{"JP":[ {"NewsSection":{"name":"whatson","detaillevel":"full", "Articles": {"count":25,"detaillevel":"full","articlesList":[ {"article": { "url":"https://www.scotsman.com/news/opinion/dani-garavelli-killing-eve-heralds-new-lease-of-life-1-4803999","id":"1.4803999","articleHeadline": "Dani Garavelli: Killing Eve heralds new lease of life","commentCount":0,"publishedDate":1537656066000 ,"articleLead": "

In common with most people I know, my current binge-watch is the gloriously unhinged crime series Killing Eve. For those of you who have not yet discovered it, the drama centres on the weird, obsessive, quasi-erotic relationship between a female MI5/MI6 agent, Eve Polastri, and the beautiful, but bonkers assassin Villanelle (think Betty Blue on acid).

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4803998.1537636696!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Jodie Comer as the beautiful but bonkers assassin, Villanelle, in a scene from BBC America's Killing Eve, based on Luke Jennings' novella Codename Villanelle. Picture: Robert Viglasky"} ,"articleBody": "

Completing the triumfeminate is Carolyn Martens, head of the Russian section of MI6, who appears to have had sex with every agent in Moscow (well, two of them, anyway).

For women in particular, Killing Eve is a joyous, liberating experience. Not simply because the TV adaptation is by the talented Phoebe Waller-Bridge (of Fleabag fame); nor because its bloody floors are not littered with the naked, dismembered bodies of pretty, young women (though a man does get his testicles clamped); nor even that it somehow manages to combine the humdrum trivialities of women’s lives – a flashback to last night’s drunken karaoke performance, for example – with the murder of a target with a poison-tipped hairpin.

No, the principal key to its appeal is that, as Guardian TV critic Lucy Mangan pointed out, it is feminist without having overtly feminist pretensions. In last year’s binge-fest, The Handmaid’s Tale, the moral was clear: protect your freedoms or they may be whipped away from you. But Killing Eve has no such message. It’s just women acting their socks off in challenging and often dysfunctional roles. For once, the men, though well-drawn and interesting, do not suck up all the air from everyone else. Any sexual chemistry that exists is between Eve and Villanelle. Would it pass the reverse of the Bechdel test (the one that says a film must have three women, they must talk to each other and they must talk about something other than the men)? I am not sure it would. The script is whip-sharp, the cast is ethnically diverse, and the whole is a genre-defying delight.

This would appear to be a bonanza month for exceptional women. They are, quite simply everywhere. It’s as if, after years of being forced to skulk in the shadows, they have burst out into the sunshine.

In sport, the Scottish women’s football team has qualified for the 2019 World Cup and their contribution is finally being recognised. The launch edition of the new lunchtime discussion show Politics Live had an all-women panel, all of whom seemed to display a competent grasp of the issues of the day (and why wouldn’t they?)

Last week brought us two more reasons to celebrate. First, it became clear BBC Radio 2 was determined a woman should take over Chris Evans’ breakfast time slot. It drew up a women-only shortlist, said to have included Jo Whiley, Sara Cox and Claudia Winkleman with Zoë Ball the clear favourite to get the job. And about time too. Whatever you think about Ball – and I reckon she was unfairly sneered at because she liked to party as hard as the boys – there has been a dearth of opportunity for female DJs over the years. Not talent. Opportunity.

In 2013, a survey showed only 20 per cent of solo radio show hosts were women, with listeners 10 times more likely to hear male voices than female ones on shows hosted by two or more presenters. Back in the day, male radio DJs were all mass-produced in the same factory. Let’s just say, that whole Smashie and Nicey culture didn’t work out too well for anyone. But things haven’t moved on so very far. Last year, Edith Bowman, who has been a DJ for 20 years, said it was “ludicrous” there were still so few women working in radio in the UK.

When women are given the chance, they excel and add another dimension. I love to hear Janice Forsyth or Nicola Meighan talk about music. I am not sure in what precise way their presentation differs from men’s; maybe they’re a bit less exclusive. But, in any case, it’s important the voices on radio reflect the diversity of the audience.

No-one knows whether Ball would be up to the job; however, that would be equally true of a male successor. Perhaps she’d bomb just as Evans did when he took over from Jeremy Clarkson as host of Top Gear. If she did, it wouldn’t be anything to do with her gender.

Another reason for women to celebrate is that, on Sunday, 7 October, Doctor Who will transform into the sassy Jodie Whittaker. A female Doctor. It’s only taken 55 years and 13 regenerations.

Of course, that’s a tad too hasty for some. There are Whovians who can’t get their head round a shape-shifting Time Lord changing sex (wait until they find out it can happen to non-space travellers in the real world).

The trailer looks awesome. But even in those few seconds, we hear Whittaker’s authority being challenged. “Why are you asking her?” someone says. “Because she’s in charge, bro,” comes the answer. “Says who?” “Says us”. That’s fair enough because many people still instinctively defer to men. For example, when I go out on jobs with a male photographer and I ask people questions, a proportion of them still direct their answers to him. I am inured to this; it’s the photographer who finds it uncomfortable.

The female radio presenters and the all-women panel stand out because they are exceptions to the rule. Male radio presenters and all-male panels are ten a penny, so most of the time we don’t notice . The idea that the little pieces of ground that are being gained by the likes of Zoë Ball represent a threat to male power is preposterous.

Last week, Stylist Magazine played a blinder; they got Whittaker to read out some of the critical tweets sent when her casting was announced in much the same way as her predecessor, David Tennant, read out Scottish Trump tweets on Samantha Bee’s programme in 2016.

Whittaker laughs derisively at the most negative ones. Finishing with a man called Sam, who has dismissed her with one word “ruined”, she rolls her eyes, then says sarcastically: “I hope we get to hang out some time.” Whittaker’s star quality is there for all to see.

The Broadchurch actor has got it right: mockery is the way to go. The only men who fear women taking their place on centre stage – a place denied to them for centuries – are those too scared to compete on a level playing field; those who know that without the structural advantage they’ve enjoyed all their lives they’ll lose.

Stuck in a time warp, such men will continue to fade until their light is extinguished. Meanwhile women, and those men happy to co-exist as equals, will move forward together into an era where a female-dominated TV series like Killing Eve won’t be remarkable; and a female Doctor Who won’t have to work so hard to prove she is a worthy recipient of the sonic screwdriver.

" ,"byline": {"email": "" ,"author": "Dani Garavelli"} ,"topImages": [ {"image": {"url":"/webimage/1.4803998.1537636696!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4803998.1537636696!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Jodie Comer as the beautiful but bonkers assassin, Villanelle, in a scene from BBC America's Killing Eve, based on Luke Jennings' novella Codename Villanelle. Picture: Robert Viglasky","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Jodie Comer as the beautiful but bonkers assassin, Villanelle, in a scene from BBC America's Killing Eve, based on Luke Jennings' novella Codename Villanelle. Picture: Robert Viglasky","landscapeurl":"/webimage/1.4803998.1537636696!/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/finale-of-bbc-s-bodyguard-will-leave-viewers-deeply-satisfied-1-4803854","id":"1.4803854","articleHeadline": "Finale of BBC’s Bodyguard will leave viewers ‘deeply satisfied’","commentCount":0,"publishedDate":1537609960000 ,"articleLead": "

The highly-anticipated finale of political thriller Bodyguard will leave viewers “deeply” satisfied, one of its stars has said.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4803853.1537609956!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Keeley Hawes and Richard Madden star in Bodyguard. Picture: Contributed"} ,"articleBody": "

Stuart Bowman, who plays director general of the security service (MI5) Stephen Hunter-Dunn in the BBC One series, said that the sixth and final episode, which will be broadcast tomorrow, ties up all the loose ends involving Home Secretary Julia Montague’s supposed death.

He has also teased that “extraordinary things happen” in the climactic episode, and has hinted that there may be scope for a second season.

Audiences learned that Montague (Keeley Hawes) had been killed after an explosion during a high profile speech in a surprise twist, but some have since speculated that she may be alive.

Viewers have watched as her protection officer and lover David Budd (Richard Madden) tries to unravel the mystery around her death, but in a trailer for the last episode, he appears to be at the centre of the manhunt himself.

Bowman said that the many questions posed in the penultimate episode will be resolved, and that everything is “tied up”.

He said: “The last episode is genius, in that everything kind of comes together, I don’t think there is anything that is [left] unsatisfied.

“I had a look at the last episode a couple of days ago, and it’s deeply satisfying, it’s fabulous ...extraordinary things happen.”

