{"JP":[ {"NewsSection":{"name":"whatson","detaillevel":"full", "Articles": {"count":25,"detaillevel":"full","articlesList":[ {"article": { "url":"https://www.scotsman.com/lifestyle/official-showcase-of-scottish-work-at-the-edinburgh-festival-fringe-unveiled-1-4744101","id":"1.4744101","articleHeadline": "Official showcase of Scottish work at the Edinburgh Festival Fringe unveiled","commentCount":0,"publishedDate":1527153717208 ,"articleLead": "

Stories drawn from real-life alcoholics, a female soldier's sexual violence and bullying in the US military, and the stance taken by conscientious objectors who refused to fight during the First World War will be part of the official government-funded showcase of Scottish work at this year's Edinburgh Festival Fringe.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4744099.1527153857!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Mary Jane Wells performs the true story of American soldier Danna Davis in the Fringe show Heroine."} ,"articleBody": "

The £560,000 Made in Scotland programme will also feature a comedy inspired by a radical gay and lesbian bookshop in 1980s Edinburgh, a dance show which will be staged inside the main debating hall of the City Chambers, a show about a series of urban horror stories in a fictional Scottish town.

Theatre-maker Cora Bissett will recall her experiences as a teenage rock star catapulted into Britain's 1990s indie-rock scene with her Fife band Darlingheart as part of the 10th annual showcase of home-grown productions.

Ross Wilson, who performs as Blue Rose Code, will stage a new show exploration generations of \"Caledonian Soul\" music as part of the programme, which will Mairi Campbell recall how her performance of Auld Lang Syne ended up in the film version of Sex and the City.

Musician and composer Anna Meredith will unveil a new adaptation of Vivaldi's Four Seasons, JG Ballard's cult novel Concrete Island will influence an experimental dance show and a new musical will be inspired by the Oscar-winning Daniel Day Lewis movie My Left Foot.

Scottish culture secretary Fiona Hyslop said: “Made in Scotland provides an important platform for Scottish artists and companies to showcase their outstanding work at the Fringe, the largest performing arts festival in the world.

“Through our Festivals Expo Fund, the Scottish Government has contributed £560,000 towards the delivery of this year’s edition of the festival.

Since its launch 10 years ago, we have provided just under £5.5 million to Made in Scotland, enabling Scottish theatre, dance and music acts to showcase their work across the world, reaching new and diverse audiences.

“We believe that public funding of the arts is fundamental and we will continue to support our talented artists and companies. I look forward to seeing performances in August.”

Shona McCarthy, chief executive of the Edinburgh Festival Fringe Society, said: “It’s a special year for Made in Scotland as we celebrate 10 years of this fantastic showcase, presenting the finest work from Scotland to the world.

\"We're very proud of this initiative and of all artists that have participated in Made in Scotland at the Fringe over the last decade.

\"The showcase provides a crucial platform for Scottish made work at the Fringe, but also supports artists to take their work to other parts of the world, raising awareness about Scotland’s vibrant arts offering.

" ,"byline": {"email": "brian.ferguson@jpress.co.uk" ,"author": "Brian Ferguson"} ,"topImages": [ {"image": {"url":"/webimage/1.4744099.1527153857!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4744099.1527153857!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Mary Jane Wells performs the true story of American soldier Danna Davis in the Fringe show Heroine.","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Mary Jane Wells performs the true story of American soldier Danna Davis in the Fringe show Heroine.","landscapeurl":"/webimage/1.4744099.1527153857!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ {"image": {"url":"/webimage/1.4744100.1527153859!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4744100.1527153859!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Singer songwriter Blue Rose Code will be reviving classic Scottish anthems in his exploration of 'Caledonian Soul' music.","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Singer songwriter Blue Rose Code will be reviving classic Scottish anthems in his exploration of 'Caledonian Soul' music.","landscapeurl":"/webimage/1.4744100.1527153859!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"https://www.scotsman.com/lifestyle/culture/music/under-the-radar-mezcla-1-4744546","id":"1.4744546","articleHeadline": "Under the Radar: Mezcla","commentCount":0,"publishedDate":1527176975000 ,"articleLead": "

Mezcla are at the forefront of Glasgow’s burgeoning jazz and world music scene. They are led by bassist David Bowden (BBC Young Scottish Jazz Musician of the Year 2017) and feature some of Scotland’s brightest young musicians.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4744545.1527177907!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Mezcla"} ,"articleBody": "

Thanks to the sextet’s innovative blend of soulful jazz, energetic grooves and a mix of West African, Latin American and Scottish influences, they’ve been championed by BBC Radio 3, BBC Radio Scotland and our sister paper,The Scotsman. Mezcla play live on Friday for BBC Music’s Biggest Weekend festival in Perth, and on 21 June, as part of Glasgow International Jazz Festival, they will unveil a new work funded by Help Musicians UK at Glasgow’s Stereo – a collaboration with artist Jamie Johnson, who will contribute accompanying live visuals projected onto a screen. See https://www.mezcla.co.uk

Olaf Furniss and Derick Mackinnon run music industry seminar and social night, Born To Be Wide. www.borntobewide.co.uk

The Hidden Door Festival takes place at the Leith Theatre and the State Cinema, Edinburgh, from 25 May until 3 June, featuring performances from Young Fathers, Sylvan Esso, Nadine Shah, Admiral Fallow, Submotion Orchestra, Romare, Dream Wife, C Duncan and many more, plus theatre, film, dance, visual art and spoken word. Free entry from 12-6pm, tickets from 6pm till late available at http://hiddendoorblog.org

" ,"byline": {"email": "" ,"author": "Olaf Furniss and Derick Mackinnon"} ,"topImages": [ {"image": {"url":"/webimage/1.4744545.1527177907!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4744545.1527177907!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Mezcla","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Mezcla","landscapeurl":"/webimage/1.4744545.1527177907!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"https://www.scotsman.com/lifestyle/culture/music/beyonce-and-jay-z-show-at-hampden-given-go-ahead-1-4743983","id":"1.4743983","articleHeadline": "Beyonce and Jay Z show at Hampden given go ahead","commentCount":0,"publishedDate":1527102430000 ,"articleLead": "

BEYONCE and Jay Z’s show at Hampden Park next month has been given the go ahead by Glasgow council officials.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4743982.1527158049!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Beyonce and Jay Z's Hampden gig will go ahead. Picture: Getty Images"} ,"articleBody": "

The star couple were scheduled to perform at Hampden Park on 9 June pending on approval from the local authority’s Licensing and Regulatory Committee.

Today it was confirmed that the committee had approved the concert application, despite local concerns.

READ MORE: Beyonce and Jay Z announce Glasgow stadium gig

Some residents in the Mount Florida area had raised concerns about the impact such large scale events have on the community.

However, Hampden’s owners have reassured the council that they will foot the cleaning bill for the show, which is expected to attract around 48,000 spectators.

Beyonce and Jay Z last toured together in 2014 for the first On The Run tour, which saw them net profits of $95 million.

The Glasgow show is the second night of their current European tour which will see them visit 15 cities in a little over a month.

" ,"byline": {"email": "" ,"author": ""} ,"topImages": [ {"image": {"url":"/webimage/1.4743982.1527158049!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4743982.1527158049!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Beyonce and Jay Z's Hampden gig will go ahead. Picture: Getty Images","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Beyonce and Jay Z's Hampden gig will go ahead. Picture: Getty Images","landscapeurl":"/webimage/1.4743982.1527158049!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"https://www.scotsman.com/lifestyle/culture/film/film-review-solo-a-star-wars-story-1-4743870","id":"1.4743870","articleHeadline": "Film review: Solo - A Star Wars Story","commentCount":0,"publishedDate":1527087155000 ,"articleLead": "

As with the excellent Rogue One, the buzz around this Han Solo origins story has been terrible. The departure of original directors Phil Lord and Christopher Miller (The Lego Movie) suggested risk and irreverence had been sacrificed for safety and profit, especially when Ron Howard replaced them. But after die-hard fans had Phantom Menace-style meltdowns over The Last Jedi’s contentious treatment of Luke Skywalker, Howard’s hiring now seems like a canny move. He served his apprenticeship with George Lucas, after all, starring in American Graffiti (alongside a very young Harrison Ford) and directing the Lucas-penned fantasy adventure film Willow (not a great movie, but still...). Given the way that these spin-off sagas seem intent on embracing the past rather than overturning it, a talented caretaker is maybe all that’s required to provide the requisite fan service demanded so vociferously online.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4743869.1527087152!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Alden Ehrenreich is Han Solo in Solo: A Star Wars Story"} ,"articleBody": "

Solo: A Star Wars Story ***

Solo: A Star Wars Story certainly does that. Want to know the origin of that surname? Check. Want to find out how he meets Chewbacca? Check. Want to see how he wins the Millennium Falcon? Check. Want a plot built around a throw-away line of dialogue in the original film? Double check. Want to find out why Jabba the Hutt puts a price on his head? Okay, maybe it holds something back for the next instalment. But the point is, in a film that also shows why Han always, always shoots first, there’s really not much to complain about here.

Even the casting is fine. Alden Ehrenreich does a fair job of capturing the spirit of Solo without doing a slavish impression of Ford, embracing the cocky attitude and the wry sense of humour to play the self-styled scoundrel whose reluctance to admit he’s the good guy doesn’t stop his heroism shining through. He’s complimented by man of the moment Donald Glover, who delivers the film’s real star turn as the roguish, licentious Lando Calrissian.

Story-wise, it’s essentially an action-packed heist film, with set-pieces that echo sequences from the original trilogy (especially The Empire Strikes Back) mixed in with daring escapades anew, all designed, like the aforementioned Rogue One, to join the dots between hitherto unexplored story points in the saga’s over-arching mythology.

If if offers nothing new, it does what it does with craft and skill. It’s the cinematic equivalent — to paraphrase one character — of a comforting hug from a Wookiee.

" ,"byline": {"email": "" ,"author": "Alistair Harkness"} ,"topImages": [ {"image": {"url":"/webimage/1.4743869.1527087152!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4743869.1527087152!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Alden Ehrenreich is Han Solo in Solo: A Star Wars Story","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Alden Ehrenreich is Han Solo in Solo: A Star Wars Story","landscapeurl":"/webimage/1.4743869.1527087152!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"https://www.scotsman.com/lifestyle/first-look-at-dundee-v-a-s-waterfront-restaurant-and-cafe-1-4743858","id":"1.4743858","articleHeadline": "First look at Dundee V&A's waterfront restaurant and cafe","commentCount":0,"publishedDate":1527085439874 ,"articleLead": "

The first images of the restaurant and cafe which are being created for Dundee’s waterfront V&A museum have been revealed.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4743856.1527085691!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Space for more than 100 diners is being created in the second-floor restaurant of Dundee's new V&A museum, which will be transformed into a bar in the evening."} ,"articleBody": "

At least 30 new jobs will be created in the new outlets which museum chiefs believe will create a new “food destination” on the banks of the River Tay.

London-based design studio Lumsden has offered the first glimpse of facilities which they say have been inspired by Dundee’s shipbuilding heritage.

They will be available to hire for special events outwith the normal opening hours of the museum, which has been designed by the Japanese architect Kengo Kuma.

The firm, which is also masterminding the V&A Dundee shop, has previously designed facilities for the British Museum, National Theatre, Abbey Road Studios, Tate Modern and the Harry Potter Studio Tour.

Dundee V&A’s second-floor restaurant, which will offer views overlooking the Fife coastline, will boast 114 covers inside and another 36 on an al freso terrace.

The 74-cover cafe will be created in the main hall of the museum, which is due to the public in September.

