Stage", but it's "work in progress" nature means it never reaches the heights of "Star Struck" let alone the majestic wonder of "Think No Evil of Us". An hour in Benson's company is never really dull (although Conspiracy... came close) and his stories were well told and his songs well sung. If you're looking for a show that goes somewhere, this isn't it. If you want a diversion from the everyday world with a charming host, rush rush !
NTW : Please tell me the lovely old ladies haven't been dumped in a fit of pique! And one must wonder if he isn't going the way of old KW himself, feeding off his own anecdotes to diminishing returns.
JTD : The sparkly jacket... and after the disappointment of 2005 he has earnt himself a reprieve, especially if he brings back Mourning Glory next year.
Fringe institution (and no one is more bitter about that than the man himself) David Benson returns. Having confessedly run out of ideas he turns to the fringe itself for the inspiration for his new fringe show. Swapping the comfort of the Assembly Rooms for a portacabin round the back of Pleasance (as he himself says "Why pay more?") Benson leads his audience on a trip down his own memory lane, punctuated, as always, by bursts of popular song.
The show is a step up from the rather dreary "Conspiracy Cabaret" of 2005, and probably on a par with 2004's "The Haunted Stage", but it's "work in progress" nature means it never reaches the heights of "Star Struck" let alone the majestic wonder of "Think No Evil of Us". An hour in Benson's company is never really dull (although Conspiracy... came close) and his stories were well told and his songs well sung. If you're looking for a show that goes somewhere, this isn't it. If you want a diversion from the everyday world with a charming host, rush rush !
NTW : Please tell me the lovely old ladies haven't been dumped in a fit of pique! And one must wonder if he isn't going the way of old KW himself, feeding off his own anecdotes to diminishing returns.
JTD : The sparkly jacket... and after the disappointment of 2005 he has earnt himself a reprieve, especially if he brings back Mourning Glory next year.
25 August 2006
Mmm-haw-he-haw-he-haw
Marcus Brigstocke, Pleasance Courtyard
Thank goodness Marcus Brigstocke's stand up shows aren't in the Fringe brochure, it means I don't have to review it and tell you that at least 75% of the material will be familiar to those who saw "Planet Corduroy" in 2004 or listened to The Now Show. However, at least Brigstocke's comedy rants - which, lest we forget, he absolutely believes in - bear repeat listening, so roll up for your old favourites : Consolidated loans, "He blocked my extension", EuroDisney fight and, of course, The Mrs Brigstocke Story!
There was some new bits, notably slagging of Anne Robinson and Ron Atkinson, but still no formal apology for "The Savages".
Nonetheless, Marcus Brigstocke is great and I laughed like a drain.
Only three more shows to go. I am sad.
Thank goodness Marcus Brigstocke's stand up shows aren't in the Fringe brochure, it means I don't have to review it and tell you that at least 75% of the material will be familiar to those who saw "Planet Corduroy" in 2004 or listened to The Now Show. However, at least Brigstocke's comedy rants - which, lest we forget, he absolutely believes in - bear repeat listening, so roll up for your old favourites : Consolidated loans, "He blocked my extension", EuroDisney fight and, of course, The Mrs Brigstocke Story!
There was some new bits, notably slagging of Anne Robinson and Ron Atkinson, but still no formal apology for "The Savages".
Nonetheless, Marcus Brigstocke is great and I laughed like a drain.
Only three more shows to go. I am sad.
23 August 2006
Having trouble with the word "applause"?
An Evening With Michael McIntyre, Potterow
Away with your "Pleasance Dome"!
Michael McIntyre was a very pleasant surprise, firstly he was 2-for-1 which is always good, secondly he was very funny. Imagine if Pierce Brosnan was squashed and permanently smiling and you have some idea of the toothy-grinned, floppy-haired midget's physicality. Add to this a quick wit and strong material and you have a recipe for a brilliant hour.
Unfortunately a couple of his gags were a bit long in the tooth (visual representation of the green walking man, anyone?) but he made up for this with sparky interaction with the crowd, including a couple who left after 20 minutes but not before trying to recruit McIntyre for their charity gig and an idiot who let his mobile phone go off during the show (reader, it was I, forshame!). Well worth his ecstatic reviews.