Bowman said he has a “window” open to get back to filming on a possible second series, although has not signed anything, but that he would be “amazed if there wasn’t” another season.

He added, referring to the drama’s creator: “It’s Jed Mercurio, anything could happen.” The writer has also been vocal in defending the programme against critics who suggest it is not true to life.

Bowman said: “I trust Jed implicitly on this, and clearly his reaction shows how much he cares and how much attention he has paid towards these things, and I think he’s been insulted by people saying that hasn’t happened, when it completely has.”

Mercurio, who also created Line Of Duty, has himself teased the ending, hinting that Montague might be alive.

“We’re all sitting back and enjoying the speculation. It’s great that people have their own theories,” he said.

“Actually, I do look at some of the bigger theories and it’s interesting that occasionally there’s a grain of truth.”

Mercurio previously killed off a character played by Hawes in Line Of Duty, and he said: “That’s also part of the history, the fact that it happened before makes people swing towards the idea that she must obviously be dead. But then there are other things that are in the drama that make the observant people swing towards the idea that possibly that’s a ruse.”

Mercurio did confirm only one ending has been filmed, saying: “There isn’t an alternative ending. We weren’t in a position where we could commit to doing that and shoot it different ways and then edit it different ways.

“We definitely have a conclusion.”

The thriller has been a ratings hit for BBC One and has been the biggest drama launch for the channel in a decade. The most recent episode pulled in eight million viewers in the overnight ratings, peaking at 8.3 million.

The series will come to a conclusion in an extended 75-minute episode on Sunday at 9pm.

" ,"byline": {"email": "" ,"author": ""} ,"topImages": [ {"image": {"url":"/webimage/1.4803853.1537609956!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4803853.1537609956!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Keeley Hawes and Richard Madden star in Bodyguard. Picture: Contributed","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Keeley Hawes and Richard Madden star in Bodyguard. Picture: Contributed","landscapeurl":"/webimage/1.4803853.1537609956!/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-sco-1-4803461","id":"1.4803461","articleHeadline": "Music review: BBC SCO","commentCount":0,"publishedDate":1537526042000 ,"articleLead": "

CENTENARIES are great for bringing out the forgotten curiosities of a major composer’s output. Earlier this year Glasgow was lucky enough to hear Leonard Bernstein’s Mass, part Godspell, part Ken Russell. Not a million miles away in this paradoxical populist high-art vein is Songfest, Bernstein’s gauche, in-your-face cycle of American poems for six singers and orchestra, the ultimate destination of Thursday’s season opener by the BBC SSO.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4803460.1537526038!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "For use in UK, Ireland or Benelux countries only ''Undated BBC handout photo of Thomas Dausgaard who the BBC Scottish Symphony Orchestra has named as its new chief conductor as it launches its 2015/16 season, during which it will celebrate its 80th birthday. PRESS ASSOCIATION Photo. Issue date: Wednesday March 11, 2015. Dausgaard will take over from Donald Runnicles as the orchestra's chief conductor in September 2016. The Dane has appeared with orchestras around the world and is currently chief conductor of the Swedish Chamber Orchestra, principal guest conductor of the Seattle Symphony and honorary conductor of the Danish National Symphony Orchestra. He has also appeared as a guest conductor with the BBC Scottish Symphony Orchestra (SSO), performing a wide range of repertoire from Dvorak and Tchaikovsky to Ives, Lindberg and Schnelzer. See PA story. Photo credit should read: Per Morten Abrahamsen/BBC/PA Wire''NOTE TO EDITORS: Not for use more than 21 days after issue. You may use this picture without charg"} ,"articleBody": "

City Halls, Glasgow ****

This was one of principal conductor Thomas Dausgaard’s stimulating Composer Roots programmes, establishing Bernstein’s debts to Copland and Gershwin and his very obvious influence on such American successors as Augusta Read Thomas.

There was a palpable start-of-term freshness to the opening half. Dausgaard seemed to stand back from the burnished brass and welter of percussion, allowing Copland’s Fanfare for the Common Man to generate its own spine-tingling energy. The bullish swagger of Gershwin’s Rhapsody in Blue bore similar self-generating momentum, much in response to pianist Marc-André Hamelin’s hard-nosed definition.

Thomas’ Brio certainly owes everything to Bernstein, from its West Side Story rhythms and timbres to its irreverent street rhetoric. There were rocky moments in an otherwise high-voltage performance.

Then the Bernstein, alluringly thuggish and eclectic, in which the solo singers – Tracy Cantin, Kelley O’Connor, Michèle Losier, Paul Appleby, Nmon Ford and Musa Ngqungwana – visibly revelled in the music’s theatrical flamboyance. Couldn’t hear the words, though. Surtitles would have helped.

KEN WALTON

" ,"byline": {"email": "" ,"author": "Ken Walton"} ,"topImages": [ {"image": {"url":"/webimage/1.4803460.1537526038!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4803460.1537526038!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "For use in UK, Ireland or Benelux countries only ''Undated BBC handout photo of Thomas Dausgaard who the BBC Scottish Symphony Orchestra has named as its new chief conductor as it launches its 2015/16 season, during which it will celebrate its 80th birthday. PRESS ASSOCIATION Photo. Issue date: Wednesday March 11, 2015. Dausgaard will take over from Donald Runnicles as the orchestra's chief conductor in September 2016. The Dane has appeared with orchestras around the world and is currently chief conductor of the Swedish Chamber Orchestra, principal guest conductor of the Seattle Symphony and honorary conductor of the Danish National Symphony Orchestra. He has also appeared as a guest conductor with the BBC Scottish Symphony Orchestra (SSO), performing a wide range of repertoire from Dvorak and Tchaikovsky to Ives, Lindberg and Schnelzer. See PA story. Photo credit should read: Per Morten Abrahamsen/BBC/PA Wire''NOTE TO EDITORS: Not for use more than 21 days after issue. You may use this picture without charg","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "For use in UK, Ireland or Benelux countries only ''Undated BBC handout photo of Thomas Dausgaard who the BBC Scottish Symphony Orchestra has named as its new chief conductor as it launches its 2015/16 season, during which it will celebrate its 80th birthday. PRESS ASSOCIATION Photo. Issue date: Wednesday March 11, 2015. Dausgaard will take over from Donald Runnicles as the orchestra's chief conductor in September 2016. The Dane has appeared with orchestras around the world and is currently chief conductor of the Swedish Chamber Orchestra, principal guest conductor of the Seattle Symphony and honorary conductor of the Danish National Symphony Orchestra. He has also appeared as a guest conductor with the BBC Scottish Symphony Orchestra (SSO), performing a wide range of repertoire from Dvorak and Tchaikovsky to Ives, Lindberg and Schnelzer. See PA story. Photo credit should read: Per Morten Abrahamsen/BBC/PA Wire''NOTE TO EDITORS: Not for use more than 21 days after issue. You may use this picture without charg","landscapeurl":"/webimage/1.4803460.1537526038!/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/dance-review-richard-alston-dance-company-1-4803527","id":"1.4803527","articleHeadline": "Dance review: Richard Alston Dance Company","commentCount":0,"publishedDate":1537592450000 ,"articleLead": "

dance

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4803526.1537532040!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Mid Century Modern summed up Richard Alston's vast contribution to contemporary dance. Picture: Chris Nash."} ,"articleBody": "

Festival Theatre, Edinburgh ****

Rainbow Bandit is just one of seven excerpts which comprise Mid Century Modern – a celebration of Alston’s 50 years as a choreographer, performed at the Festival Theatre this week.

Also on the bill was Alston’s brand new creation, Brahms Hungarian – which had its world premiere in Edinburgh. This felt different but similar to that early work, perhaps because Alston’s output has always had the same stylish look and technically sharp backbone, and putting both these works on the same bill, along with a new piece by Martin Lawrance, made for fascinating viewing.

A neatly packaged reminiscence dating from 1970 to present day, Mid Century Modern is a dynamic mix of solos, duets, trios and ensemble pieces that perfectly sum up Alston’s vast contribution to contemporary dance. Special mention to dancer Carmine De Amicis, who made sure all eyes were on him in the solo from 2004’s Shimmer with his sleek, emotionally-laden moves.

Alston’s Brahms Hungarian has a well-dressed joyfulness impossible to dislike, and it also gave pianist Jason Ridgway the finger workout of his life. But the short, sharp shock of Lawrance’s Detour was the thrill of the night. Generating an almost sci-fi atmosphere on stage, this cleverly-lit, fast-paced, eight-minute work deserves expansion.