The restaurant and cafe will be run by the Edinburgh-based catering firm Heritage Portfolio, which already operates the cafes and restaurants at the Scottish National Gallery of Modern Art, the Scottish Portrait Gallery, the Palace of Holyroodhouse and the Signet Library in the capital.

Dundee V&A director Philip Long said the catering facilities would help the new museum to “develop V&A Dundee as a food destination, attracting local people and tourists to spend time in our cafe, enjoy the river views from the restaurant terrace, or organise special events for businesses and private celebrations.”

Callum Lumsden, founder of the design studio, said: “ To be part of the creation of Scotland’s first design museum is a personal honour as well as a fantastic creative challenge for the Lumsden design team.

“The spaces we have been given to work with on this amazing piece of architecture are awesome and it has been our job to ensure that everyone’s visit to the museum is enhanced by their experience in the shop, restaurant and cafe zones.”

" ,"byline": {"email": "brian.ferguson@jpress.co.uk" ,"author": "Brian Ferguson"} ,"topImages": [ {"image": {"url":"/webimage/1.4743856.1527085691!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4743856.1527085691!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Space for more than 100 diners is being created in the second-floor restaurant of Dundee's new V&A museum, which will be transformed into a bar in the evening.","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Space for more than 100 diners is being created in the second-floor restaurant of Dundee's new V&A museum, which will be transformed into a bar in the evening.","landscapeurl":"/webimage/1.4743856.1527085691!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ {"image": {"url":"/webimage/1.4743857.1527085692!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4743857.1527085692!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "V&A Dundee's cafe and shop are being created on the ground floor of the museum.","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "V&A Dundee's cafe and shop are being created on the ground floor of the museum.","landscapeurl":"/webimage/1.4743857.1527085692!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"https://www.scotsman.com/lifestyle/culture/music/album-reviews-snow-patrol-ray-lamontagne-tracyanne-danny-randolph-s-leap-1-4743754","id":"1.4743754","articleHeadline": "Album reviews: Snow Patrol | Ray LaMontagne | Tracyanne & Danny | Randolph’s Leap","commentCount":0,"publishedDate":1527081490000 ,"articleLead": "

Snow Patrol slip back into the groove after a long absence, while Tracyanne & Danny’s retro vibe is a treat

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4743753.1527081487!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Snow Patrol"} ,"articleBody": "

Snow Patrol: Wildness (Polydor) ***

Ray Lamontagne: Part of the Light (Columbia) ****

Tracyanne & Danny: Tracyanne & Danny (Merge) ****

Randolph’s Leap: Worryingly Okay (Lost Map) ****

Snow Patrol reconvene after a seven year absence, sounding almost breezy in places in the face of a tortuous period of writer’s block for frontman Gary Lightbody which was caused by dealing with addictions and the depression which those addictions masked.

There is a frisson of the fear associated with such intense feelings on comeback single, Life On Earth, but also a degree of self-comforting in its soft, intimate moments. In much the same way as the band gave Lightbody the space to eventually produce the lyrical goods, his bandmates have been keen not to clutter the production but there is still some of that Snow Patrol scale in the beefy but economic drumming and the layered incantations of the backing vocals.

In the end, Lightbody is not short of material – A Dark Switch is a musically upbeat love letter to therapy, A Youth Written In Fire (ironically) a clean song about addiction. He adopts a gravelly tone and a fragile delivery on Don’t Give In, a pretty straight-talking message to self, and there is a similar directness to Heal Me with its multi-tracked acoustic guitars and polished pop appeal.

The angsty piano ballad What If This Is All the Love You Ever Get comes closest to older material and is likely to strike a chord with fans for that very reason but Lightbody sounds more emotionally invested in Soon, where he addresses his father’s dementia. Given what Lightbody has been through, Snow Patrol emerge unscathed from the fallout.

US troubadour Ray Lamontagne is a musician who knows how to kill softly with a song, stealing hearts over the past 15 years with his understated rootsy crooning. Everything is in its right place once again on his seventh album, a heady blend of acoustic minstrelsy and the more sprawling rock soundscapes of 2016’s Ouroboros.

There is a distinct nod to the holistic pop ditties of Cat Stevens as he fa-la-las through the folky To The Sea and on the more muscular 70s power pop of Paper Man. With the twin attractions of slide guitar and soulful vocals, Such A Simple Thing showcases his ability to reel the listener in with a combination of melody and delivery.

He whips up an electric storm of fuzz guitars and foreboding riffs on As Black As Blood Is Blue, which counts as sheer melodrama compared to the understatement elsewhere, before completing the effortless seduction with the epic slowburn of Goodbye Blue Sky.

Camera Obscura frontwoman Tracyanne Campbell and Bristol-based singer Danny Coughlan, who records as Crybaby, have come together as the cryptically named Tracyanne & Danny for this gem of a retro record, lovingly recorded on the vintage equipment at Edwyn Collins’s Highland studio Clashnarrow.

Collins lends his dulcet tones to the symphonic country of Alabama, a tribute to the late Camera Obscura keyboard player Carey Lander, while Coughlan croons the lead on dreamy ballad Jacqueline and Campbell sounds as exquisite as ever against the Spectorish wall of sound of The Honeymooners and the lush strings of It Can’t Be Love Unless It Hurts.

Randolph’s Leap is the indie folk pop alias of Nairn-born, Glasgow-based Adam Ross. His nine stone weakling vocals won’t be for everyone but there is charm and character to spare on Worryingly Okay. The plaintive Unravelled and the forlorn Television have the naïve emotional appeal of Daniel Johnston but Electricity is a lo-fi anthem with aspirations, almost collapsing under the weight of its own arrangement by the end, while the resonant folk pop of Take the Long Way Home provides Ross’s seven-piece live ensemble with something to get their teeth into.

CLASSICAL

Sibelius & Rachmininov Songs (Linn) ****

Sibelius and Rachmaninov may have been near contemporaries, but they lived either side of the psychological divide that distinguished Russia from its occupied Grand Duchy, Finland, prior to the latter’s independence in 1917. There could be no mistaking the contrast between the heaving Russian spirit of Rachmaninov’s orchestral works and the rugged Finnish nationalism of Sibelius. Nonetheless, both composers wrestled with the emerging modernism of the 20th century, and this is nowhere more evident in their intimate and straightforwardly evocative song settings. Baritone Jacques Imbrailo and pianist Alisdair Hogarth highlight the similarities and contrasts in this delightfully nuanced recording, pitting the absorbing simplicity of Sibelius’ Five Christmas Songs, Op 1 and Five Songs, Op 37, and the heightened ardour of På veranden vid havet and evocations of Säv, säv, susa against the soulful intensity of a Rachmaninov collection that ranges from the adulatory Letter to KS Stanislavsky to the bubbling waters of Vesennije vody.

Ken Walton

FOLK

Ross Ainslie & Ali Hutton: Symbiosis II (Symbiosis Records) ****

Its sleeve artwork may be as enigmatic as a corn circle, but the music of Ross Ainslie and Ali Hutton communicates unmistakably, its exuberant fluency inspired by the potent spirit of their mentor, the late, great Gordon Duncan. Their second Symbiosis recording sees the two piper-multi-instrumentalists handle a clutch of stringed instruments as well as Highland and border pipes, augmented by guests on drums, synthesisers and strings. The opening Kings sets the tone, with booming synths and percussion ushering in characteristically fluid whistle-playing and a fierce chatter of pipes. Despite intermittent electronica, there’s an organic feel to the music, entirely composed by Ainslie and Hutton bar an eloquent interpretation of Tommy Peoples’ Beautiful Goretree.

In contrast is the trance-dance energy of the Action set, while mellow whistles lead a gently coasting commemoration of Hutton’s late grandfather, Mr Alistair Kennedy of St Anne’s.

Jim Gilchrist

" ,"byline": {"email": "" ,"author": "Fiona Shepherd"} ,"topImages": [ {"image": {"url":"/webimage/1.4743753.1527081487!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4743753.1527081487!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Snow Patrol","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Snow Patrol","landscapeurl":"/webimage/1.4743753.1527081487!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"https://www.scotsman.com/news/sunshine-on-leith-to-be-released-on-limited-edition-green-vinyl-1-4743711","id":"1.4743711","articleHeadline": "Sunshine on Leith to be released on limited edition green vinyl","commentCount":0,"publishedDate":1527079228000 ,"articleLead": "

HMV announce the second run of exclusive colour Vinyl Week pressings which will be available instore from Saturday 16th June.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4743710.1527079225!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "The Proclaimers Sunshine on Leith is to be released on vinyl."} ,"articleBody": "

Recent sales figures have seen the popularity of vinyl soar to levels not seen since the 1980s and this year, a host of releases are being issued to mark the 70th anniversary of the 12” 33 ⅓ ​vinyl LP format.

Vinyl Week offers music lovers alike an opportunity to access an abundance of special edition records.

The next instalment of exclusive colour vinyl exemplifies how the visual design of music’s best loved and most enduring format has aesthetically evolved enabling hmv customers to choose from a selection of stunning musical memorabilia. Records such as Def Leppard greatest hits album Vault, OMD, Stereophonics, T-Rex and the Mamma Mia soundtrack are all receiving a limited run of pressings.

However, a limited edition Sunshine on Leith by The Proclaimers will also be pressed.

" ,"byline": {"email": "" ,"author": ""} ,"topImages": [ {"image": {"url":"/webimage/1.4743710.1527079225!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4743710.1527079225!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "The Proclaimers Sunshine on Leith is to be released on vinyl.","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "The Proclaimers Sunshine on Leith is to be released on vinyl.","landscapeurl":"/webimage/1.4743710.1527079225!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"https://www.scotsman.com/news/edinburgh-film-festival-announces-star-studded-line-up-for-2018-1-4743549","id":"1.4743549","articleHeadline": "Edinburgh Film Festival announces star-studded line-up for 2018","commentCount":0,"publishedDate":1527066037000 ,"articleLead": "

Comedy star Rob Brydon, Oscar-winning actress Anna Paquin, BAFTA-winning writer David Hare and rising British actor George Mackay will be taking centre stage at the Edinburgh International Film Festival.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4743548.1527066745!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Mark Adams, artistic director of the festival, is at the helm of the event for the fourth time. Picture: Contributed"} ,"articleBody": "

It is hoped Steve Coogan, Samantha Morton, Billie Piper, Natalie Dormer and Ben Elton will be among the other stars gracing the red carpet.

Organisers have confirmed that 72nd annual event will feature new films starring Steve Coogan, Sadie Frost, Margot Robbie, Johnny Vegas and Kylie Minogue, who last appeared on the EIFF red carpet 18 years ago.

Expected highlights of the event, which will be opened by Scottish Kelly Macdonald with the unveiling of her new mystery drama Puzzle, will include a sneak preview of the new Disney-Pixar film Incredibles, the return to the festival of legendary Scottish film-make Bill Forsyth and a new biopic of tragic pop star Whitney Houston by Oscar-winning Scottish director Kevin Macdonald.

Morton and Piper will be starring together in new British coming-of-age drama Two For Joy, while other-home grown films include Mary Shelley, a new biopic on the author behind the classic horror creation Frankenstein, and new comedy Eaten By Lions, which will see Johnny Vegas star alongside Jack Carroll and Asim Chaudry.

Kylie Minogue and her former Neighbours co-star Guy Pearce are reunited on screen in new Australian comedy Flammable Children (Swinging Safari).

New Scottish films in the EIFF line-up include Dirt Road to Lafayette, the first film penned by award-winning author James Kelman and new zombie horror musical Anna and the Apocalypse, which was filmed in Port Glasgow.

READ MORE: Film festival announces line-up for free open air cinema

Rising Scottish star Sophie Kennedy Clark has two films in the line-up - alongside Sadie Frost and Titanic star Billy Zane in Lucid, in which a shy young man is taught to secure through dream therapy and Obey, about a young boxer trying to adjust to life after leaving foster care.