NTW : Closing the show on a gag first seen on Absolutely 16 years ago.
JTD : Natural charm and rapport in spades
Away with your "Pleasance Dome"!
Michael McIntyre was a very pleasant surprise, firstly he was 2-for-1 which is always good, secondly he was very funny. Imagine if Pierce Brosnan was squashed and permanently smiling and you have some idea of the toothy-grinned, floppy-haired midget's physicality. Add to this a quick wit and strong material and you have a recipe for a brilliant hour.
Unfortunately a couple of his gags were a bit long in the tooth (visual representation of the green walking man, anyone?) but he made up for this with sparky interaction with the crowd, including a couple who left after 20 minutes but not before trying to recruit McIntyre for their charity gig and an idiot who let his mobile phone go off during the show (reader, it was I, forshame!). Well worth his ecstatic reviews.
NTW : Closing the show on a gag first seen on Absolutely 16 years ago.
JTD : Natural charm and rapport in spades
21 August 2006
Don't you think your voice is a bit high?
Lawrence and Gus - Next In Line, Pleasance
Lawrence and Gus are likeable and amusing, and at times this show is firmly in the hilarious category. What creates a slightly uneasy feeling is the question of where this sort of comedy can go? Is a Radio 4 slot the best that well-observed character comedy can aspire to at the moment, and if so, isn't that a shame?
In providing a show where each sketch features a character from the preceding one, L & G maintain audience interest until, just at the point where fatigue may be setting in, they break out into a mock argument between "themselves". This has been cleverly sewn into the fabric of the preceding sketches and is the highlight of an enjoyable hour.
NTW : The "Starship Enterprise under fire" staggering and swaying between sketches.
JTD : The move from characters to "themselves"
Lawrence and Gus are likeable and amusing, and at times this show is firmly in the hilarious category. What creates a slightly uneasy feeling is the question of where this sort of comedy can go? Is a Radio 4 slot the best that well-observed character comedy can aspire to at the moment, and if so, isn't that a shame?
In providing a show where each sketch features a character from the preceding one, L & G maintain audience interest until, just at the point where fatigue may be setting in, they break out into a mock argument between "themselves". This has been cleverly sewn into the fabric of the preceding sketches and is the highlight of an enjoyable hour.
NTW : The "Starship Enterprise under fire" staggering and swaying between sketches.
JTD : The move from characters to "themselves"
Diamond Dogs
La Clique, Speigeltent, George Square Gardens
My dislike of Dance and Physical Theatre is well documented, so how come I enjoyed this so much? Well, firstly it's done well and secondly no particular act outstays their welcome.
From rubber men to acrobats and rollerskaters, La Clique provides a solid show of spectacular cabaret and if you're not too keen on this, there'll be something else along in a minute. Deserving of it's excellent reviews elsewhere.
Which brings me to another spot of righteous indignation which, I am pleased to say, does not stem from perceived wrongs against myself. The audience for La Clique pay around £17 per ticket with no caveats or warnings. I would be very unhappy, therefore, to discover that there are not, in fact, enough seats for all the ticket holders. Equally I was unimpressed by the amount of "reserved" signs on many of the best seats, a signifier of the dangerous creeping inequality of the famously egalitarian fringe. As I say, this did not effect me (only because I jumped the queue) but it did effect a middle-aged woman who was not allowed to sit on a "reserved" seat which was subsequently not filled. A bitter aftertaste to an amazing spectacle.
NTW : Some of the singing and miming went on a little too long and the emmcee was particularly smug and dislikeable.
JTD : The truly amazing Skating Rollers, the very flexible Miss Gyulnara.
My dislike of Dance and Physical Theatre is well documented, so how come I enjoyed this so much? Well, firstly it's done well and secondly no particular act outstays their welcome.
From rubber men to acrobats and rollerskaters, La Clique provides a solid show of spectacular cabaret and if you're not too keen on this, there'll be something else along in a minute. Deserving of it's excellent reviews elsewhere.