KELLY APTER

" ,"byline": {"email": "" ,"author": "Kelly Apter"} ,"topImages": [ {"image": {"url":"/webimage/1.4803526.1537532040!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4803526.1537532040!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Mid Century Modern summed up Richard Alston's vast contribution to contemporary dance. Picture: Chris Nash.","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Mid Century Modern summed up Richard Alston's vast contribution to contemporary dance. Picture: Chris Nash.","landscapeurl":"/webimage/1.4803526.1537532040!/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-shania-twain-1-4803453","id":"1.4803453","articleHeadline": "Music review: Shania Twain","commentCount":0,"publishedDate":1537526011000 ,"articleLead": "

THE opening date of Shania Twain’s first European tour in 15 years was a night of 10,000 rhinestones, a big-budget 21st century pop take on the classic country ornamentation of the ’60s and ’70s but with none of the accompanying storytelling flair or kitchen sink melodrama.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4803452.1537526007!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Shania Twain provides a big-budget pop take on classic country"} ,"articleBody": "

Hydro, Glasgow ***

Twain has had her share of personal dramas in the interim years, battling illness and vocal problems, and says she has turned to music to cheer herself up, hence the banal escapism of curtain raiser Life’s About To Get Good and the subsequent production line of mid-paced manicured country pop numbers, making no great demands on the listener.

The Now tour is a restless, techy collage of moving stages, costume changes and visual trickery. Yet, for all the production values, the show lacked fun and character until Twain rolled out her wittiest track, That Don’t Impress Me Much, an impish symphony in signature leopardskin, and broke from its slick choreography to engage in some ad hoc interaction with audience members.

Her multi-tasking band, dancers and backing singers worked like Trojans to maintain a smooth swan-like surface for Twain to glide on, below which the more traditional bluegrass and zydeco flavours of her music fought a losing battle against the arena rock pomp of some of the song arrangements.

Her big blah ballads You’re Still The One and From This Moment On presumably hit the spot for those who like that sort of thing, but there were further longueurs on the road to climactic party anthem Man! I Feel Like a Woman!

FIONA SHEPHERD

" ,"byline": {"email": "" ,"author": "Fiona Shepherd"} ,"topImages": [ {"image": {"url":"/webimage/1.4803452.1537526007!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4803452.1537526007!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Shania Twain provides a big-budget pop take on classic country","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Shania Twain provides a big-budget pop take on classic country","landscapeurl":"/webimage/1.4803452.1537526007!/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-hebrides-ensemble-red-note-ensemble-1-4803470","id":"1.4803470","articleHeadline": "Music Review: Hebrides Ensemble | Red Note Ensemble","commentCount":0,"publishedDate":1537592430000 ,"articleLead": "

BY ACCIDENT or design, Wednesday was new music day at the Lammermuir Festival – and it offered two brilliantly persuasive events featuring music by composers with deep connections to the East Lothian event.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4803469.1537526571!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "The Hebrides Ensemble. Picture: Sussie Ahlburg"} ,"articleBody": "

Pencaitland Parish Church ***** | Loretto School, Musselburgh

First up, in Pencaitland’s splendidly quirky Parish Church – with the sizeable audience semi-surrounding the performers across the building’s three naves – was the second of the festival’s three Prometheus-inspired commissions from composer in association, Edinburgh-based Stuart MacRae, given by the Hebrides Ensemble in an afternoon concert. Setting a text of his own creation, I am Prometheus was virtually an operatic scena, cunningly scored for string quartet, harp, flute and clarinet, plus tenor Joshua Ellicott giving a restless, questioning, deeply human performance as the eponymous Titan. There was an enjoyable Britten-like directness and clarity to MacRae’s writing, in which even the simplest of gestures could take on huge significance as the music developed, and an otherworldly beauty to his ghostly microtonal harmonies. But most impressive was the work’s handling of time, the slow-moving semi-repetitions towards its conclusion delivering a memorable sense of damaged grandeur. It was a major achievement, and nestled in nicely among a pleasingly complementary programme featuring a fresh, spontaneous performance of Britten’s Death of St Narcissus for tenor and harp, and a sensuously supple but gloriously gutsy account of Ravel’s Introduction and Allegro

Down the road that evening, in the intimate theatre of Loretto School in Musselburgh, the Red Note Ensemble offered an equally illuminating collision of music by John Adams and young Liverpool-born composer and clarinettist Mark Simpson, the festival’s artist in residence. Simpson’s dense, hyperactive Nur Musik got a muscular, energetic account, though oboe soloist Jennifer Brittlebank occasionally struggled to make herself heard above Simpson’s teeming ensemble textures. Far more introspective was his lyrical Straw Dogs, and he closed the concert as clarinet soloist in Adams’s eccentric Gnarly Buttons – perky and spiky in its off-kilter hoedown, rapturous and heart-on-sleeve in its closing love song, compelling and captivating throughout.

DAVID KETTLE

" ,"byline": {"email": "" ,"author": "David Kettle"} ,"topImages": [ {"image": {"url":"/webimage/1.4803469.1537526571!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4803469.1537526571!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "The Hebrides Ensemble. Picture: Sussie Ahlburg","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "The Hebrides Ensemble. Picture: Sussie Ahlburg","landscapeurl":"/webimage/1.4803469.1537526571!/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-twelfth-night-1-4803525","id":"1.4803525","articleHeadline": "Theatre review: Twelfth Night","commentCount":0,"publishedDate":1537592412000 ,"articleLead": "

TO ANYONE who went to university in the early 1970s, there’s something eerily familiar about the opening scene of Wils Wilson’s new Lyceum production of Twelfth Night, co-produced with Bristol Old Vic. The big, old Edwardian or Victorian house that’s cheap because of its dilapidation, the crowds of young people bent on partying for days on end, and above all the clothes, from sharp business suits satirically worn, to wildly flared jeans, glittering platform shoes, and trailing dresses and kaftans worn with elaborate eye make-up, by both sexes.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4803524.1537532034!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Christopher Green has some powerful moments as the puritanical steward Malvolio. Picture: Mihaela Bodlovic"} ,"articleBody": "

Lyceum Theatre, Edinburgh ****

The influence of Bowie and of the Mick Jagger film Performance therefore looms large, as Wilson’s 12-strong company find an old copy of Twelfth Night, and start allocating roles. Dawn Sievewright’s startling but often brilliant Toby Belch is a young woman in a three-piece suit, and the twins Sebastian and Viola are played with terrific flair by a small pale Scot (Joanne Thomson) and a black Londoner (a radiant Jade Ogugua); while composer and musician Meilyr Jones floats the stage in a drifty rainbow gown, helping to deliver a score that ranges from beautiful, trippy versions of the play’s magical songs to a glam-rock number for the transformed Malvolio so excruciating, in its cross-gartered agony, that it’s genuinely hard to watch.

All of which helps to reveal three things, the first being that there’s nothing here that does any actual violence to Shakespeare’s play; the idea of cross-gender casting is written into the grain of this script, and into its ambivalent and melancholy attitude to sexual attraction. The second is that if there is a game being played, then Malvolio is the one character who must not be part of it; Christopher Green has some powerful moments as the puritanical steward, but needs more real distance and gravitas in his relationship with the revellers. And the third is that although cross-gender casting is now all the rage in British theatre, our present age of angry, ideologically-driven gender debates still has plenty to learn, not least from the Seventies, about genuine gender fluidity, and the true freedom to be ourselves in all our moods.

Not all of Wilson’s production works well, in conjuring up these possibilities; it’s a long, baggy show, that sometimes seems unlikely ever to end. That too, though, is in the spirit of this wild and slightly anarchic Twelfth Night party, with its gorgeous set and costumes by Ana Ines Jabares-Pita, lit to perfection by Kai Fischer, in scenes that sometimes look like accidental Renaissance paintings; and with Dylan Read’s brilliantly whimsical Feste leading the company to a conclusion as sad and wise as it is playful, the Lyceum offers us a Shakespeare to remember, not for the traditionally-minded or the faint-hearted, but full of visual richness, passion, poetry and thought.