Travis frontman Fran Healy will be launching a fly-on-the-wall documentary on the pop-rock group while visual artist Rachel Maclean will be unveiling her new “part-comedy, part-horror,” about a group of women trapped in a cruel reality TV-style competition.

However artistic director Mark Adams admitted he was disappointed the festival had missed out on major new Scottish films like Mary Queen of Scots and Robert the Bruce biopic Outlaw King due to their release dates being held back until well after the festival.

Welsh comic Brydon will be taking centre stage in an in-conversation event about his career to date, including his roles in Gavin and Stacey and The Trip, ahead of heading down the red carpet to close the festival with his new drama Swimming With Men, a hotly-tipped British comedy about a group of middle-aged men who form a synchronised swimming team.

Award-winning playwright and screenwriter David Hare, whose previous films and TV series include Collateral, The Hours and The Reader, and rising British star George MacKay, whose credits include Sunshine on Leith, For Those In Peril and Captain Fantastic, will be appearing at other special “in person events.”

True Blood stars Anna Paquin and her actor-director husband Stephen Moyer who will be discussing their careers as well as unveiling new film The Parting Glass, the latest film from New York governor contender and Sex and the City star Cynthia Nixon.

Game of Thrones star Natalie Dormer will play a blind musician stalked by killers in new psychological revenge thriller In Darkness, which set in London’s criminal underworld.

Oscar-winning director Kevin Macdonald is expected to unveil his new film charting the life and career of tragic pop star Whitney Houston, which recently screened at the Cannes Film Festival.

The music documentary strand of the festival will also include an extended version of Freedom, the acclaimed George Michael documentary, and Almost Fashionable, which follows the events which unfold after the Scottish pop-rock band Travis invite a music journalist who has repeatedly criticised the group to accompany them on tour to Mexico.

Other documentaries will include Life After Flash, which examines the career of Sam Jones after he shot to fame playing the lead role in the cult 1980s science fiction fantasy Flash Gordon.

The festival will include a major retrospective of American movies, Time of the Signs, which is partly inspired by the rise of Donald Trump to the White House.

A strand on the media in the movies includes Absence of Malice, Broadcast News and Network, while horror classics getting the big-screen treatment include A Nightmare on Elm Street, Day of the Day, The Howling and Poltergeist.

The first festival events are actually being held this weekend as part of the Hidden Door festival in Leith, including a “multi-sensory cinematic experience” screening of the Walt Disney classic Snow White and the Seven Dwarfs at the former State Cinema and an event built around a screening of the vampire hit Blade.

READ MORE: Film puts spotlight on Scotland’s female pop and rock stars

Other special events in the festival line-up include a screening of the Steven Spielberg classic jaws accompanied by a live soundtrack performed by the Royal Scottish National Orchestra.

Mark Adams, artistic director of the festival, who is at the helm of the event for the fourth time, said: We remain one of the world’s most venerable and acclaimed film festivals and we’re delighted to be able to offer audiences the chance to see some of the most exciting and innovative new film talent, in a setting steeped in history

“I’ve always tried to strike the right balance with the various elements of the programme and the types of films we show.

“I firmly believe audiences are not one person. There are also kinds of different ones. Different audiences like different sorts of films.

It’s taken a bit of time to get to know the people who come here and love the festival. Certain sorts of films will work really well with them.

“It was frustrating this year that some films doesn’t work out for us, like Mary Queen of Scots, which we’ve been told is being held back for the Oscars, and Outlaw King, which we’ve known for sometime wouldn’t be launched by Netflix until November.”

This year’s EIFF runs from 20 June till 1 July.

" ,"byline": {"email": "" ,"author": ""} ,"topImages": [ {"image": {"url":"/webimage/1.4743548.1527066745!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4743548.1527066745!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Mark Adams, artistic director of the festival, is at the helm of the event for the fourth time. Picture: Contributed","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Mark Adams, artistic director of the festival, is at the helm of the event for the fourth time. Picture: Contributed","landscapeurl":"/webimage/1.4743548.1527066745!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"https://www.scotsman.com/news/alistair-harkness-gives-his-verdict-on-edinburgh-film-festival-line-up-1-4743526","id":"1.4743526","articleHeadline": "Alistair Harkness gives his verdict on Edinburgh Film Festival line-up","commentCount":0,"publishedDate":1527066001000 ,"articleLead": "

The Scotsman critic Alistair Harkness has his say on the Edinburgh film festival line-up

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4743525.1527067707!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "The premiere of Puzzle, starring Scots Trainspotting actress Kelly Macdonald, will open the Edinburgh International Film Festival this summer"} ,"articleBody": "

There have been slim pickings for cinephiles in recent years at the Edinburgh International Film Festival. Curatorial complacency, half-baked retrospectives and its diminished position on the festival circuit have made it a bit of a non-event, with occasional gems like God’s Own Country the only thing stopping it from sliding into irrelevance. Not so this year.

Its days of securing major gala screenings — beyond the perennial Pixar premiere (this year’s is The Incredibles 2) — might be long gone, but the programme for the 72nd edition has plenty of promising-looking films of the type that often struggle to find a footing in an era of mega-blockbuster event cinema, year-end awards bait and Netflix.

READ MORE: Kelly Macdonald film, Puzzle, to open Edinburgh Film Festival

Opening night film Puzzle, for instance, may not immediately scream “must-see cinema”, but the Kelly Macdonald-starring drama is the sort of character-driven work that can play well with audiences craving something that isn’t franchisable. The same might be said for Jon Hamm-starring spy thriller The Negotiator, Brie Larson’s directorial debut Unicorn Girl, gothic horror The Secret of Marrowbone and Australian comedy Flammable Children.

Critically acclaimed films from China (An Elephant Sitting Still), Paraguay (The Heiresses), Poland (Mug) and elsewhere should satisfy world cinema fans, while US director Nicolas Pesce’s sophomore feature, Piercing, looks like a cult film in the making.

But it’s closer to home where the real gems might emerge. Scottish and Scottish-based talent is well represented, with new projects from the likes of Kevin Macdonald (Whitney) and Mark Cousins (The Eyes of Orson Welles) premiering alongside some intriguing-sounding debuts, among them James Kelman’s first film as a screenwriter (Dirt Road to Lafayette), Matt Palmer’s Jack Lowden-starring thriller Calibre, and Anna and the Apocalypse, a zombie high school musical shot around Glasgow.

" ,"byline": {"email": "" ,"author": ""} ,"topImages": [ {"image": {"url":"/webimage/1.4743525.1527067707!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4743525.1527067707!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "The premiere of Puzzle, starring Scots Trainspotting actress Kelly Macdonald, will open the Edinburgh International Film Festival this summer","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "The premiere of Puzzle, starring Scots Trainspotting actress Kelly Macdonald, will open the Edinburgh International Film Festival this summer","landscapeurl":"/webimage/1.4743525.1527067707!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"https://www.scotsman.com/news/opinion/martyn-mclaughlin-don-t-believe-hype-about-gigs-in-your-living-room-1-4743360","id":"1.4743360","articleHeadline": "Martyn McLaughlin: Don’t believe hype about gigs in your living room","commentCount":0,"publishedDate":1527051600000 ,"articleLead": "

The idea that the latest virtual reality technology can replicate live gigs is naive and misguided, writes Martyn McLaughlin.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4743359.1527012057!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Is this how music fans will rock out to gigs by the latest hot band in the near future? (Picture: NurPhoto via Getty Images)"} ,"articleBody": "

The chance to witnesss your favourite band perform in the comfort of your living room would be a gig to remember – at least if they really were up close and personal.

The prospect of bringing some of the biggest names in world music directly into the homes of fans was under discussion at the weekend as part of Great Escape, a music festival which melded traditional live performances with discussion of what the future might hold.

The Brighton event, part knees-up, part conference, heard from music industry veterans and tech entrepreneurs, two disparate groups united by their excitement over virtual reality.

A generation after technological innovations such as Napster upturned the economics of the global industry, the festival provided a platform for those who believe the latest wave of change will be a help, not a hindrance, to their business model.

Among those in attendance were representatives from MelodyVR, a London-based startup which launched earlier this month. It has been deploying a phalanx of high-resolution cameras at various locations around live venues, fastidiously recording performances by an array of artists, from The Who and KISS through to David Guetta and the London Symphony Orchestra.

By being able to switch between various views provided by a virtual reality headset, stay-at-home gig goers are able to take in the concert from the throng, or should they wish, join the action onstage from the band’s vantage point.

READ MORE: Video: Medieval Edinburgh brought to life by VR app

With lucrative partnerships already in place with big name music labels like Warner, Sony, and Universal, the firm’s share price is on the up. Its plan is to sell access not just to archived concerts it has recorded, but to allow people to witness live-streamed gigs and entire music festivals in real time, all for a fraction of the ticket price.

As Nikki Lambert, chief marketing officer at MelodyVR, reasoned: “It’s hard to convince someone to spend money and an evening out to see a new band they’ve never heard of, but using VR means you can have a great experience at a much lower cost of entry.”

While I cannot quite fathom the appeal of being within licking distance of Gene Simmons’s tongue, I can appreciate how this novel use of technology might be an aid for those unable to attend a venue in person, whether it be due to disability or financial restraints. But the idea that MelodyVR and other companies like it can accurately replicate the experience of being there in person seems disingenuous at best.

I have lost count of the number of times consumers have been promised that virtual reality is the future. It is a form of technology that has been forever poised on the cusp of a revolution, and yet it remains a niche interest.

Back in 1991, Computer Gaming World predicted there would be “affordable VR by 1994”. Three decades later, VR remains little more than a novelty factor in the videogame industry. Any number of ill-conceived plasticky headsets have been consigned to the dustbin of history as manufacturers eager to make a quick buck realised they could never breach the mass-market.

The latest iteration of virtual reality devices, such as Oculus Rift, Samsung Gear, HTC Vive, and PlayStation VR, are powerful and impressive applications with relatively modest price points, yet they too have failed to capture the public’s imagination. If virtual reality’s charms have been snubbed by gamers – a demographic willing to upgrade technology every other year in search of a more immersive experience – it seems naive to presume music fans will buck the trend.

READ MORE: Scotland’s first virtual reality arcade opens

In any case, can technology ever really emulate the experience of feeling the glorious, shifting dynamic between an artist and their audience?

How many cameras and microphones would it have taken to replicate the sense of wonder and acrimony when Bob Dylan plugged his guitar into his amp at Newport Folk Festival?

What about the tubthumping bedlam of Johnny Cash letting rip for Folsom prison’s inmates? Or the riotous delights of Suicide’s confrontational 23-minute gig before a bewildered crowd in Brussels’ Ancienne Belgique?

There is a power and rawness to great gigs which defies description, let alone emulation. No amount of sensors can recreate the communal roar that greets the first chord, or the cooling spray as a plastic pint glass of indeterminate liquid whizzes towards the stage.

There is also a sound economic argument against MelodyVR’s ideas. If anything, the transformational impact of technology on the music industry has cemented the importance of live gigs.

Whereas once they were viewed by more cynical artists as a promotional tool to bolster album sales, the meagre sums they receive nowadays from physical album sales and streaming services like Spotify means that gigs are a crucial source of revenue.

Maybe MelodyVR’s grand plan will work. Maybe there is a generation of music aficionados who have become so jaded with the secondary ticketing market and exorbitant food and drink costs at major venues, they will decide that their home is the best setting for live music after all.

Yet somehow, I doubt the initiative will ever amount to anything more than a curio. If the history of the future is any guide, virtual reality’s time has yet to come.