Which brings me to another spot of righteous indignation which, I am pleased to say, does not stem from perceived wrongs against myself. The audience for La Clique pay around £17 per ticket with no caveats or warnings. I would be very unhappy, therefore, to discover that there are not, in fact, enough seats for all the ticket holders. Equally I was unimpressed by the amount of "reserved" signs on many of the best seats, a signifier of the dangerous creeping inequality of the famously egalitarian fringe. As I say, this did not effect me (only because I jumped the queue) but it did effect a middle-aged woman who was not allowed to sit on a "reserved" seat which was subsequently not filled. A bitter aftertaste to an amazing spectacle.
NTW : Some of the singing and miming went on a little too long and the emmcee was particularly smug and dislikeable.
JTD : The truly amazing Skating Rollers, the very flexible Miss Gyulnara.
4th Time Around
Natalie Haynes - Watching The Detectives, Pleasance
Some shows are a gamble, some are a confident punt on an hour or so of entertainment, some are like a warm reunion with old friends, only one is a pilgrimage.
The annual trip to see Natalie Haynes holds nothing but good memories for me, and this is an easy bargain to keep on my side, I just need to turn up. Natalie's side of the bargain is harder to keep - come up with and perform new material to the same standard as previously. After 4 years she hasn't let me down yet!
Taking US detective shows as her starting point, Natalie hangs all her usual subject matter on a quest to find the man or woman to solve all the world's problems. On the way we visit such familiar territory as Natalie's hatred of children or stupid people and the annual update on the hate-mail she has received from pro-lifers. It's obvious from the start that the winner will be Dick Van Dyke, but watching Natalie get there is, as always, a treat.
Same time next year.
NTW : No Jim Rockford?
JTD : A dissection of Jessica Fletcher's conveneient ability to solve so many murders...
Some shows are a gamble, some are a confident punt on an hour or so of entertainment, some are like a warm reunion with old friends, only one is a pilgrimage.
The annual trip to see Natalie Haynes holds nothing but good memories for me, and this is an easy bargain to keep on my side, I just need to turn up. Natalie's side of the bargain is harder to keep - come up with and perform new material to the same standard as previously. After 4 years she hasn't let me down yet!
Taking US detective shows as her starting point, Natalie hangs all her usual subject matter on a quest to find the man or woman to solve all the world's problems. On the way we visit such familiar territory as Natalie's hatred of children or stupid people and the annual update on the hate-mail she has received from pro-lifers. It's obvious from the start that the winner will be Dick Van Dyke, but watching Natalie get there is, as always, a treat.
Same time next year.
NTW : No Jim Rockford?
JTD : A dissection of Jessica Fletcher's conveneient ability to solve so many murders...
Telly's for sellouts!
Andy Zaltzman Detonates 70 Minutes of Unbridled Afternoon, The Stand
Structure, structure, structure, material, material, material. It seems so easy written down, but the truth is that very few acts I've seen at Edinburgh this year have managed to put that magic formula into practice. Andy Zaltzman has, and how !
All the more remarkable is this achievement, considering this show was conceived, written and rehearsed as a duo with John Oliver. In truth it was Oliver who led me to Zaltzman, but with the former seduced by the bright lights of New York City it has been left to the latter to wow the Edinburgh crowds.
And wow them he does with pin-sharp yet playful political satire. A big laugh roughly once a minute and above all images and ideas to set the imagination racing. As a taste, Zaltzman suggests such brilliant concepts as a Subbuteo Home Office, the retrospective purchasing of sporting victories and John Reid's nightwear, as well as comparing bad voting judgement to a hangover and casting aspertions on the Rolling Stones' social beliefs.
Andy Zaltzman may bemoan the state of the world but, thanks to him, for 70 minutes every day until 28 August things will be just dandy.
NTW : Alas, the show ended!
JTD :So many to choose from; the Zaltzman Encyclopaedia of Explanatory Bullshit, the Interval quiz, the inspired ending...the list goes on.
Structure, structure, structure, material, material, material. It seems so easy written down, but the truth is that very few acts I've seen at Edinburgh this year have managed to put that magic formula into practice. Andy Zaltzman has, and how !