JOYCE MCMILLAN

Until 6 October

" ,"byline": {"email": "" ,"author": "Joyce McMillan"} ,"topImages": [ {"image": {"url":"/webimage/1.4803524.1537532034!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4803524.1537532034!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Christopher Green has some powerful moments as the puritanical steward Malvolio. Picture: Mihaela Bodlovic","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Christopher Green has some powerful moments as the puritanical steward Malvolio. Picture: Mihaela Bodlovic","landscapeurl":"/webimage/1.4803524.1537532034!/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-benidorm-live-the-lottery-ticket-1-4803666","id":"1.4803666","articleHeadline": "Theatre review: Benidorm Live! | The Lottery Ticket","commentCount":0,"publishedDate":1537592410000 ,"articleLead": "

TIMES are supposed to have moved on, in British popular culture, from the days when sex was a naughty holiday pastime conjured up in a McGill postcard, and homosexuality a joke patiently played out by John Inman in Are You Being Served; but sometimes, faced with the full-on showbiz energy of a show like Benidorm Live!, at the Playhouse this week, it’s possible to wonder whether the changes are much more than skin deep.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4803664.1537539969!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "The cast of Benidorm Live! embrace every British sitcom stereotype in the book with relish. Picture: Ian Georgeson"} ,"articleBody": "

Playhouse Theatre, Edinburgh **** | Oran Mor, Glasgow ***

Written by Derren Litten, and based on his own hit television series, the show is set in the hapless Solana Hotel on Spain’s Costa Blanca, and represents a kind of two-hour jaunt around British sitcom heaven, peopled by every stereotype in the book.

So there’s Sherrie Hewson as the would-be-posh proprietrix who can’t remember the Spanish waiters’ names, the legendary Tony Maudsley as gigantic and lavishly camp hairdresser Kenneth who queens it in the Blow-And-Go salon, lusty old salon owner Jacqueline – an elderly swinger played with gusto by Janine Duvitski – and Mateo, the essential Spanish barman with well oiled pecs and bulging Speedos. Not to mention the pretentious posh couple suspected of being hotel inspectors, whose presence throws the entire disorganised set-up into confusion.

And the point about all of this familiar stuff is that Ed Curtis’s production delivers it with such loving care, and such joie de vivre, that it all works brilliantly, bringing an evening of pure delight to an audience of ecstatic fans, who cheer every familiar and beloved star on their first appearance; I’d have said “entrance”, but this is a show so stuffed with double entendres that whole swathes of the language become hysterically naughty, from “sausage in cider” on the menu to a creaky shaft in Kenneth’s salon.

The show has exactly enough plot to make up a 30-minute episode, and therefore has to transform its second half into a long karaoke night in the Neptune Lounge – but who cares? There’s super-slick singing and dancing featuring a chorus of camp blokes in green, a witty set by Mark Walters, and goodwill by the bucket load; and although subtlety is in short supply, this is a show that delivers exactly what it says on the tin, with a generous heart, and bags of skill.

If a reminder is needed, though, that comedy British attitudes to foreigners can have serious consequences, then it comes in a sharp and poignant form in Donna Franceschild’s Play, Pie And Pint show The Lottery Ticket, which travels on to the Traverse next week. Salih and Jacek are both strangers in Glasgow, one from Poland, the other – our narrator Salih– fleeing from serious danger as a Kurd in Turkey, forbidden even to name his own people; and when they’re thrown out of their hostel and end up sleeping in Rhona’s bike shed, a series of sitcom-worthy events ensues, involving their hopeless efforts to help her with a plumbing problem in return for hard cash.

It has to be said that there’s something vaguely unconvincing about a play that equates the situations of a Polish citizen working in Scotland and an asylum seeker who lacks even the right to take a job. Yet there’s something beautiful about Franceschild’s evocation of Salih – movingly played by Nezli Basani – as a man whose deep faith carries him through an unbearable situation; and with Steven Duffy, he forms a memorable migrant labour duo, facing Helen Mallon as a Glasgow woman whose attitudes, it turns out, owe more to Alf Garnett than the Glasgow Girls, and offer a clear challenge to any complacent assumptions about the welcome faced by migrants, here in Scotland.

JOYCE MCMILLAN

Benidorm Live! is at the Playhouse, Edinburgh, today, and at the King’s Theatre, Glasgow, 4-9 February 2019. The Lottery Ticket is at Oran Mor today, and at the Traverse, Edinburgh, next week.

" ,"byline": {"email": "" ,"author": ""} ,"topImages": [ {"image": {"url":"/webimage/1.4803664.1537539969!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4803664.1537539969!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "The cast of Benidorm Live! embrace every British sitcom stereotype in the book with relish. Picture: Ian Georgeson","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "The cast of Benidorm Live! embrace every British sitcom stereotype in the book with relish. Picture: Ian Georgeson","landscapeurl":"/webimage/1.4803664.1537539969!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ {"image": {"url":"/webimage/1.4803665.1537539972!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4803665.1537539972!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Salih and Jacek form a memorable migrant labour duo in The Lottery Ticket","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Salih and Jacek form a memorable migrant labour duo in The Lottery Ticket","landscapeurl":"/webimage/1.4803665.1537539972!/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/take-that-announce-three-scottish-dates-as-part-of-uk-arena-tour-1-4803518","id":"1.4803518","articleHeadline": "Take That announce three Scottish dates as part of UK arena tour","commentCount":0,"publishedDate":1537531046000 ,"articleLead": "

Take That have announced a huge UK arena tour and greatest hits album to mark their 30th anniversary next year.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4803517.1537531042!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Take That have announced a huge UK arena tour - and they're coming to Scotland. Picture: PA Wire"} ,"articleBody": "

The band, whose line-up currently consists of Gary Barlow, Howard Donald and Mark Owen, will start their commemorative trek in April with two shows at Sheffield’s FlyDSA Arena.

They will go on to play three dates at Glasgow’s SSE Hydro before going to perform in their home city of Manchester and a six-night residency at London’s O2 Arena.

The tour will also take in Dublin, Birmingham and football stadiums in Milton Keynes, Southampton, Bristol, Norwich, Middlesbrough and Huddersfield. They will be supported by Never Gonna Give You Up singer Rick Astley.

READ MORE: Edinburgh news LIVE: Dalry Lidl murder | Girl mauled by rottweiler | Veterans kicked out of Edinburgh pub

Retrospective release Odyssey will be released on November 23. The album will span the group’s entire discography including tracks from 1992 debut Take That And Party as well as three new songs.

The LP will see some of the band’s best known songs “reimagined” and will also contain soundbites from interviews during their career.

Speaking about the new versions, Barlow said: “Some have been reworked, but without spoiling what people loved about them in the first place.

“You’ve got to be respectful, but at the same time, you’ve got to let the ambition of doing something new and refreshed come through as well.”

Owen said: “We wanted to tell the tale of the band, the history of what happened to us. If you only ever own one of them, this should be the definitive Take That record.”

Take That formed as five-piece in 1989 with Robbie Williams and Jason Orange also featuring in the original line-up. Williams’ departure in 1995 led to a split the following year.

The other four members reunited in 2005 for a comeback that saw them clock up three number one albums.

Williams later rejoined the group for the Process album in 2011. The record’s subsequent tour set the record for the fastest selling concert tour this century.

Williams departed again in 2012 while Orange called time in 2014. Barlow said last year that the pair were welcome to rejoin any time they liked.

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" ,"byline": {"email": "" ,"author": ""} ,"topImages": [ {"image": {"url":"/webimage/1.4803517.1537531042!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4803517.1537531042!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Take That have announced a huge UK arena tour - and they're coming to Scotland. Picture: PA Wire","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Take That have announced a huge UK arena tour - and they're coming to Scotland. Picture: PA Wire","landscapeurl":"/webimage/1.4803517.1537531042!/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/iconic-edinburgh-detective-rebus-makes-his-theatre-debut-1-4802762","id":"1.4802762","articleHeadline": "Iconic Edinburgh detective Rebus makes his theatre debut","commentCount":0,"publishedDate":1537444490000 ,"articleLead": "

Ian Rankin’s most famous character takes centre stage tonight in Birmingham in a play adapted by Rona Munro. Brian Ferguson meets the team behind Long Shadows – including the latest Rebus – ahead of its Scottish run

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It has been more than 30 years since Inspector Rebus cracked his first case.

Now Ian Rankin is preparing for the prospect of seeing his creation in the flesh for the first time.

Fans of the grizzled Edinburgh detective will be able to see him in a whole new light from this week when the character finally makes his stage debut.

Long Shadows, the first Rebus story to be penned with another writer, has seen Rankin collaborate with Rona Munro, the Aberdeen-born playwright best known for her epic historical trilogy The James Plays.

The show, which will premiere at Birmingham Rep tonight before a King’s Theatre run on Rebus’s home turf next month, is not only a brand new Rebus story. Devotees of the retired detective will also get the chance to see him lock horns on stage with his long-time nemesis, Maurice “Big Ger” Cafferty.