" ,"byline": {"email": "" ,"author": "Martyn McLaughlin"} ,"topImages": [ {"image": {"url":"/webimage/1.4743359.1527012057!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4743359.1527012057!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Is this how music fans will rock out to gigs by the latest hot band in the near future? (Picture: NurPhoto via Getty Images)","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Is this how music fans will rock out to gigs by the latest hot band in the near future? (Picture: NurPhoto via Getty Images)","landscapeurl":"/webimage/1.4743359.1527012057!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"https://www.scotsman.com/lifestyle/culture/music/interview-chvrches-singer-lauren-mayberry-on-the-band-s-third-album-love-is-dead-1-4743062","id":"1.4743062","articleHeadline": "Interview: Chvrches singer Lauren Mayberry on the band’s third album, Love Is Dead","commentCount":0,"publishedDate":1526993351000 ,"articleLead": "

When Eurythmics guitarist Dave Stewart recently informed Chvrches frontwoman Lauren Mayberry that she was “the punk rock Joan of Arc of pop”, he nailed her commercial credentials, warrior wit and tenacious integrity in one clumsy soundbite. Mayberry, to be fair, was a little flummoxed by this accolade from one of her musical heroes but it does fit – not just her band’s mix of pure pop hooks with DIY indie attitude but the way in which Mayberry has found herself at the frontline in calling out sexism in the music industry and battling the wider online trolling of women in the public eye.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4743061.1526993348!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Lauren Mayberry of Chvrches PIC: Theo Wargo/Getty Images"} ,"articleBody": "

When Chvrches first emerged from their Glasgow rehearsal/recording bunker in 2012, their impact was almost instantaneous, with the band rather taken aback by their success. No offence to her dependable bandmates Iain Cook and Martin Docherty, but it was Mayberry who dazzled in the spotlight, emerging as one of the most relatable role models for teenage girls and young women since Paramore’s Hayley Williams.

And it was Mayberry who became the target of a steady stream of everyday sexism and a deluge of online abuse on the band’s social media feeds. When she spoke out about it with sober eloquence, the threats and abuse only intensified.

There was unwavering support from Cook, Docherty, her friends and the online community but still Mayberry says “I think back on it and it was pretty f***ing lonely to be honest, because there would be other women that we would see in passing at festivals and they would empathise but then they wouldn’t actually do anything themselves.

“I can look back on photos from that time and you can see when I started to get sadder and wearing baggier and baggier clothes and less and less make-up because I just wanted to be left alone. But I don’t think I would still be in the band if I’d had to put up and shut up and stand and smile and be pretty.”

This was three years before President Trump’s locker room talk was met with the million-strong Women’s March on Washington and four years before the Time’s Up movement was founded in the wake of a string of sexual assault allegations levelled against Harvey Weinstein and others in the film and television industries.

Mayberry had a ringside seat as these grassroots movements flourished and the testimonies mounted up. Since 2015, she has lived in New York, where Cook and Docherty are now also based, and Chvrches habitually tour the parts of the US that even domestic bands don’t make it to, thanks to the strong support they have always garnered from college radio stations across the south and Midwest.

“I think it gives you a better perspective on what it’s actually like, because if you weren’t ever playing in Alabama or Tennessee, I feel like you could get sucked into a one-sided view. There are so many people standing on either side of this line screaming in each other’s faces thinking that’s going to convince somebody to think something different, and I don’t really know if that’s how you get anything done. If you’re not listening to each other and trying to figure out what to do then I don’t know if we’ll make any tangible progress.

“I think it’s a positive thing that we’re having this conversation on a more mainstream platform,” she adds. “Now we don’t do an interview where we don’t talk about gender in one way or another.”

Mayberry says gender has always tended to be an issue in interviews, but the way in which it’s discussed has changed.

“We were [talking about gender before Time’s Up] because I would always be asked ‘what’s it like to be a girl in a band?’ I think it was Martin who said ‘never at any point in my day am I talking about being a man’, it just isn’t a thing.”

Mayberry is under no illusions that exposing sexist behaviour is the same thing as successfully combating it. As we speak, she is on a brief self-imposed internet break thanks to yet another wave of explicit, nasty trolling unleashed now that Chvrches are back in the public eye and set to return with their new album, Love Is Dead, where once again the brightness and catchiness of their synth pop tuneage belies the darker lyrical matter.

The first two Chvrches albums were self-produced in their native Glasgow – where they will appear at the TRNSMT festival this summer – but this time around the trio experimented with outside producers (which is where Dave Stewart entered the picture) before settling on Adele/Sia/Beck producer/songwriter Greg Kurstin as their main collaborator.

“There are definitely more direct moments on this album but I think there’s also some of the most macabre, weird stuff we’ve ever done as well,” says Mayberry, who has no shortage of material to draw on.

“The record’s not meant to be a bunch of manifestos,” she cautions. “When I listen to it, it sounds to me like somebody’s just trying to figure something out, that you’ve got to a certain stage in life and maybe you’re not as much of an idealist as you used to be but then how do you sit with that and then do something positive with it?

“I think if you don’t shine a light on this stuff then it’s just going to fester there in the darkness and I feel like I’ve had to find a balance. I don’t want to spend all my day thinking about that sort of negativity but I do think ‘what would 15-year-old me want if they were a fan of the band?’ I think grown-up me knows that women in bands aren’t superheroes but 15-year-old me would want to see the superhero kick some butt, you know? I feel it’s good to remind myself to be responsible with the platform that you have.

“When you have this opportunity, better make 15-year-old you proud of it, otherwise what’s the point? And I’d rather regret things I did do than things I didn’t do. I mean I’d like to regret nothing but if I have to regret something…”

Love is Dead is released by Universal on 25 May. Chvrches play the TRNSMT festival, Glasgow on 8 July

" ,"byline": {"email": "" ,"author": "Fiona Shepherd"} ,"topImages": [ {"image": {"url":"/webimage/1.4743061.1526993348!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4743061.1526993348!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Lauren Mayberry of Chvrches PIC: Theo Wargo/Getty Images","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Lauren Mayberry of Chvrches PIC: Theo Wargo/Getty Images","landscapeurl":"/webimage/1.4743061.1526993348!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"https://www.scotsman.com/lifestyle/culture/music/music-review-bbc-sso-thomas-dausgaard-city-halls-glasgow-1-4743056","id":"1.4743056","articleHeadline": "Music review: BBC SSO & Thomas Dausgaard, City Halls, Glasgow","commentCount":0,"publishedDate":1526992848000 ,"articleLead": "

Kullervo may not be the most refined and musically cohesive of Sibelius’ large-scale works, but this enormous five-movement choral symphony, based on an epic Finnish poem, remains a fascinating, embryonic insight into the spiritual and technical seeds of what was become the composer’s signature style. Conductor Thomas Dausgaard chose it as the focus of his final programme this season with the BBC SSO, and in a performance populated also by the Lund Male Choir of Sweden and soloists Helena Juntunen and Benjamin Appl, and featuring an ultimately inconsequential preamble of linked music by Finnish folk musicians, he captured enough of the music’s heroic impact, stylistic adventurousness and violent emotions to justify his bold decision.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4723910.1526992845!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "The BBC SSO"} ,"articleBody": "

Music review: BBC SSO & Thomas Dausgaard, City Halls, Glasgow ****

There was visceral hot-bloodedness in the largely unison singing of the lusty male voice choir, and two soloists whose character portrayals – the German baritone as Kullervo, the Finnish soprano as his sister – were a magnetic presence. Juntunen especially, singing off score and in thrilling voice, addressed her role with riveting theatrical conviction.

Dausgaard exuded visible enthusiasm, driving his forces forward with incessant energy, at their best in those raw, bracing outbursts that viciously punctuate the score. Brass and wind tuning posed the occasional problem but the burnished spirit shone through.

In the more thoughtful passages, we missed the defined intensity of Sibelian texture and colour, which SSO audiences will recall from this orchestra’s electrifying Osmo Vänskä days. There was an awakening, though, in the stirringly sung Finlandia encore, a mindful consummation of an intriguing evening.

" ,"byline": {"email": "" ,"author": "Ken Walton"} ,"topImages": [ {"image": {"url":"/webimage/1.4723910.1526992845!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4723910.1526992845!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "The BBC SSO","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "The BBC SSO","landscapeurl":"/webimage/1.4723910.1526992845!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"https://www.scotsman.com/lifestyle/culture/theatre/theatre-review-though-this-be-madness-scottish-storytelling-centre-edinburgh-1-4743055","id":"1.4743055","articleHeadline": "Theatre review: Though This Be Madness, Scottish Storytelling Centre, Edinburgh","commentCount":0,"publishedDate":1526992687000 ,"articleLead": "

Like Kane Power’s Mental, seen at the Tron last weekend, Skye Loneragan’s new 60-minute solo show is presented by Scotland’s Mental Health Arts Festival, as part of UK Mental Health Awareness Week; and it, too, looks at serious mental illness from the perspective of a loving family member.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4743054.1526992684!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Though This Be Madness, written & performed by Skye Loneragan"} ,"articleBody": "

Theatre review: Though This Be Madness, Scottish Storytelling Centre, Edinburgh ***

In this story, Skye’s sister Ophelia has been diagnosed with schizophrenia; but the point of the show is that it sets Ophelia’s diagnosed mental illness alongside the more everyday madness of Skye – who is coping with the sleep-deprived derangement of early motherhood – and of their mother, an ageing, eccentric retired psychiatrist.

So on a set she describes as her “land of lounge-room”, Skye wrestles with the paraphernalia of her own problems – a bouncy inflatable Pilates ball, a baby monitor, a stepladder and a wall full of Post-It Notes designed to assist her addled memory – while conjuring up unforgettable cameos of her sister and mother, and of herself, encountering the madness of everyday life. The lack of any kind of narrative through-line sometimes makes Though This Be Madness hard to follow; fragments of experience come thick and fast, from many angles and in a fairly raw form, unassisted by changes of set, costume or lighting.

Yet Loneragan is such a gifted and engaging performer, both in words and movement, that the quiet integrity of her unadorned staging finally comes to seem like a gift; in a show that talks of madness, but also of how women’s lives, honestly described, always tend to defy the norms of our culture – including our ideas of sanity and exactly what it might look like.

" ,"byline": {"email": "" ,"author": "Joyce McMillan"} ,"topImages": [ {"image": {"url":"/webimage/1.4743054.1526992684!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4743054.1526992684!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Though This Be Madness, written & performed by Skye Loneragan","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Though This Be Madness, written & performed by Skye Loneragan","landscapeurl":"/webimage/1.4743054.1526992684!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"https://www.scotsman.com/lifestyle/culture/theatre/theatre-review-forbidden-stories-traverse-edinburgh-1-4743053","id":"1.4743053","articleHeadline": "Theatre review: Forbidden Stories, Traverse, Edinburgh","commentCount":0,"publishedDate":1526992429000 ,"articleLead": "

Working between Edinburgh and Cyprus, Ludens Ensemble are well known on the capital’s fringe theatre scene for their shake-ups of classics such as Macbeth and Ubu Roi. With this latest show, though, they move into new territory, constructing a careful and passionate verbatim drama – based on real-life testimonies – about the shocking partition of Cyprus that followed the Turkish invasion of 1974, itself provoked by a Greek-dominated island government which had proposed a complete union with Greece.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4743052.1526992426!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Forbidden Stories"} ,"articleBody": "

Forbidden Stories, Traverse, Edinburgh ***

Yet despite the crisis of the 1970s – still unresolved 45 years on – Cyprus remains an island with a rich history of peaceful cohabitation; and with the help of the city of Paphos, European Capital of Culture 2017, Ludens have created a fragmented but haunting 75-minute reflection – with powerful, understated visual imagery and sound – on the human tragedy of a partition that displaced 200,000 Greek Cypriots from the north of the island and 60,000 Turkish Cypriots from the south.