All the more remarkable is this achievement, considering this show was conceived, written and rehearsed as a duo with John Oliver. In truth it was Oliver who led me to Zaltzman, but with the former seduced by the bright lights of New York City it has been left to the latter to wow the Edinburgh crowds.
And wow them he does with pin-sharp yet playful political satire. A big laugh roughly once a minute and above all images and ideas to set the imagination racing. As a taste, Zaltzman suggests such brilliant concepts as a Subbuteo Home Office, the retrospective purchasing of sporting victories and John Reid's nightwear, as well as comparing bad voting judgement to a hangover and casting aspertions on the Rolling Stones' social beliefs.
Andy Zaltzman may bemoan the state of the world but, thanks to him, for 70 minutes every day until 28 August things will be just dandy.
NTW : Alas, the show ended!
JTD :So many to choose from; the Zaltzman Encyclopaedia of Explanatory Bullshit, the Interval quiz, the inspired ending...the list goes on.
The Lion Sleeps Tonight
Sarah Kendall stepped offstage in the Pleasance 2 years ago and steppeed back on stage this year seemingly wearing exactly the same jeans and checked shirt. Thankfully, her material has changed in the interim and, after a shaky start, she kept the large audience entertained.
Loosely based around Kendall's search for the perfect comeback, the show ranges from dealing with mouthy kids to expressive ribbon twirling to the peculiar punishments meted out in schools. Throughout, Kendall and her extraoridanry mane of hair kept a friendly demeanour, even when her material was not being ecstatically received.
In common with a few performers this year, Kendall got a bit paranoid after about half an hour and her structure stuttered a little as a result. She's a solid performer but perhpas the room was too big for her chatty, laid-back style.
NTW : Allowing wide-faced arsecocker Jimmy Carr into the room.
JTD : Kendall's first attempt at audience interaction.
Loosely based around Kendall's search for the perfect comeback, the show ranges from dealing with mouthy kids to expressive ribbon twirling to the peculiar punishments meted out in schools. Throughout, Kendall and her extraoridanry mane of hair kept a friendly demeanour, even when her material was not being ecstatically received.
In common with a few performers this year, Kendall got a bit paranoid after about half an hour and her structure stuttered a little as a result. She's a solid performer but perhpas the room was too big for her chatty, laid-back style.
NTW : Allowing wide-faced arsecocker Jimmy Carr into the room.
JTD : Kendall's first attempt at audience interaction.
Adam Hills can kiss my ass!
Rich Hall, Assembly Rooms
Now a well kent face from appearances on UK TV, Hall nonetheless would seem more comfortable in a smaller venue than the expansive Music Hall of the Assembly Rooms.
His prepared material seems to peter out after about 40 minutes, but this is 40 minutes too late as it is the interaction with the audience and off the wall extemporising on random subjects where Hall shines.
Attempts to turn the show into some kind of "event" are half-hearted at best but reveal a delicious envy of the more populist performers, even if this is entirely fictional.
After a long day out and about in Edinburgh, Hall's weary cynicism is a perfect finish.
Now a well kent face from appearances on UK TV, Hall nonetheless would seem more comfortable in a smaller venue than the expansive Music Hall of the Assembly Rooms.
His prepared material seems to peter out after about 40 minutes, but this is 40 minutes too late as it is the interaction with the audience and off the wall extemporising on random subjects where Hall shines.
Attempts to turn the show into some kind of "event" are half-hearted at best but reveal a delicious envy of the more populist performers, even if this is entirely fictional.
After a long day out and about in Edinburgh, Hall's weary cynicism is a perfect finish.
One Word Art Reviews
Van Gogh and Britain, Dean Gallery
Nutter
Robert Mapplethorpe, Modern Art Gallery
Bender
Harry Benson - Being There, Portrait Gallery
Ligger
Anne Redpath & The Edinburgh School, City Arts Centre
Dauber
Albert Watson - Frozen, City Arts Centre
Voyeur
Toulouse Lautrec & The Art Deco Poster, City Arts Centre
Poster
Nutter
Robert Mapplethorpe, Modern Art Gallery
Bender
Harry Benson - Being There, Portrait Gallery
Ligger
Anne Redpath & The Edinburgh School, City Arts Centre
Dauber
Albert Watson - Frozen, City Arts Centre
Voyeur
Toulouse Lautrec & The Art Deco Poster, City Arts Centre
Poster
Rub The Stump!