The characters will be brought to life by Coronation Street veteran Charlie Lawson, the Northern Irish actor known to millions of viewers as Jim McDonald, and Scottish Game of Thrones star John Stahl, with award-winning actress Cathy Tyson, who shot to fame in film debut Mona Lisa, playing Rebus’s long-time sidekick Siobhan Clarke.

Long Shadows is Rankin’s second venture into the world of theatre after writing Dark Road, which Rebus was noticeably absent from, for the Royal Lyceum Theatre in Edinburgh five years ago with then artistic director, Mark Thomson.

Rankin and Munro, who had never previously met, began working together on a story after the author was approached by London-based producer Daniel Schumann with the idea of a Rebus stage play.

Rankin says: “I felt it would be an awful lot of work and didn’t feel confident writing for the stage on my own, but told him I would be happy doing it with someone else.

“He mentioned Rona Munro to me. I was a huge fan of her work like The James Plays, but didn’t know her at all. We met up a few times and got on like a house on fire.

“She was a fan of the books, which helped, but we decided early on that we didn’t want to adapt any of them.

“You can tie yourself up in knots trying to adapt something that wasn’t specifically written for the stage. The Rebus novels usually have 30-odd characters, three or four twisty sub-plots and are hundreds of pages long.

“I came up with the outline of a story and we would go for cups of tea and lunches and just brainstorm it. Once we had what we thought was the right plot she went away and did the dialogue.”

Munro, whose previous stage plays include The Last Witch, about the last woman to be executed in Britain, and has written Doctor Who stories for TV, jumped at the chance to work with Rankin.

She says: “My mother was a monster Ian Rankin fan. I resisted reading them for such a long time. I always felt I was such a disappointment in comparison!

“Crime is a genre that I enjoy reading, but I’m picky. The ones I like I absolutely love, but there is an awful lot of rubbish out there.

“But Ian writes proper novels and Rebus is such a complicated character. If you read the books you get the opportunity to follow him over all those years and I think that’s part of the attraction. I actually went back and re-read all the novels which featured Cafferty in preparation for working on the play.

“I’ve never done anything like this, which is writing in another writer’s style with another writer’s characters.

“The writing of it was over a year ago, but it felt quite easy at the time, I think because I had someone else’s plot to lean on. I can do dialogue and character any day of the week, but having a tight plot is something I struggle with. It was a bit of a dream in that sense.”

Long Shadows, which is described by Rankin as a “psychodrama,” sees Rebus and Cafferty thrust together again after the daughter of a murder victim turns up on the doorstep of the retired detective, who has been investigating cold cases for several years.

Rankin explains: “I really like the idea of a crime that has happened in the past suddenly rearing its head again in the present.

“There’s some unfinished business between Rebus and Cafferty over an old case and an investigation Siobhan is working brings it to light again, which leads to Rebus and Cafferty locking horns.

“It is really a psychological game, with these two heavyweights kind of dancing around each other.

“I love the idea of being able to see Rebus in the flesh and actually be physically in the same room as him, especially to see him slugging it out with Cafferty.

“They are two big meaty roles – two men who are at a certain point in their lives where they are starting to ask big questions about what is left for them and their place in the world.”

Lawson adds: “Rebus and Cafferty’s ‘friendship’ has been built up over 25 years. They’re very much like Holmes and Moriarty. You can see there is grudging respect for each other, but by the same token they are also battling like two bulls in a ring.”

Lawson freely admits he has come to the role without reading any of Rankin’s novels and knowing nothing about the character.

But the 59-year-old is more than familiar with Rebus’s home city – and his favourite watering hole – since his first visit early 40 years ago.

“I have actually known the Oxford Bar since 1979.

“My cousin Sandy, who was actually my best mate as well, lived on Heriot Row and used to drink in all these haunts like the Ox, the Hebrides and the West End Hotel. I remember Willie Ross, the landlord of the Ox, didn’t allow any women in the bar and would quite easily fling people out at the drop of a hat.

“I met loads of retired police officers there. It was full of very smart alcoholics who did The Scotsman crossword.

“I appeared at the Assembly Rooms during the Edinburgh Festival in 1981 in a show called Diary of a Hunger Strike and have been to Edinburgh many, many times, since then – it’s honestly my favourite city in the world.”

Lawson concedes that all he knew about the character of Rebus when he was offered the part in the play, without the need for an audition, was that he had been played by John Hannah and Ken Stott in the TV incarnations of some of Rankin’s early novels.

He adds: “It was one of those things that was a ‘yes’ straight away. You don’t turn something like this down. You need to really challenge yourself now and again as an actor.

“I’m quite glad I was unfamiliar with the character. You don’t want to bring baggage like that with you to a role. I approached it with a blank sheet of paper from day one. I’m right in the thick of it now.

“The complexities of Rebus are obvious. We’re not doing some existential piece. His faults are all there, warts and all, from page one.”

Rankin is at pains to point out to his fans that the new play is set in a “parallel world” to the one created in his novels.

He adds: “There are basically going to be two audiences – people who know and love Rebus and people who just want a good night out at the theatre and might never have read any of the books.

“It slots into the Rebus universe. You get a bit more of Cafferty’s back story and a bit more of Rebus’s working relationship with Siobhan Clarke.

“It’s a really great cast and 
it will hopefully bring in people who know them but might 
not know me. I might get a few new fans out of it, you never know.”

A LIFE OF CRIME: REBUS IN PRINT AND ON SCREEN

Inspector John Rebus made his debut in Ian Rankin’s second novel, Knots and Crosses, which was published in March 1987.

The Fife-born author had begun writing novels while he was supposed to be working towards a PhD in Scottish literature at Edinburgh University.

Rankin was said to have been surprised that the first Rebus thriller was classified as crime fiction when he had set out to write a modern-day version of Robert Louis Stevenson’s Dr Jekyll and Mr Hyde.

Rankin has admitted Rebus was actually killed off in the first draft of Knots and Crosses and he was persuaded by his publisher to revive the character in another novel.

The character has appeared in a further 20 novels since then, despite an apparent swan song more than a decade ago in Exit Music, which signalled his official retirement from the force.

However, after a five-year hiatus, Rankin has gone on to revive the character in another four novels, which have seen Rebus help serving detectives to investigate unresolved “cold cases.”

As well as the new stage play, Rankin is about to publish a brand new Rebus novel, In a House of Lies.

More than 30 million Rebus novels are believed to have been sold around the world, while the books have been translated into 36 different languages to date.

The most recent Rebus novel, Rather be the Devil, topped the best-seller charts for hardback fiction when it was released in November 2016.

New Rebus novels are said to sell as many as half a million copies within just a few months of printing.

Rankin, his publisher Orion and the Edinburgh International Book Festival marked the 30th anniversary of the detective last year by staging a three-day festival in the character’s home city.

The first “RebusFest” included masterclasses, workshops, tours, live music and film events, and an exhibition of rarely-seen archive material.

Rankin’s novels have previously been adapted for television by STV Productions, with John Hannah and then Ken Stott playing the leading role.

However production was brought to a halt in 2008 amid reports Stott had decided he did not want to continue in the role.

It was announced last year that Gregory Burke, the writer of the hit plays Gagarin Way and Black Watch, was working on a new “contemporary adaptation” of Rebus for TV.

Speaking at the Edinburgh International Book Festival this year, Rankin revealed that a much younger actor than Stott was likely to play the role when Rebus returns to the nation’s TV screens. The character was said to be 40 when he first appeared in Knots and Crosses.

Other actors to play Rebus include Ron Donachie, who starred as the detective in Radio 4’s dramatisations of some of the novels, while James MacPherson, who is best-known for his long-running role in Taggart, has narrated audiobook versions of the novels.

Rankin, who was awarded the OBE in 2002 for services to literature, has been the recipient of honorary degrees from the universities of Abertay, St Andrews, Hull and Edinburgh.

Rebus: Long Shadows opens at Birmingham Rep tonight, and will be at the King’s Theatre, Edinburgh from 8-13 October (tickets from £18-£31.50, box office tel: 0131-529 6000, www.capitaltheatres.com) and His Majesty’s Theatre in Aberdeen from 12-17 November (tickets from £13.50-£37.50, box office tel: 01224 641122, www.aberdeenperformingarts.com).