The performance style is sometimes hesitant, not least because only one of the four performers is working in her mother tongue.

There’s no resisting the power of these stories of return, though, as a younger generation seize rare opportunities to cross the green line and revisit the homes from which their families were driven more than a generation ago.

In an ideal world, Cyprus – now a member of the EU – could become a model of how to heal old wounds; but in an age when incitement of conflict and contempt for compromise is becoming a new normal among world leaders, the task of nurturing peace falls increasingly to ordinary citizens, and not least to artists like Ludens, who seek to advance understanding, in good times and bad.

" ,"byline": {"email": "" ,"author": "Joyce McMillan"} ,"topImages": [ {"image": {"url":"/webimage/1.4743052.1526992426!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4743052.1526992426!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Forbidden Stories","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Forbidden Stories","landscapeurl":"/webimage/1.4743052.1526992426!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"https://www.scotsman.com/lifestyle/culture/music/music-interview-pianist-paul-harrison-on-the-controlled-experiments-of-jazz-quartet-sugarwork-1-4743048","id":"1.4743048","articleHeadline": "Music interview: Pianist Paul Harrison on the controlled experiments of jazz quartet Sugarwork","commentCount":0,"publishedDate":1526991828000 ,"articleLead": "

There’s nothing saccharine about Sugarwork. The quartet, formed by Glasgow-based pianist Paul Harrison, combines decidedly non-traditional avenues of improvisation and pre-composed music with a simmering reservoir of electronica, from industrial to psychedelic. Having just released their eponymously titled debut album, with an Edinburgh launch at the city’s Jazz Bar on Thursday past and a Glasgow gig at the Blue Arrow in Sauchiehall Street tonight, the band assembles four of the Scottish jazz scene’s most inventive and open-minded musicians – Harrison playing piano, keyboards and effects mixing, Stuart Brown on drums and percussion, tenor saxophonist Phil Bancroft and guitarist Graeme Stephen.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4743047.1526991825!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Paul Harrison"} ,"articleBody": "

The album’s music, largely written by Harrison, veers from the grinding riffing of the opening Habit Control to moments of hanging stillness with sax, piano and chiming guitar in After the Forest the Sky, before Brown’s drums whip up a stormy undercurrent. Short Story Long, with its ruminative guitar and lingering, melancholy sax is reminiscent of one of Stephens’s silent film scores, while The Stairs features sax squalling over what sounds disquietingly like a rack being cranked ever tighter – Gothic or what?

Harrison’s playing credits encompass classic songbook jazz with singer Carol Kidd, US saxophonist Dave Liebman’s collaboration with the Scottish National Jazz Orchestra and the Brazilian flavoured Trio Mágico. He has, however, long nurtured an interest in electronic music: his first solo album, a few years ago, mainly featured jazz standards, with just a few subtle shimmers of electronica augmenting the Steinway; in contrast he and drummer Brown have an all-electronic duo, Herschel 36, which notably provided an atmospheric live score to the German proto-sci-fi Wunder Der Schöpfung at the 2016 Bo’ness Hippodrome Festival of Silent Film.

Brown brings eclectic percussive experience to the group, not least his Twisted Toons project revivifying the classic cartoon music of Carl Stalling and Scott Bradley, Bancroft’s similarly expansive CV includes the ebullient Trio AAB with brother Tom, collaborations with Scottish folk musicians and Indian music, while guitarist Stephen, who played with both Harrison and Bancroft in the organ trio Breach, also straddles folk and jazz and has established a wide reputation with his live scoring for silent film.

Such a line-up, says Harrison, could create problems for him, “because I want to write music which sounds a certain way but I’m also aware of just how much creativity these guys have between them.”

His vision was to try and combine jazz harmony, improvisation and electronica “without straying into jazz fusion”. Asked how he would differentiate what his quartet does from what’s generally referred to as jazz fusion, he concedes: “That can get a bit technical, and what we’re doing in Sugarwork is by no means unique, but I hear a lot of bands using keyboards and electronics and I hear certain tendencies – with jazz fusion there’s a certain cliché with guitar solos that go on for ten minutes and keyboard breaks with eight million notes and I wanted to steer away from that.

“A lot of my compositions, and Graeme’s, are more cyclical, something coiled quite tightly, in a way, reflecting my love of electronica.”

Some of Sugarwork’s electronic effects are central to certain compositions, he continues, so there will be an element of pre-prepared material: “Some compositions are written in the studio to an extent, knowing there will be an element of improvisation, but the concept of the tune might be around a bassline on a synthesiser or a slightly rhythmic effect from Stuart. I’m trying to make it more organic as we go along, because we are, after all, full jazz musicians and want it to be different to some degree each time.

“That creates a bit of tension in how you go about things. These are mainly my compositions so to my mind they should sound a certain way, but it can be joyful when things go off in a different direction.”

For further information, see www.sugarwork.me

" ,"byline": {"email": "" ,"author": "Jim Gilchrist"} ,"topImages": [ {"image": {"url":"/webimage/1.4743047.1526991825!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4743047.1526991825!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Paul Harrison","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Paul Harrison","landscapeurl":"/webimage/1.4743047.1526991825!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"https://www.scotsman.com/lifestyle/culture/theatre/theatre-preview-glasgow-s-second-take-me-somewhere-festival-promises-to-explore-the-outer-edges-of-performance-1-4743046","id":"1.4743046","articleHeadline": "Theatre preview: Glasgow’s second Take Me Somewhere festival promises to explore the outer edges of performance","commentCount":0,"publishedDate":1526991642000 ,"articleLead": "

If you like your theatre conventional, well-dressed, and contained within a proscenium arch, then the one Scottish arts festival you should probably avoid is Take Me Somewhere, set to fizz and sparkle across Glasgow over the next two weeks. If, on the other hand, you think you might enjoy wandering from a one-to-one show about the experience of Syrian refugees staged in the Kibble Palace at the Botanics, to a massive moon-inspired installation in the Mackintosh Church at Queen’s Cross, to a bus that will carry audiences from Tramway to Tron to the Platform at Easterhouse – taking in a new Swedish-British exploration of aerial art, sound and visual imagery called Liquid Sky, and legendary New York avant-garde duo Split Britches in their latest show UXO – then Take Me Somewhere is probably the event for you, a thrilling two-and-half-week celebration of the outer edges of theatre, and of where performance might take us next.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4743045.1526991639!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Liquid Sky, part of Take Me Somewhere PIC: Jack Wrigley"} ,"articleBody": "

The idea of Take Me Somewhere was born in Glasgow in 2016, after former Arches artistic director Jackie Wylie conducted a survey into what Glasgow’s emerging performers and theatre-makers needed most, following the abrupt closure of the Arches in the spring of 2015. The idea was to focus on the future, to support artists in developing their work, to create an international platform that would help inspire, energise and showcase Glasgow’s performance scene, and – not least – to explore the amazing network of performance spaces, both permanent and temporary, that Glasgow still offers.

Within a few months of launching Take Me Somewhere, Jackie Wylie was appointed artistic director of the National Theatre of Scotland; but she saw through the first festival, in February 2017, before her departure, and handed over the artistic directorship to her closest collaborator at the Arches in its last half-decade, LJ Findlay-Walsh, who is taking Take Me Somewhere forward in the same positive and fiercely exploratory spirit.

“We’re definitely focusing on what we have rather than what we’ve lost,” says Findlay-Walsh, in a brief break from final preparations, “but we are still responding to the priorities that emerged from that 2016 consultancy. So there’s a mix of invited work and newly-commissioned work, a terrific range of venues – including new ones like Queen’s Cross Church and the Britannia Panopticon – and plenty of opportunities to discuss work during the festival, and of course to have a couple of parties. Never let it be said that there was a festival in Glasgow where there was no opportunity to party….”

This year’s Take Me Somewhere programme includes 14 shows, two installations, two cabaret acts, four discussion events, and a closing party; and among the performing companies and artists, Findlay-Walsh has succeeded in striking a fine balance between international acts, invited work from Scotland and England, and shows newly created for Take Me Somewhere 2018. Apart from Split Britches, the international acts include Dead Centre’s Dublin Festival smash-hit Hamnet – an astonishing live-video spectacle in which a young teenage actor plays Shakespeare’s son – and Mouthpiece, a Canadian two-woman show about cutting adrift from gender stereotypes, acclaimed on the 2017 Edinburgh Fringe; there’s also a visit, at the close of the festival, from the acclaimed New York transgender artist and cabaret singer Mykki Blanco.

UK visitors to the Festival include leading LGBT artist David Hoyle and singers the Lipsinkers, who appear in Hoyle’s LGBT history show Diamond. From Scotland, there’s a work-in-progress glimpse of Cora Bissett’s planned Edinburgh Festival show What Girls Are Made Of, and Mamoru Iriguchi’s much-loved children’s show, Eaten. And the new work includes shows from former Arches artists including FK Alexander, Eilidh MacAskill and Rosana Cade, Ultimate Dancer, and – at the Britannia Panopticon – Peter McMaster.

“One thing I’d like to emphasise,” says Findlay-Walsh,” is that it’s not really about new or emerging artists, this year. It’s rather about giving new opportunities to artists who have already been working for some years, but who now need support to develop in new directions. So we’re trying to do that. Then, our close knowledge of the directions Glasgow-based artists are taking also informs our international programme, and the shows we invite – sometimes because the themes are similar, but sometimes because the work is entirely at odds with anything we’re seeing here, and that can speak to us, too.”

Findlay-Walsh is also intrigued by the rich pattern of influences and family relationships in international performance art; this year, she has invited the Belgian-based artist Florentina Holzinger, strongly influenced by former Arches regular and queen of New York experimental performance art, Ann Liv Young. And she acknowledges that on the Glasgow performance scene – and internationally too – there is an almost overwhelming preoccupation with shows that radically challenge conventional ideas on gender and sexuality, and that reflect on the experience of gay, transgender and bi-sexual or non-sexual people.

“It’s interesting to analyse exactly why that theme is so strong,” says Findlay-Walsh, “and it certainly isn’t universal. But I do think there’s something about a rejection of the forms of toxic masculinity that we see all around us in the news, and about a refusal to let that worldview set the agenda any longer.

“And one of the most thrilling things about this festival is that when we’re presenting new work, we often don’t know ourselves exactly what’s going to happen. FK Alexander’s new show is called Violence, for instance, and she describes it as an ‘anti-love tribute to crushed hope and renewed desire.’ Apart from that, though, I have no idea how it’s going to turn out; all I know is that I’ll be there with the rest of the audience – and I’m really looking forward to seeing it.”

Take Me Somewhere is at venues across Glasgow until 2 June, www.takemesomewhere.co.uk

" ,"byline": {"email": "" ,"author": "Joyce McMillan"} ,"topImages": [ {"image": {"url":"/webimage/1.4743045.1526991639!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4743045.1526991639!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Liquid Sky, part of Take Me Somewhere PIC: Jack Wrigley","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Liquid Sky, part of Take Me Somewhere PIC: Jack Wrigley","landscapeurl":"/webimage/1.4743045.1526991639!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"https://www.scotsman.com/lifestyle/culture/music/interview-violinist-arabella-steinbacher-on-why-her-edinburgh-performance-of-a-tchaikovsky-favourite-will-be-a-one-off-1-4743044","id":"1.4743044","articleHeadline": "Interview: Violinist Arabella Steinbacher on why her Edinburgh performance of a Tchaikovsky favourite will be a one-off","commentCount":0,"publishedDate":1526990801000 ,"articleLead": "

How does a musician, who performs the same concerto time after time in various far flung corners of the globe, keep it fresh to the point that each audience believes it is listening to the music for the very first time? Sounds like the perfect question to ask 36-year-old German violinist Arabella Steinbacher, who has been playing the Tchaikovsky Violin Concerto since she was 14, ranks it high among the pillars of the violin repertoire she is most often invited to play, and will be performing it yet again next Sunday at the Usher Hall in Edinburgh as part of her current UK tour with the Dresden Philharmonic Orchestra and its principal conductor, Michael Sanderling.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4743043.1526990798!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Arabella Steinbacher PIC: Shotview"} ,"articleBody": "

“Yes, it’s always interesting to see how a piece you have played so often changes every time you perform it,” she replies. “As you change as a person, your interpretation of a piece changes also.”