Phil Nicol - The Naked Racist, The Stand
The most entertaining stand-ups also stand out, and Nicol certainly stands out. His manic energy is in evidence from the first as he welcomes his audience and builds your trust of him, a trust that will become very important as the hour wears on.
Basing his routine around the aftermath of a split from his girlfriend and subsequent mini-break in Amsterdam, Nicol riffs on Irish pubs, amputee sex, fetish clubs and death metal - accompanied by full band.
All this leads up to the explanation of the title of the show, be warned, however, in this depratment Nicol leaves nothing to the imagination.
NTW : The death metal interlude goes on about a verse too long.
JTD : The intimate venue suits Nicol and his material well.
The most entertaining stand-ups also stand out, and Nicol certainly stands out. His manic energy is in evidence from the first as he welcomes his audience and builds your trust of him, a trust that will become very important as the hour wears on.
Basing his routine around the aftermath of a split from his girlfriend and subsequent mini-break in Amsterdam, Nicol riffs on Irish pubs, amputee sex, fetish clubs and death metal - accompanied by full band.
All this leads up to the explanation of the title of the show, be warned, however, in this depratment Nicol leaves nothing to the imagination.
NTW : The death metal interlude goes on about a verse too long.
JTD : The intimate venue suits Nicol and his material well.
20 August 2006
"Not to scale"
Corinne Grant - Nice Lady Hour, Gilded Balloon Teviot
Corinne Grant doesn't give anything away easily. By the end of the hour you understand why this little-promoted act has sold out one of the Gilded Balloon's smallest rooms with Aussies.
Grant is a confident performer and this carried her through a rocky opening five minutes while the audience unfamiliar with her cottoned on to her style.
The material itself was good, though some of it was chucklesome rather than hilarious. It was in her interaction with the audience that Grant really scored the big laughs.
Her county-comes-t0-town, girl making her way in the ccrazy world schtick served her well and her ability not to take herself seriously ensured the hour passed quickly and she won over another small slice of the non-Australian public.
NTW : Opening with a boisterous song and dance routine meant the more reticent in the audience took a little longer to warm to her.
JTD : Working off the cuff is Corrine's greatest strength, she should exploit it a little more.
Corinne Grant doesn't give anything away easily. By the end of the hour you understand why this little-promoted act has sold out one of the Gilded Balloon's smallest rooms with Aussies.
Grant is a confident performer and this carried her through a rocky opening five minutes while the audience unfamiliar with her cottoned on to her style.
The material itself was good, though some of it was chucklesome rather than hilarious. It was in her interaction with the audience that Grant really scored the big laughs.
Her county-comes-t0-town, girl making her way in the ccrazy world schtick served her well and her ability not to take herself seriously ensured the hour passed quickly and she won over another small slice of the non-Australian public.
NTW : Opening with a boisterous song and dance routine meant the more reticent in the audience took a little longer to warm to her.
JTD : Working off the cuff is Corrine's greatest strength, she should exploit it a little more.
Here they come, walking down the street...
Three Mo' Tenors, St George's West
Three spirited performances lie at the heart of this enjoyable show as the titular tenors work their way from opera to jazz, broadway to rhythm and blues.
There is fun to be had here, sometime unintentional as the performers are often more than a little camp. The music was good and the boys can sing but I would imagine a wide musical taste is a pre-requisite to enjoy the full show.
NTW : Some fo the non-vocal performances go a little OTT
JTD : Good to see a group with their own theme song, allowing the Three Mo' Tenors to stand proud among the likes of the Monkees and S-Express
Three spirited performances lie at the heart of this enjoyable show as the titular tenors work their way from opera to jazz, broadway to rhythm and blues.
There is fun to be had here, sometime unintentional as the performers are often more than a little camp. The music was good and the boys can sing but I would imagine a wide musical taste is a pre-requisite to enjoy the full show.