" ,"byline": {"email": "" ,"author": ""} ,"topImages": [ {"image": {"url":"/webimage/1.4802756.1537444466!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4802756.1537444466!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Charlie Lawson as Rebus with Cathy Tyson, who plays DS Siobhan Clarke. Picture: contributed","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Charlie Lawson as Rebus with Cathy Tyson, who plays DS Siobhan Clarke. Picture: contributed","landscapeurl":"/webimage/1.4802756.1537444466!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ {"image": {"url":"/webimage/1.4802757.1537444473!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4802757.1537444473!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Charlie Lawson as Rebus during rehearsals for Long Shadows. Picture: contributed","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Charlie Lawson as Rebus during rehearsals for Long Shadows. Picture: contributed","landscapeurl":"/webimage/1.4802757.1537444473!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} , {"image": {"url":"/webimage/1.4802758.1537444479!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4802758.1537444479!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "John Stahl as Maurice 'Big Ger' Cafferty, Picture: contributed","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "John Stahl as Maurice 'Big Ger' Cafferty, Picture: contributed","landscapeurl":"/webimage/1.4802758.1537444479!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} , {"image": {"url":"/webimage/1.4802759.1537444483!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4802759.1537444483!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Ken Stott, who played Rebus between 2006 and 2007, filming in Edinburgh with Claire Price as DS Siobhan Clarke. Picture: Toby Williams","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Ken Stott, who played Rebus between 2006 and 2007, filming in Edinburgh with Claire Price as DS Siobhan Clarke. Picture: Toby Williams","landscapeurl":"/webimage/1.4802759.1537444483!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} , {"image": {"url":"/webimage/1.4802760.1537444484!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4802760.1537444484!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "John Hannah played Rebus between 2000 and 2004. He's pictured in the series with his wife, Joanna Roth, as Eve Kendal. Picture: contributed","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "John Hannah played Rebus between 2000 and 2004. He's pictured in the series with his wife, Joanna Roth, as Eve Kendal. Picture: contributed","landscapeurl":"/webimage/1.4802760.1537444484!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} , {"image": {"url":"/webimage/1.4802761.1537444487!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4802761.1537444487!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Author Ian Rankin. Picture: contributed","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Author Ian Rankin. Picture: contributed","landscapeurl":"/webimage/1.4802761.1537444487!/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/film/film-reviews-mile-22-the-little-stranger-the-house-with-a-clock-in-its-walls-1-4802885","id":"1.4802885","articleHeadline": "Film reviews: Mile 22 | The Little Stranger | The House with a Clock in its Walls","commentCount":0,"publishedDate":1537442180000 ,"articleLead": "

With its ludicrous plot, relentless pace and eye-watering violence, Pete Berg’s Mile 22 is trash – but it’s well-made trash, and gives us Marky Mark as a Rain Man Jason Bourne, writes Alistair Harkness

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4802884.1537442175!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Mark Wahlberg in Mile 22"} ,"articleBody": "

Mile 22 (18) ****

The Little Stranger (12A) **

The House with a Clock in its Walls (12A) **

Mantangi/Maya/M.I.A. (18) ****

Faces Places (12A) ****

Mark Wahlberg and director Peter Berg continue their entertainingly high-octane working relationship with Mile 22, another ripped-from-the-headlines-style thriller given an ultra jacked-up action movie work-out. Following real-life dramas Lone Survivor, Patriots Day and Deep Water Horizon, Berg gets back to fiction with this hi-tech paramilitary thriller about an elite CIA kill squad so off-the-books they’re expected to resign their commission whenever an operation requiring their particular set of skills also requires complete deniability.

Wahlberg takes the lead as Jimmy Silva, the unit’s hilariously conceived leader, a maverick agent whose on-the-spectrum backstory makes him an ultra-focused tactical specialist with no filter when it comes to interacting with his team and a brain that works so fast he has to snap the elastic band he wears around his wrist to remind himself to take a breath once in a while. If the notion of Marky Mark as a Rain Man Jason Bourne already sounds wild, it gets better: dispatched to a never-identified South East Asian country to track down information on a terrorist plot to unleash pockets of radioactive dust with the power to simultaneously decimate multiple cities around the world, he has to babysit cop-with-a-conscience Li Noor, who has vital intel but won’t give it up without US asylum.

Played by The Raid’s Iko Uwais, Li has skills of his own, as evidenced by savage way he dispatches a couple of covert assassins while handcuffed to a gurney deep within the US embassy. Thenceforth the film becomes a deranged mash-up of The Raid and the old Clint Eastwood thriller The Gauntlet, with Silva and his team (which features a stand-out turn from The Walking Dead’s Lauren Cohan as his kick-ass prodigy) forced to high-tail it across a hostile 22-mile stretch of the city to a landing strip in order to get Li in the air before the booby-trapped flash-drive he’s supplied the Americans wipes out the information they’re after forever.

Edited to within an inch of its life and revelling in prolonged bouts of eye-watering violence, Mile 22 is every bit as outrageous as it sounds. Sure, it’s trash, but it’s exceedingly well-made trash that fulfils the genre’s primary function as disreputable Friday night entertainment.

A horror movie that’s afraid of being a horror movie, The Little Stranger sees Room director Lenny Abrahamson stripping this adaptation of the Sarah Waters best-seller – about a once-wealthy family and the working-class interloper beguiled by their fading grandeur – of its supernatural intrigue. More interested in the story’s potential as a metaphorical exploration of the Second World War’s disruption of the British class system, the film confines the haunted house element of its gone-to-seed family’s collective torment to the margins, focusing instead on the toxic effect the lingering ghosts of wealth and privilege have on a social-climbing local doctor (Domhnall Gleeson) too blinded by his past to see his own value as a member of the rising professional classes. Despite strong performances from Gleeson, Will Poulter and especially Ruth Wilson, the film’s determination to prioritise theme over story turns it into a somewhat clenched academic exercise.

The House With a Clock in its Walls, Eli Roth’s first foray into family-friendly filmmaking, sees the horror director stumble with a fairly generic tale about an orphaned weirdo who’s inducted into a secret world of magic by his warlock uncle (Jack Black). Though based on a 1973 children’s novel by John Bellairs, there’s not much to distinguish this from the raft of Harry Potter imitators that have come in the wake of the boy wizard’s world-conquering success. Cate Blanchett enlivens proceedings slightly as a good witch with a tragic past, but too much of the narrative falls back on plot twists that come out of nowhere for us to care much about the fate of its characters.

Long before she became a multi-million-selling hip hop artist, Matangi “Maya” Arulpragasam, better known by her stage name M.I.A., was a relentless chronicler of her own life, crudely documenting her unique story as a Sri Lankan-born, London-raised Tamil refugee in home movies, then making inroads as a documentary filmmaker at art school. That gives Matangi/Maya/M.I.A., Steve Loveridge’s insider account of her rise to prominence as an activist and artist, a real sense of lightning being captured: we see her frequently maligned political consciousness developing in tandem with her artistic persona. The end result is a fascinating portrait of a fearless woman willing to stand up for what she believes in, often in defiance of an industry that’s all about protecting the bottom line.

Faces Places, the latest film from 90-year-old Agnès Varda, sees the doyen of the French film industry teaming up with 30-something photographer JR to travel around the country creating wonderfully life-affirming art installations comprised of giant photographs of locals plastered over buildings related to their lives. Varda and JR prove quite the double act and the joy they bring each other and those they meet proves infectious.