But, of course, there are many other factors at play. “In the case of such popular pieces as the Tchaikovsky the most important thing is to keep flexible,” Steinbacher argues. “Every conductor has their own interpretation of it, and every orchestra plays in a different way, so no matter how much you rehearse, at the end of the day it will be something new, because it just happens at that particular moment.

“It could just be that someone in the orchestra plays a solo a little differently, so there’s that wonderful moment when I have to react. If I’m not flexible, and play it the same way regardless, the magic is lost. But actually, this is the wonderful thing in music. I just try to be inspired by what is happening that moment on stage.”

These surprising moments are what truly excite Steinbacher, who can be certain there will be something genuinely fresh about next Sunday’s Edinburgh Tchaikovsky performance. For even though she’s starred many times with Sanderling and his Dresden orchestra, this week’s tour marks their first collaboration with this particular concerto. “I’m curious to see how it will go,” she says.

As any follower of Steinbacher’s career will know, she devours repertoire with a voracious appetite. She’s noted for having all the core concertos at her fingertips as well as a sizeable stock of challenging contemporary works. Her partnership with conductor Vladimir Jurowski in their 2017 recording of the Britten and Hindemith concertos was recently described by Gramophone magazine as “made in heaven”.

Encouraged by her musical parents to take up the violin at an early age, Steinbacher studied from the age of eight with the celebrated teacher Ana Chumacheno, eventually winning a place in her 20s on the prized Anne Sophie-Mutter Foundation scheme. “Ana Chumacheno was the most important influence in my life, not only in a musical way, but personally,” she recalls. “You have many ups and downs at that age; it was so wonderful to have her help and advice.”

The hunger to learn began early on. “It’s very important for young musicians to learn the big repertoire,” she believes. “It’s the only way to develop as a solo musician. I started with all the classical repertoire, later on adding contemporary pieces. The point is, when I started to give concerts and go on tour, you don’t have time to learn any more new things; or you can, but never in the same way you do as a youngster, when you are exclusively focused on learning.”

These days, she plays the “Booth” Stradivarius, so-called because it was once owned by one Madame Wilhelm von Booth. More recently it belonged to the late great British violinist Iona Brown. Steinbacher has it on loan from the Nippon Music Foundation and holds an affection for it she describes as “like being in a relationship”.

Does such an instrument live up to its seven-figure price tag? “I’ve played it for quite a while now,” says Steinbacher. “It’s a wonderful instrument from 1716. But it’s not only brilliant from the sound perspective like most Strads; it’s very big and bright, yet it also has a lot of warmth and darkness. Mostly though, it’s interesting to see how it has changed over the years, just as I have.”

Many soloists who play Strads describe the process of getting used to them as hard and challenging. “There are instruments that you really need lots of time with to get to know,” says Steinbacher. “With this one I really had an immediate, close connection. It depends on the instrument.”

The impression gleaned of Steinbacher in the course of conversation is that of composure and contentment. But that’s something she has consciously nurtured in striking a balance between the relentless travelling of concert life and the tranquillity she seeks when switching off.

“That is so important for every artist,” she says. “I always say that making music is the easiest part. The most difficult is what is happening all around: all the craziness of travelling; dealing with jet lag. It needs a lot of discipline, also how to stay focused, not to get distracted too much by all that’s happening around you. I do meditation, try to save my energy. That way I can go on stage and feel completely free.”

August, though, is a no-no when it comes to working. “I used to do festivals then, but now I prefer just being at home, enjoying the quietness and the opportunity to refresh my thoughts.”

Arabella Steinbacher performs Tchaikovsky’s Violin Concerto with the Dresden Philharmonic at the Usher Hall, Edinburgh on 27 May at 3pm. Michael Sanderling also conducts Shostakovich’s Symphony No 5. Tel: 0131-228 1155 / www.usherhall.co.uk

" ,"byline": {"email": "" ,"author": "Ken Walton"} ,"topImages": [ {"image": {"url":"/webimage/1.4743043.1526990798!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4743043.1526990798!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Arabella Steinbacher PIC: Shotview","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Arabella Steinbacher PIC: Shotview","landscapeurl":"/webimage/1.4743043.1526990798!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"https://www.scotsman.com/lifestyle/culture/tv-radio/10-tv-shows-you-might-not-know-were-filmed-in-glasgow-1-4742596","id":"1.4742596","articleHeadline": "10 TV shows you might not know were filmed in Glasgow","commentCount":0,"publishedDate":1526912316357 ,"articleLead": "

Here are ten of the most interesting - and occasionally surprising - examples of TV shows that have been filmed in Glasgow over the years

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4742593.1526912388!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Vicky McClure in The Replacement (Photo: BBC)"} ,"articleBody": "

The city has provided the backdrop to many modern TV series, from high-profile dramas to internationally renowned comedy.

It’s not just classics like Still Game and Taggart which have been filmed in Glasgow.

The Secret Agent (2016-)

The 2016 BBC adaptation of Joseph Conrad’s dramatic thriller was set in London, but mainly filmed in Scotland. One of the most notable Glaswegian landmarks in the series was the Glasgow City Chambers. They were transformed into the Victorian-era Russian Embassy for the small screen.

In Plain Sight (2016)

Based on a true story, this three part miniseries focused on Detective Peter Muncie as he tried to capture notorious serial killer Peter Manuel, who terrorised Lanarkshire in the 1950s. Glasgow locations such as The Laurieston, Sloans and George V Bridge were used for filming. Also used was the South Portland Street Bridge. Actor Martin Compston threw his gun into the Clyde in the same spot as the real murderer.

The Book Group (2002-2003)

After American Claire Pettengill (Anne Dudek) moves to Glasgow, she sets up a book group in order to make new friends with similar interests. But she ends up with an eccentric group of lonely, discontented misfits instead. This black comedy was set in and filmed around Glasgow, starring actors such as Michelle Gomez, Rory McCann and James Lance.

Outlander (2014-)

Historical drama Outlander has a huge cult following among those who enjoy a bit of romantic Scottish escapism. Featuring lots of stunning Highland scenery and Scottish countryside, it has also been partially filmed in Glasgow. George Square, the Merchant City, Glasgow Cathedral and Pollok Country Park have all appeared on screen.

Rillington Place (2016)

This three part drama starring Tim Roth told the true story of serial killer John Christie, who murdered several people at his home during the late ’40s and early ’50s. Glasgow stood in for London during the filming. West Princes Street was used as the fictional version of Rillington Place. Additional filming took place at West Street, the Western Baths and a studio set in Dumbarton.

Parks and Recreation (2009-2015)

Although the majority of the series takes place in the fictional town of Pawnee, Indiana, one episode of Parks and Recreation was particularly popular with Scottish fans. In the season six episode ‘London Part 1’, Ron Swanson (Nick Offerman) stops off at Glasgow Central Station before heading to Islay to visit the home of his favourite whisky. The station concourse is instantly recognisable, as Ron deciphers the timetables and hops on a Scotrail train with Glaswegian commuters.

Lip Service (2010-2012)

Glasgow’s answer to the popular L Word series, Lip Service follows a group of twenty-something lesbian friends navigating love and life in Glasgow. The series was both set and filmed in the city. Shooting often took place in the Merchant City and city centre. The Tron Restaurant, Hummingbird and the Trans-Europe Cafe all made appearances in the show.

The Replacement (2017)

Last year’s hit BBC thriller The Replacement, about an architect who begins to harbour dark suspicions towards her maternity cover, was filmed on location in Glasgow. Locals will recognise places like George Square, the People’s Palace, Glasgow Green, The Trading House and Hutcheson’s Bar & Brasserie. The fictional offices where the women work were created inside Commonwealth House on Albion Street.

Fried (2014-)

Following the exploits of a mismatched group of workers in a struggling fried chicken shop, BBC3 sitcom Fried was filmed in Glasgow – despite being set in Croydon. An empty retail unit on Albion Street (next to the Spoon Cafe) was transformed into a fictional Seriously Fried Chicken takeaway.

Lovesick (2014-)

Originally titled ‘Scrotal Recall’, but renamed after Netflix picked it up for a second series, this focuses on inept romantic Dylan – who finds out he has chlamydia. He then has to contact all of his former sexual partners to tell them the bad news. Lovesick is set in Glasgow (although a big focus isn’t put on the city), and it was filmed there too. Shooting for the second series took place over eight weeks in locations like Broomielaw and the Merchant City, and nearby Loch Lomond.

Written by Gillian McDonald

" ,"byline": {"email": "Central.content@jpress.co.uk" ,"author": "Gillian McDonald"} ,"topImages": [ {"image": {"url":"/webimage/1.4742593.1526912388!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4742593.1526912388!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Vicky McClure in The Replacement (Photo: BBC)","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Vicky McClure in The Replacement (Photo: BBC)","landscapeurl":"/webimage/1.4742593.1526912388!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ {"image": {"url":"/webimage/1.4742594.1526912388!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4742594.1526912388!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Some Outlander scenes were shot in Glasgow","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Some Outlander scenes were shot in Glasgow","landscapeurl":"/webimage/1.4742594.1526912388!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} , {"image": {"url":"/webimage/1.4742595.1526912389!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4742595.1526912389!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "In one episode of Parks and Recreation, Ron Swanson arrives in Glasgow","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "In one episode of Parks and Recreation, Ron Swanson arrives in Glasgow","landscapeurl":"/webimage/1.4742595.1526912389!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"https://www.scotsman.com/lifestyle/culture/music/music-review-rsno-europe-tour-1-4742419","id":"1.4742419","articleHeadline": "Music review: RSNO Europe Tour","commentCount":0,"publishedDate":1526897363000 ,"articleLead": "

Peter Oundjian kicked off (or almost) his tenure as the Royal Scottish National Orchestra’s music director with an international tour – an energetic five-stop New Year trip to China just a few months into the role. And only weeks before his final season concert with the orchestra, he’s led the players overseas again, this time on a more laid-back but no less whistlestop tour across Europe, covering five cities, four countries and five concerts in five days – and joined, as on previous tours, by violinist Nicola Benedetti.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4742418.1526897360!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Violinist Nicola Benedetti, cellist Jan Vogler, pianist Martin Stadtfeld and the Royal Scottish National Orchestra performing Beethoven's Concerto for Piano, Violin and Cello to a sold-out audience at the Festspielhaus Bregenz, the first concert of the Orchestra's 2018 European Tour."} ,"articleBody": "

First stop was Bregenz, Austria, where the super-modern concert hall backs onto the town’s famous opera stage floating on the waters of Lake Constance (currently offering two gigantic hands ruffling a deck of oversize cards as a backdrop for Carmen). The hall’s rather analytical acoustics, however, didn’t exactly flatter the orchestra’s playing at its opening concert (****). Nor did they help with the slight feeling that Oundjian and the band were still settling into the tour repertoire.