NTW : Some fo the non-vocal performances go a little OTT
JTD : Good to see a group with their own theme song, allowing the Three Mo' Tenors to stand proud among the likes of the Monkees and S-Express
"That didn't happen to you, that happened to Jed Clampitt"
Levelland, Assembly Rooms
Rich Hall has taken a tentative first step into the world of serious theatre with this play presenting a vision of an America where oil prices have risne about 2000%. Hall himself plays a provocative talk radio host whose assured, confident world view is shaken by the arrival of a young hitch-hiker to his studio, followed by two of the young man's "business partners".
Hall's script soars in places, and the idea is an intriguing one. Unfortunately it is let down by a poor structure in places; meaning some of the piece is very wordy, espeically before the arrival of the 3rd and 4th characters. Once the situation escalates and the tension is ratcheted up a few notches the piece starts to bubble and Hall's nightmare vision of a world where no one can be fully trusted reaches what must be one of many similar conclusions.
NTW : Sound effects of doors opening and closing.
JTD : Little "stumps" of door frames to indicate doors.
Rich Hall has taken a tentative first step into the world of serious theatre with this play presenting a vision of an America where oil prices have risne about 2000%. Hall himself plays a provocative talk radio host whose assured, confident world view is shaken by the arrival of a young hitch-hiker to his studio, followed by two of the young man's "business partners".
Hall's script soars in places, and the idea is an intriguing one. Unfortunately it is let down by a poor structure in places; meaning some of the piece is very wordy, espeically before the arrival of the 3rd and 4th characters. Once the situation escalates and the tension is ratcheted up a few notches the piece starts to bubble and Hall's nightmare vision of a world where no one can be fully trusted reaches what must be one of many similar conclusions.
NTW : Sound effects of doors opening and closing.
JTD : Little "stumps" of door frames to indicate doors.
Alas poor Yorick, I knew his puncture repair kit
Bouncy Castle Hamlet, Roxy Art House
One of the glories of the fringe is the opportunity it gives to brag about bizarre theatrical sights. In this case I know I will forever more be able to halt all discussions about Hamlet by saying "Of course, you've never really seen it until you've seen it on a Bouncy Castle." And indeed, this is what you get, a straight version of Hamlet performed on a Bouncy Castle.
The young cast tackle their casue with enthusiasm, although the performance I saw was marred by Hamlet sustaining an injury, deciding the audience had taken a dislike to him, losing hi slines and eventually quitting the stage in high dudgeon, leaving his fellows to make as fair a fist of it as they could. That the rest of the cast managed to do this is testament to their skill and application.
The Bouncy Castle was distracting at times, but at others it did actually add to the drama, during Ophelia's madness, for example.
A couple left after 30 minutes and it was only Hamlet's injury that made the rest of the performance worth sitting through. Ultimately the concept is what you come for and being able to see you've seen Hamlet on a bouncy castle is worht £7 of anyone's money.
NTW : The player king's lying back each time she changed characters in the play-within-a-play.
JTD : Staging the play-within-a-play on a mini Bouncy Castle
One of the glories of the fringe is the opportunity it gives to brag about bizarre theatrical sights. In this case I know I will forever more be able to halt all discussions about Hamlet by saying "Of course, you've never really seen it until you've seen it on a Bouncy Castle." And indeed, this is what you get, a straight version of Hamlet performed on a Bouncy Castle.
The young cast tackle their casue with enthusiasm, although the performance I saw was marred by Hamlet sustaining an injury, deciding the audience had taken a dislike to him, losing hi slines and eventually quitting the stage in high dudgeon, leaving his fellows to make as fair a fist of it as they could. That the rest of the cast managed to do this is testament to their skill and application.
The Bouncy Castle was distracting at times, but at others it did actually add to the drama, during Ophelia's madness, for example.
A couple left after 30 minutes and it was only Hamlet's injury that made the rest of the performance worth sitting through. Ultimately the concept is what you come for and being able to see you've seen Hamlet on a bouncy castle is worht £7 of anyone's money.
NTW : The player king's lying back each time she changed characters in the play-within-a-play.
JTD : Staging the play-within-a-play on a mini Bouncy Castle
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