That said, not everyone is charmed. An attempt to visit her old friend Jean-Luc Godard reveals the pioneer of the French New Wave to be a bit

of an arse, yet this only serves to remind us that this other pioneer is a genial genius whose importance to the history of cinema is just as

vital. ■

" ,"byline": {"email": "" ,"author": "Alistair Harkness"} ,"topImages": [ {"image": {"url":"/webimage/1.4802884.1537442175!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4802884.1537442175!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Mark Wahlberg in Mile 22","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Mark Wahlberg in Mile 22","landscapeurl":"/webimage/1.4802884.1537442175!/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/under-the-radar-josephine-sillars-the-manic-pixie-dreams-1-4802874","id":"1.4802874","articleHeadline": "Under the Radar: Josephine Sillars + The Manic Pixie Dreams","commentCount":0,"publishedDate":1537441569000 ,"articleLead": "

Josephine Sillars is an exciting musician from Inverness, now based in Glasgow. We saw Sillars and her band The Manic Pixie Dreams in Sweden last week at Live At Heart festival. They were selected to appear as part of a showcase via XpoNorth’s partnership with EXCITE (Exchange of International Talent in Europe) and we were impressed by what we saw.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4802873.1537441565!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Josephine Sillars"} ,"articleBody": "

They’ve previously collaborated with Highland hip-hop act Spring Break and their showcase at Live At Heart resulted in impromptu performances with Swedish band Ignore The Elephant and Waterfront Fire from Canada, who will now make guest appearances on their new EP. Standout songs Problems With Power and latest single Is It Love? have been featured by BBC Radio Scotland, Amazing Radio, Summerhall Radio, Alive & Amplified and Inverness Gigs. Watch out for tour announcements and an EP featuring their new international collaborators at www.facebook.com/josephinesillarsmusic/

Olaf Furniss and Derick Mackinnon run the Born To Be Wide music industry seminar and social events. For more information visit

www.borntobewide.co.uk

AIM is a trade body established in 1999 to provide a collective voice for the UK’s independent music industry. The sector produces some of the most exciting and popular music in the world, and makes a huge contribution to the country’s economy. AIM’s 800+ members include the largest labels in the world, small start-ups and individual artists releasing their own music. For more information visit www.musicindie.com

" ,"byline": {"email": "" ,"author": "Olaf Furniss and Derick Mackinnon"} ,"topImages": [ {"image": {"url":"/webimage/1.4802873.1537441565!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4802873.1537441565!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Josephine Sillars","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Josephine Sillars","landscapeurl":"/webimage/1.4802873.1537441565!/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/massive-tapestry-depicting-games-of-thrones-goes-on-display-in-glasgow-1-4802814","id":"1.4802814","articleHeadline": "Massive tapestry depicting Games of Thrones goes on display in Glasgow","commentCount":0,"publishedDate":1537437084000 ,"articleLead": "

A huge Game of Thrones embroidery commissioned by the producers of the series has gone on display at a university in Glasgow.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4802813.1537437079!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "The tapestry, measuring five metres long and four metres tall, took more than 5,000 hours to produce and involved 140 volunteers. Picture: PA"} ,"articleBody": "

The tapestry, measuring five metres long and four metres tall, took more than 5,000 hours to produce and involved 140 volunteers.

The piece was produced by The Embroiderers’ Guild after HBO Home Entertainment TV Network, the company which produces Game of Thrones, contacted them and asked for a special artwork to form the backdrop to the DVD release of the show’s fifth series.

They stitched a tapestry featuring an intense battle scene - the massacre of Hardhome - and featuring a White Walker, one of the show’s central antagonists.

• READ MORE: Emmys: A win for Claire Foy as Game of Thrones retakes crown

The embroidery goes on display at Glasgow Caledonian University (GCU)’s Saltire Centre from September 20 and will remain on show to students, staff and members of the public until it is put up for auction in February 2019.

Anthea Godfrey, Embroiderers’ Guild artistic director and project manager, said: “This has been an amazing project that truly has brought the embroidery community together across the whole of the UK.

“We are really proud to have been involved.”

• READ MORE: HBO teases fans with Game Of Thrones footage ahead of final season

The Embroiderers’ Guild has close links with GCU dating back 12 years, especially through its fashion programmes.

John Cook, GCU media professor, added: “Game of Thrones is one of the biggest TV shows on the planet right now.

“Aside from those who avidly consume it in box-sets, many even stay up half the night to watch when each new episode drops on UK TV.

“I’m sure this embroidery will attract a great deal of interest ?particularly from those who can’t wait until 2019 and the release of the final season of GoT.”

" ,"byline": {"email": "" ,"author": "Lucinda Cameron"} ,"topImages": [ {"image": {"url":"/webimage/1.4802813.1537437079!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4802813.1537437079!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "The tapestry, measuring five metres long and four metres tall, took more than 5,000 hours to produce and involved 140 volunteers. Picture: PA","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "The tapestry, measuring five metres long and four metres tall, took more than 5,000 hours to produce and involved 140 volunteers. Picture: PA","landscapeurl":"/webimage/1.4802813.1537437079!/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/album-reviews-paul-weller-jungle-willie-nelson-1-4802212","id":"1.4802212","articleHeadline": "Album reviews: Paul Weller | Jungle | Willie Nelson","commentCount":0,"publishedDate":1537360213000 ,"articleLead": "

Once the archetypal angry young man, Paul Weller is recast as a soul searching elder statesman on his new album, writes Fiona Shepherd

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4802209.1537360191!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Paul Weller"} ,"articleBody": "

Paul Weller: True Meanings (Parlophone) ****

Jungle: For Ever (XL Recordings) ****

Willie Nelson: My Way (Legacy) ***

Earlier this year, Paul Weller celebrated his 60th birthday with the release of a delicate new song Aspects, the archetypal angry young man now recast as soul-searching elder statesman. Aspects is a fine taster for his 14th solo album, on which Weller submits entirely to the pastoral, psychedelic side of his output.

True Meanings is a gentle, bittersweet collection, characterised by lovely, rich melodies, acoustic instrumentation, tremulous string arrangements which are key to the sound but never overpowering, and Weller in mellow Modfather mode, exploring his soft, even vulnerable crooner tones.

Where he might previously have collaborated with swaggering young bucks made in his own image, Weller calls upon the service of a number of his elders and betters, including Rod Argent of Weller faves The Zombies and folk royalty Martin Carthy and bassist Danny Thompson, as well as turning to a couple of gentle young souls, Conor O’Brien of Villagers and Orcadian composer Erland Cooper, for lyrical input.

The latter provides the wistful tribute of Bowie but there is great warmth alongside the melancholy throughout the album. Weller sets out to accentuate the positive on What Would He Say?, trying to stay strong for his kids in the face of what he describes as “dark forces”. “In a world full of pain, why add to it?” he asks as a Burt Bacharach-style trumpet sounds its mournful fanfare.

Weller dips into other 60s signatures with the jazzy waltz Old Castles, which trips along like one of the more lighthearted gems in the Dusty Springfield catalogue, and the old-fashioned romantic sentimentality of Gravity and May Love Travel With You. This is hardly the music of seduction but Weller gives it a whirl on Come Along, which sounds a muted bum note on an otherwise elegantly stylised and sincerely wrought album.

There is also a featherlight touch and a careful marshalling of mood on the new album by Jungle, who rightly turned heads a few years back with one of the most distinctive and refreshing sounds to emerge from the all-too-homogenous London R&B scene. Since then, mainmen Tom McFarland and Josh Lloyd-Watson have temporarily dipped their toes in the Los Angeles swimming pool.

Their signature blend of unison vocals, soaring falsettos and mellow club culture is enhanced by a more organic old soul sound on For Ever, another beautifully produced record which charts the hope and optimism of migration on Heavy, California as well as the conflicted wrench of saying goodbye to the American dream on the blissed-out House In LA.

Give Over is a great showcase for their emphasis on voice, with its atmospheric pitchshifted vocals and layers of soothing backing cooing, while Happy Man sounds like a remix of a classic soul cut, its timeless warning against the finite pleasures of consumption shot through with a jaded melancholy.

The wonderful Willie Nelson is no (red-headed) stranger to a crossover collection, having kickstarted the trend for revisiting the American songbook with his classic Stardust album back in 1978. On My Way, he follows Bob Dylan down the road of grizzled Sinatra standards.

In some respects, the idiosyncratic Nelson can only ever do it his way, and he certainly knows how to lay back into the material with his unique phrasing. The arrangements here amount to fairly standard swing band fare, though there is a welcome hint of western swing on What Is This Thing Called Love, a duet with the similarly horizontal Norah Jones.

A couple of numbers are phoned in but who could boast greater gravitas in delivering the life lessons of It Was A Very Good Year? Nelson treats My Way itself with the sobriety it deserves, however not even he can add anything new to this over-familiar anthem.

CLASSICAL

Janáček: Glagolitic Mass, Sinfonietta, Taras Bulba & The Fiddler’s Child (Decca) *****

Over two excellent CDs, this posthumous release of recordings by the late Jirí Belohlávek and the Czech Philharmonic presents some of Janáček’s most striking orchestral works in blazing, life-affirming light. The key work here is his Glagolitic Mass – it was Belohlávek’s first and only recording of it with this orchestra – featuring the Prague Philharmonic Choir and soloists Hibla Gerzmava, Veronika Hajnova, Stuart Neill and Jan Martiník, with Ales Barta on organ. There is a gripping rawness, both in the radiant vocal performances and the edgy, distinctive orchestral playing. But Belohlávek also plays on its expansiveness, moments of tenderness and overriding sophistication. There are steely performances, too, of the sun-ripe Sinfonietta, the macabre Fiddler’s Child and the high octane Taras Bulba.