They might have done with a little more fire and fury, but Oundjian’s opening Four Sea Interludes from Britten’s Peter Grimes were assertive and vibrant nonetheless – and the audience’s rather tentative response was almost certainly down to Austrian listeners’ unfamilarity with this music. Beethoven’s Triple Concerto was received far more warmly, however, in an energetic, finely detailed performance from Benedetti, joined by cellist Jan Vogler and pianist Martin Stadtfeld. Benedetti and Vogler made a natural pairing, ideally matched in their crisp, clean, characterful playing, but Stadtfelt seemed the odd man out, his somewhat mannered, effortful playing strangely at odds with the no-nonsense lyricism of his colleagues. In the many phrases that Beethoven passes back and forth between his three soloists, for example, it struck a disconcerting note.

Oundjian completed the opening programme with a granitic Brahms Fourth Symphony, its outer movements delivered with gritted-teeth determination, though it wasn’t without humour in its boisterous scherzo. The audience lapped it up – as well as the exuberant Khachaturian and Scottish reels in the orchestra’s duo of encores.

But what a difference a hall can make. Three hours down the motorway, the 1960s Congress in Alpine Innsbruck had a very wide, very shallow stage – meaning brass and percussion were flung out to the furthest reaches – but an exceptionally fine acoustic. On the programme (*****) was the same music as the previous evening, but it now felt ideally balanced, glowingly assured and bristling with detail – indeed, the players’ unusual geographical spread only intensified the sense of many voices working as one. Oundjian and the musicians beautifully captured Britten’s unsettling combination of surface exuberance and menace underneath, and an equally vibrant account of the Beethoven Triple Concerto drew a tumult of applause – and a thoughtful encore of the slow movement from Beethoven’s early Gassenhauer Trio from the three soloists.

All change, however, with a hop over the border into Bergamo, Italy, whose Teatro Sociale is almost hidden among the narrow, winding streets of the hill-perched old town. This was a very different venue – an intimate opera house dating back to the start of the 19th century (its opening concert is reputed to have featured a young Gaetano Donizetti, a Bergamo native, as vocal soloist), with tiers of boxes overlooking the intimate stage – the modest size of which also required a slightly reduced orchestral line-up. The sound here was superbly bright and lively, if not overly resonant – but an ideal setting, it turned out, for the evening’s new programming (*****).

Bernstein’s Plato-inspired Serenade has not been a regular feature of Benedetti’s repertoire but it looks set to be in future (she brings it to the Edinburgh International Festival on 25 August) and it fits her like a glove. She excelled in its subtle picture painting, its brittle rhythmic intricacies and its sheer sense of exuberant joy, all conveyed with a simple, direct sense of authenticity. The orchestra was on punchy, incisive form, too, and it went down a storm with the audience. Oundjian’s concluding Brahms Fourth was slightly brisker, slightly lighter than the previous two evenings but that was no bad thing – and the listeners went wild for his closing encore of reels: he did his best to keep the barely controlled frenzy between orchestra and clapping, stamping audience in some kind of order.

Virtually a day’s drive away, Saturday evening saw the orchestra in the grand, cavernous space of Ljubljana’s Cankarjev Dom cultural centre (*****) playing to a Slovenian crowd just as enthusiastic as the Italians, with blazing Britten, gutsy Beethoven and a Brahms Fourth that was nimbler and more sharply defined than ever – and the barely restrained exuberance of Oundjian’s closing Scottish reels raised the crowd to their feet in appreciation.

The tour culminated in Dresden last night, at the music festival where soloist Jan Vogler is artistic director. It has been a deeply rewarding, revealing journey through cities and music, and a fittingly warm-hearted farewell foray for Peter Oundjian.

" ,"byline": {"email": "" ,"author": "David Kettle"} ,"topImages": [ {"image": {"url":"/webimage/1.4742418.1526897360!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4742418.1526897360!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Violinist Nicola Benedetti, cellist Jan Vogler, pianist Martin Stadtfeld and the Royal Scottish National Orchestra performing Beethoven's Concerto for Piano, Violin and Cello to a sold-out audience at the Festspielhaus Bregenz, the first concert of the Orchestra's 2018 European Tour.","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Violinist Nicola Benedetti, cellist Jan Vogler, pianist Martin Stadtfeld and the Royal Scottish National Orchestra performing Beethoven's Concerto for Piano, Violin and Cello to a sold-out audience at the Festspielhaus Bregenz, the first concert of the Orchestra's 2018 European Tour.","landscapeurl":"/webimage/1.4742418.1526897360!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"https://www.scotsman.com/lifestyle/culture/music/music-review-aidan-moffat-rm-hubbert-st-luke-s-glasgow-1-4742415","id":"1.4742415","articleHeadline": "Music review: Aidan Moffat & RM Hubbert, St Luke’s, Glasgow","commentCount":0,"publishedDate":1526896977000 ,"articleLead": "

Arab Strap’s frank frontman Aidan Moffat and virtuoso acoustic guitarist RM Hubbert go back a long way, first crossing paths in Glasgow around 20 years ago and occasionally sharing stages since then. But this was their first tour as a bona fide duo, cryptically billing themselves as Aidan Moffat & RM Hubbert for the purposes of debuting their collaborative album.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4742414.1526896974!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Aidan Moffat and RM Hubbert"} ,"articleBody": "

Music review: Aidan Moffat & RM Hubbert, St Luke’s, Glasgow ****

Here Lies the Body is a smart, funny and intriguing suite of songs about a long-term relationship and the work required to keep it afloat, which allowed both of them to showcase their quite particular musical skills – Moffat’s merciless yet poetic pen portraits and Hubbert’s dexterous picking, strumming and tapping which blends flamenco and classical techniques with his own background in math rock bands.

They were backed on this inaugural outing by Arab Strap drummer David Jeans and singer and multi-instrumentalist Siobhan Wilson, whose fragrant vocals contrasted starkly with Moffat’s gruff half-spoken delivery on Cockcrow.

With Mz Locum, a raucous song of sexual surrender, Moffat wryly noted that they had got the happy song out of the way near the start of the set but, while the music was typically downbeat, it was full of interesting textures and embellishments and great, economical storytelling.

Moffat has said he laboured long over the lyrics for these songs but you would never know from the casual eloquence on display. Meanwhile the spontaneous repartee between the pair turned what could otherwise have been a fairly bleak odyssey of a mid-life crisis into a warm and witty celebration of shared experience.

Party On, driven by a percussive samba rhythm, was their best attempt at an original pop tune but they genuflected at the genius of Vince Clarke with a singalong cover of Yazoo’s Only You, rough round the edges but rendered with utmost tenderness.

They were also wise to a potential showing-up at the hands of Wilson’s opening set. The Glasgow-based musician is a seductive songwriter and a magnetic performer who can hold a room rapt with the subtlest whisper, possibly learned during her years as a jobbing musician in Paris. J’Attendrai is her sultry French language chanson, Make You Mine a coquettish yet steel-willed pursuit of a desired partner, and All Dressed Up a forlorn appeal for appreciation which never fails to get its way.

" ,"byline": {"email": "" ,"author": "Fiona Shepherd"} ,"topImages": [ {"image": {"url":"/webimage/1.4742414.1526896974!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4742414.1526896974!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Aidan Moffat and RM Hubbert","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Aidan Moffat and RM Hubbert","landscapeurl":"/webimage/1.4742414.1526896974!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"https://www.scotsman.com/lifestyle/culture/music/music-review-kathleen-turner-queen-s-hall-edinburgh-1-4742411","id":"1.4742411","articleHeadline": "Music review: Kathleen Turner, Queen’s Hall, Edinburgh","commentCount":0,"publishedDate":1526896277000 ,"articleLead": "

THE question “where are they now?” might fairly be applied to Kathleen Turner, who effortlessly dominated female roles in Hollywood throughout the 1980s, including her famously sexual debut Body Heat in 1981 and a successfully recurring double act with Michael Douglas which began with 1984’s Romancing the Stone. The short answer is, she’s right here, presenting a life-story-with-music which is both frank and impassioned.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4742410.1526896274!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Kathleen Turner"} ,"articleBody": "

Kathleen Turner, Queen’s Hall, Edinburgh ***

The long explanation for her whereabouts is more complex than that, and the tale she relates of her rise and fall opens a window upon the life of a female Hollywood actor of Turner’s generation, who had to trade on her youth and vitality as much as her acting ability. By the start of the 1990s, Turner was beginning to be offered lesser, older roles (John Waters’ dark comedy Serial Mom was a favourite, she says), yet it was the unexpected onset of paralysing rheumatoid arthritis at a young age which really waylaid her career.

“I went from doing my own stunts to being told I’d never walk again,” she said here, the 63-year-old’s famously husky voice deepened by an apparent sore throat, and the version of Send in the Clowns which followed was appropriately dramatic. That’s little surprise, because when new drug treatments put her illness in remission, Turner reinvented herself for the new millennium in smaller roles for television and the stage.

Amid a set of smoky showtunes backed by her live trio, Turner’s reminiscences are the real box office. She speaks warmly of befriending Dame Maggie Smith at the stage door while she was playing The Graduate in London (“I got a script which described a character as ‘37 but still attractive’,” she spat to loud applause, “which pissed me off so bad I decided to go nude onstage at 48”) and of her enthusiastic current activism for causes including Meals on Wheels and Planned Parenthood. “I am angry about the politics in my country,” she sighed, “but I’m an optimist.” Her life is evidence of that.

" ,"byline": {"email": "" ,"author": "David Pollock"} ,"topImages": [ {"image": {"url":"/webimage/1.4742410.1526896274!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4742410.1526896274!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Kathleen Turner","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Kathleen Turner","landscapeurl":"/webimage/1.4742410.1526896274!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"https://www.scotsman.com/lifestyle/culture/film/derelict-leith-cinema-being-brought-back-to-life-for-final-screening-1-4742171","id":"1.4742171","articleHeadline": "Derelict Leith cinema being brought back to life for final screening","commentCount":0,"publishedDate":1526882851000 ,"articleLead": "

A dusty, derelict cinema which was once a palace of the silver screen is to revisit its glorious past before being lost forever.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4742167.1526882699!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "editorial image"} ,"articleBody": "

The long-shuttered State Cinema, opened in 1938, showed everything from newsreels to The Lone Ranger serial to Hollywood classics over the years, before closing in 1972.

But, with planning permission granted to demolish the Great Junction Street cinema and build flats on the site, organisers of Edinburgh’s Hidden Door Festival - who made headlines last year by injecting new life into nearby Leith Theatre - saw an opportunity to re-open the State for one last time.

This week the venue will host a number of festival events, including a screening on Saturday of Snow White And The Seven Dwarfs, released the same year the cinema opened.

David Martin, the festival’s founder and creative director, said: “After the buzz and excitement surrounding our use of Leith Theatre last year, we decided we would keep at it and try to provide something unexpected again.

“We thought it would likely be in the centre of Edinburgh and we had a shortlist of 30 unused buildings, but then the State cinema came up.

“We had previously tried to find out who owned it without luck, but when we saw an interview online with the new owner, we got in touch and told him what we would like to do. He said it sounded like a great idea to use it one last time.”

Once permission was granted from the council and a full safety check was carried out, artist David and his army of volunteers got to work. “It’s much more stripped down and derelict than the theatre was, but that makes it more exciting and edgy,” said David, who teaches at Leith School of Art.

“The interior has changed a lot over the years. Once the cinema closed in 1972 it became a bingo hall and then a nightclub, at which point everything was changed internally, with bars, walkways and platforms added.

“It’s certainly rough and ready, but also evocative. It’s more of a shell now. We started building a floor - because it no longer had a floor - about three weeks ago. Before that people went in and cleared it, as it was full of rubble and dust.

“The festival is volunteer-run and we currently have a team of 400 from all walks of life helping out.”

This is the fifth year of the Hidden Arts Festival.

“I originally approached the council and they allowed use of the arches behind Waverley Station. It was more of a street festival, but went so well that the following year the council let us use an old street cleaning depot just off Grassmarket.

“That was when the festival came into its own. There are pop-up venues during the Fringe, so why not outside of August?”

Fundraising contributed almost £10,000 towards state-of-the-art lighting and rigging, and by the weekend the curtain will open in the State one final time for a multi-sensory screening of Snow White.

“It will be an extended variation, with audience participation, and things like toffee apples instead of poisoned apples. We hope people will come down and be quite nostalgic.

“It’s a unique experience - there will be nothing else quite like it.”

" ,"byline": {"email": "" ,"author": "GARY CARTER"} ,"topImages": [ {"image": {"url":"/webimage/1.4742167.1526882699!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4742167.1526882699!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "editorial image","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "editorial image","landscapeurl":"/webimage/1.4742167.1526882699!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ {"image": {"url":"/webimage/1.4742168.1526882839!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4742168.1526882839!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "The State Cinema in Leith, which is opening its doors again for one night only after being closed since 1972.","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "The State Cinema in Leith, which is opening its doors again for one night only after being closed since 1972.","landscapeurl":"/webimage/1.4742168.1526882839!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} , {"image": {"url":"/webimage/1.4742169.1526882845!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4742169.1526882845!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "editorial image","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "editorial image","landscapeurl":"/webimage/1.4742169.1526882845!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} , {"image": {"url":"/webimage/1.4742170.1526882847!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4742170.1526882847!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "editorial image","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "editorial image","landscapeurl":"/webimage/1.4742170.1526882847!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"https://www.scotsman.com/lifestyle/culture/theatre/theatre-reviews-the-strange-undoing-of-prudencia-hart-chic-murray-a-funny-place-for-a-window-1-4741648","id":"1.4741648","articleHeadline": "Theatre reviews: The Strange Undoing Of Prudencia Hart | Chic Murray: A Funny Place For A Window","commentCount":0,"publishedDate":1526657743000 ,"articleLead": "

IT’S seven years since the young Edinburgh academic Prudencia Hart first took to the road, on her way to an ill-fated seminar in Kelso on the Border ballad tradition; but the National Theatre of Scotland’s famous pub show about her strange undoing – now celebrated across two continents – has lost none of its strange comic and erotic allure, as David Greig gives a funny, compassionate, stylish and whimsical 21st century makeover to Scotland’s grand ballad tradition.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4741677.1526660573!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "The Strange Undoing of Prudencia Hart"} ,"articleBody": "

The Strange Undoing of Prudencia Hart, Assembly Roxy, Edinburgh ****

Chic Murray: A Funny Place For A Window, Oran Mor, Glasgow ****

So we sit at pub tables, tearing up napkins to create the story’s opening snowstorm, and hear the rhyming tale of Prudencia, an uptight but lovable postgraduate student who drives to Kelso through a gathering blizzard – overtaken en route by her annoying colleague Colin Sime, on his motorbike – only to find herself stranded there, and, like many a ballad hero before her, stepping through a gap in time into eternity – in this case the bed-and-breakfast from hell, run by the devil, a charmer called Nick.

Millennia pass timelessly, as Pru browses in the devil’s library; but eventually, the pain of imprisonment becomes too much for her, and she triggers a terrific battle of wit, passion, seduction and willpower that only ends when she leaps back through the gap into the waiting arms of – yes–- that same Colin Sime.

It’s a tremendous tale, brilliantly and ingeniously told in Wils Wilson’s production; and this latest cast is 
perhaps her finest yet, a brilliantly focused, fast-moving ensemble that includes 
Wildcat veteran George Drennan as narrator and lead musician, and the enthralling and magical Jessica Hardwick as Prudencia.

The Strange Undoing is a joyously postmodern show, famous for its glorious collision between some of the oldest ideas in Scottish literature, and 21st century popular culture; and when, this time round, Prudencia finishes her final super-seductive karaoke performance of Kylie’s Can’t Get You Out Of My Head, the audience just can’t resist jumping to their feet, and giving this fine company a standing ovation.

This week’s Play, Pie And Pint show – written and directed by Stuart Hepburn – also contains some vintage and exquisite Scottish comedy, this time from the school of whimsical surrealism pioneered by the great Scots comic Chic Murray, between the 1930s and his death in 1985.

Subtitled with the punchline of one of Murray’s favourite jokes – “I opened the window in my pyjamas; funny place for a window…” – Hepburn’s play is essentially a gentle one-hour biopic, narrated by Kate Donnelly as Murray’s long-suffering wife and sometime professional partner, Maidie Dickson, and tracing their story from their first meeting at Chic’s mother’s theatrical rooming-house in Greenock in 1934, to Chic’s poignant death in the house next door to the Edinburgh home of the now estranged Maidie.

The heart and soul of the show, though, lies in David Anderson’s wonderful portrayal of Murray, as he finds his remarkable comic style, develops it into a glittering stage and film career, and at the same time destroys his wonderful marriage to Maidie, through a mixture of faithlessness and booze.

Brian James O’Sullivan offers magnificent support as musician and as every other character in the tale, from the friendly Edinburgh neighbour who offers Chic a final bed for the night, to that beaming variety king of the piano keys, Liberace.

And the overall effect is of a delicious, complex, and loving tribute to a vital piece of Scottish showbiz history, and the man who created it; the Tall Droll to Maidie’s Small Doll, unique, hilarious, and inimitable – but happily not unplayable, as David Anderson so eloquently demonstrates in this memorable show.

The Strange Undoing of Prudencia Hart is at Assembly Roxy, Edinburgh, tonight, and on tour to Mull and Oban next week. Chic Murray: A Funny Place For A Window is at Oran Mor, Glasgow today, and the Lemon Tree, Aberdeen, next week.

" ,"byline": {"email": "" ,"author": "Joyce McMillan"} ,"topImages": [ {"image": {"url":"/webimage/1.4741677.1526660573!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4741677.1526660573!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "The Strange Undoing of Prudencia Hart","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "The Strange Undoing of Prudencia Hart","landscapeurl":"/webimage/1.4741677.1526660573!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ {"image": {"url":"/webimage/1.4741686.1526660577!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4741686.1526660577!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Chic Murray: A Funny Place for A Window","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Chic Murray: A Funny Place for A Window","landscapeurl":"/webimage/1.4741686.1526660577!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"https://www.scotsman.com/lifestyle/culture/music/music-review-ben-folds-glasgow-royal-concert-hall-1-4741557","id":"1.4741557","articleHeadline": "Music review: Ben Folds, Glasgow Royal Concert Hall","commentCount":0,"publishedDate":1526651944000 ,"articleLead": "

TOWARDS the end of this two hour solo show, Ben Folds took a surprising detour from the expected repertoire of smart, funny, sensitive indie piano pop he’d been playing up until that point. His road crew darted from the wings and assembled, with lightning speed, a drum-kit, upon which he performed a wild virtuoso solo. This, clearly, is a man who understands the value of showmanship.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4741556.1526658787!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Ben Folds conducts the audience"} ,"articleBody": "

Ben Folds, Glasgow Royal Concert Hall ****

Like Elton John, Folds knows that, no matter how strong their material is, a piano-based singer-songwriter lacks sustained dramatic interest. You need to jazz things up. That’s why he tells amusing stories, teaches the audience to sing four-part harmony – the results, with Folds 
conducting like a groovy music teacher, were sweetly shambolic – and turns his piano into an emotional assault weapon.

He can play with real grace and tenderness, but he also summons dissonant thunderclaps by hammering the bass keys at judicious intervals.

He’s also fond of improvising songs to suit the occasion; tonight he created an enjoyably rambling ditty about someone kindly giving him a copy of Belle & Sebastian’s then rare Tigermilk LP after an early show at Glasgow’s King Tut’s.

If Folds wasn’t so darn genial, this would look like showing off. His penchant for sarcastic nerd satirical songs – eg Rockin’ The Suburbs – would be insufferable if he didn’t choose valid targets, wrap them in killer tunes and balance them with touchingly heartfelt, ten-tiered wedding cakes like Landed and The Luckiest.

A Ben Folds show is an irresistible tightrope walk.

" ,"byline": {"email": "" ,"author": "Paul Whitelaw"} ,"topImages": [ {"image": {"url":"/webimage/1.4741556.1526658787!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4741556.1526658787!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Ben Folds conducts the audience","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Ben Folds conducts the audience","landscapeurl":"/webimage/1.4741556.1526658787!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"https://www.scotsman.com/lifestyle/culture/music/frightened-rabbit-create-memory-book-for-grieving-fans-1-4741512","id":"1.4741512","articleHeadline": "Frightened Rabbit create memory book for grieving fans","commentCount":0,"publishedDate":1526649594000 ,"articleLead": "

Scottish band Frightened Rabbit have created a way for fans to record their tributes to and memories of the group’s late frontman, Scott Hutchison, who was found dead last week.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4741510.1526645769!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "The bandmates of late Frightened Rabbit singer Scott Hutchison have created a way for fans to pay tribute (Photo: Shutterstock)"} ,"articleBody": "

As announced via an Instagram post from the band’s official account, the remaining members have left a notebook titled ‘A Wee Book For Scott’ at famous Glasgow music venue, King Tut’s Wah Wah Hut.

Fans and friends of the singer are encouraged to fill the pad with messages, stories or any other kind of inscription they like, using the markers provided.

Fans and contemporaries pay their respects

Tweets and obituaries have flooded in continuously since the news of Hutchison’s death, and several of the musicians and promoters who worked with and knew him are now arranging their own tributes.

Edinburgh-based artist Withered Hand will perform at charity fundraiser Tiny Changes 2018 (a reference to a Frightened Rabbit lyric) in Perth on Sunday 27 May.

Taking place The Green Room, the gig will raise money for two charities - Andy's Man Club (a mental health charity for men), and Help Musicians, who offer assistance to musicians throughout their careers. Other acts on the bill include PAWS, The Ninth Wave and Dante.

Elsewhere in the country, the organisers behind a planned Frightened Rabbit performance at The Piece Hall in Blackledge, Halifax, on Saturday 26 May have announced that they will not replace the band on the bill. Instead, those attending the event will honour the memory of Scott Hutchison with a minute of applause and noise, beginning at 7:30pm.

The other artists appearing will have extended set times, and collections for a local mental health awareness charity will be made during the evening.

A tragic end

Scott Hutchison was publicly reported missing by his brother and bandmate Grant via social media on Wednesday 9 May. On the morning of Friday 11 May, it was announced that the body of a man had been found in Port Edgar marina, close to South Queensferry where the singer was last seen.

Later that day, it was confirmed that the body was indeed Hutchison, who had taken his own life. The performer was open about his ongoing struggles with mental health throughout his life.

" ,"byline": {"email": "Alex.Watson@jpress.co.uk" ,"author": "Alex Watson"} ,"topImages": [ {"image": {"url":"/webimage/1.4741510.1526645769!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4741510.1526645769!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "The bandmates of late Frightened Rabbit singer Scott Hutchison have created a way for fans to pay tribute (Photo: Shutterstock)","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "The bandmates of late Frightened Rabbit singer Scott Hutchison have created a way for fans to pay tribute (Photo: Shutterstock)","landscapeurl":"/webimage/1.4741510.1526645769!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ {"image": {"url":"/webimage/1.4741511.1526645770!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4741511.1526645770!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Frightened Rabbit posted about the memory book on Instagram (Photo: Instagram)","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Frightened Rabbit posted about the memory book on Instagram (Photo: Instagram)","landscapeurl":"/webimage/1.4741511.1526645770!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"polls":[ ] ,"videos":[ {"video": {"brightcoveId":"5783601239001"} } ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} ]}}} ]}