Ken Walton

JAZZ

Dexter Gordon Quartet: Tokyo 1975 (Elemental Music) ****

Raising the roof of Tokyo’s Yubin Chokin Hall, the late Dexter Gordon, a giant in every sense, combines commanding directness on tenor sax with witty melodic inventiveness in the company of pianist Kenny Drew, double-bassist Niels-Henning Ørsted Pedersen and drummer Albert “Tootie” Heath. These hitherto unreleased recordings see Gordon in full flight in his own Fried Bananas, the others keeping him athletic company. He takes introductory vocals in a strutting treatment of the Eckstine-Hines hit Jelly, Jelly, Jelly, while two numbers recorded elsewhere with different line-ups include Thelonious Monk’s Rhythm-a-Ning. It’s during a Tokyo moment, however, halfway through a tenderly handled Misty, when Gordon breaks off and Drew’s piano cascades on over shushing brushwork, that we’re struck by the sheer glamour – in the word’s old, magical sense – of what is going on. n

Jim Gilchrist

" ,"byline": {"email": "" ,"author": ""} ,"topImages": [ {"image": {"url":"/webimage/1.4802209.1537360191!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4802209.1537360191!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Paul Weller","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Paul Weller","landscapeurl":"/webimage/1.4802209.1537360191!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ {"image": {"url":"/webimage/1.4802210.1537360196!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4802210.1537360196!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Willie Nelson PIC: David McClister","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Willie Nelson PIC: David McClister","landscapeurl":"/webimage/1.4802210.1537360196!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} , {"image": {"url":"/webimage/1.4802211.1537360210!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4802211.1537360210!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Jungle","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Jungle","landscapeurl":"/webimage/1.4802211.1537360210!/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-interview-rcs-principal-jeffrey-sharkey-on-the-decline-in-music-tuition-in-scottish-schools-1-4802186","id":"1.4802186","articleHeadline": "Music interview: RCS principal Jeffrey Sharkey on the decline in music tuition in Scottish schools","commentCount":0,"publishedDate":1537358940000 ,"articleLead": "

Six years ago, local councils in Scotland introduced fees for musical instrument tuition in state schools. The approach was scattergun, some councils charging as much as £500, others less, while some maintained free tuition. Our sister paper, Scotland on Sunday, responded immediately with its Let the Children Play campaign amid fears that children whose parents couldn’t afford lessons would lose out, numbers would plummet, and a cycle of decline would have obvious consequences on future performers, teachers, audiences and the general cultural health of country, not to mention the proven wider benefits musical training has on the cognitive and social development of the child.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4802185.1537358935!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Jeffrey Sharkey,''principal of the Royal Conservatoire of Scotland"} ,"articleBody": "

Since then, there’s been a lot of talk: some of it constructive, involving practitioners on the Music Education Partnership Group (MEPG) alongside the Convention of Scottish Local Authorities (COSLA); some of it political – the government is sympathetic but struggling with so many areas of educational crisis that progress seems to be at a snail’s pace.

As such, little has changed since 2012. Regular news reports continue to paint a picture of spiralling decline – a recent one claimed that pupils taking lessons in West Lothian had dropped from 1,800 last year to 360 this year after fees were introduced. East Lothian had experienced a drop of a third. And these are not the highest charging local authorities.

Worse still, this situation has been going on for at least six years, the equivalent of a whole generation of secondary school children. Many of them – put off by costs – will have been lost to the system. The figures point to a vicious cycle of decline. It has to be fixed, and quickly.

Among those most passionate about finding a solution is Professor Jeffrey Sharkey, principal of the Royal Conservatoire of Scotland (RCS). His world-ranking institution depends on the end product of school instrumental tuition to determine its quota intake of Scottish students. “We’ve definitely noticed a difference in recent years,” he says. “We still get a lot of brass and wind players. But when I tried to find a Scottish classical violinist among our students to play when [Education Secretary] John Swinney visited us, I could only find one.”

In general, he says, it’s becoming harder to find good Scots-reared string players and pianists. “Certain art forms have to be started early. For strings, that has to be in primary school. This country’s been good at saying let’s give people a taste of music – wonderful initiatives by the professional orchestras – but we’re less good at providing tasters that lead to sustained and progressive learning of an instrument.”

There is an issue with classical music, as opposed to the burgeoning interest in Scots traditional music which Sharkey claims, along with dance, is flourishing. “Classical music can come over as middle class, partly because of all the expenses that go with it, the expense of instruments, the cost of attending ensembles, weekly lessons, etc. We have to get over that social thing, find solutions and get the message over that it’s for everyone.”

Is money the sole answer? The inconsistency of costs and implementation that exists between one local authority and another is certainly governed by individual spending priorities and the hard decisions that have to be made, music tuition being the easiest target.

“In a sea of competing priorities,” says Sharkey, “I guess the danger for young people in the arts is that it’s a problem that will grow ten years down the line, when we don’t have audiences, don’t have creative thinkers, whereas the trash pick-up has to happen this week.”

Whichever corrective route is taken by the government – it’s unlikely to happen through statutory legislation – money ultimately has to follow. We have plenty of high-profile champions for the cause, including Nicola Benedetti and James MacMillan. But what seems to be lacking is some form of nationwide strategic directive that not only recognises the true benefits of learning an instrument (are parents even aware that success at the higher grade exams counts towards additional UCAS points for university entry?), but in turn ensures a parity of provision across all local authorities that is affordable to every child in Scotland, regardless of means. For that we need a passionate political champion.

“I believe we are inching towards having some kind of political champion,” says Sharkey. “The government wants to see the results of the [MEPG] survey and act on them. I don’t know how they will do it, but there has to be some kind of funding pot that will equalise the costs. I’d like to see this as a cross party thing. All the politicians I’ve spoken to want to raise attainment in the arts. My message to them is this: just do it!” - KEN WALTON

" ,"byline": {"email": "" ,"author": "Ken Walton"} ,"topImages": [ {"image": {"url":"/webimage/1.4802185.1537358935!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4802185.1537358935!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Jeffrey Sharkey,''principal of the Royal Conservatoire of Scotland","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Jeffrey Sharkey,''principal of the Royal Conservatoire of Scotland","landscapeurl":"/webimage/1.4802185.1537358935!/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/emmys-a-win-for-claire-foy-as-game-of-thrones-retakes-crown-1-4801924","id":"1.4801924","articleHeadline": "Emmys: A win for Claire Foy as Game of Thrones retakes crown","commentCount":0,"publishedDate":1537333206000 ,"articleLead": "

British talent won big at the Emmys during a memorable ceremony that saw one winner propose to his girlfriend on stage and Game Of Thrones win the battle of the heavyweights to regain its crown.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4801922.1537302299!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "The cast of game of Thrones. Picture: Getty"} ,"articleBody": "

At the most prestigious awards show in US television, Welsh star Matthew Rhys won the lead actor in a drama series prize for his role in FX’s The Americans, while English actress Claire Foy scooped the equivalent award in the female category for her portrayal of the Queen in Netflix’s The Crown.

It was Foy’s final chance to win an Emmy for her role as the Queen before she hands over to Olivia Colman for season three and she appeared visibly emotional on stage.

Foy’s co-star, Matt Smith, missed out on a supporting actor prize while Benedict Cumberbatch lost out to Rhys for lead actor.

London-born Thandie Newton won the supporting actress in a drama series for her part in HBO’s sci-fi western Westworld, fending off competition in a category packed with British stars, including Stranger Things’ Millie Bobby Brown, Game Of Thrones’ Lena Headey and The Crown’s Vanessa Kirby.

Game Of Thrones – back at the Emmys after a one-year absence due to the timing of its previous season – won the prize for outstanding drama series.

HBO’s fantasy epic came out on top from a category including The Crown, Stranger Things, The Americans, This Is Us, Westworld and last year’s winner, The Handmaid’s Tale.

The 70th Primetime Emmy Awards took place in Los Angeles and provided one of the most memorable moments in recent awards show history when a director popped the question during his acceptance speech.

Glenn Weiss won the outstanding directing for a variety special and told the audience the prize was “bittersweet” because his mother had died two weeks previously.

He said his mother had “loved” his partner, Jan Svendsen, adding: “You wonder why I don’t like to call you my girlfriend? Because I want to call you my wife.”

The room erupted into cheers before Weiss invited his partner to the stage. He explained the ring was the same one his father had given to his mother 67 years ago before popping the question.

Elsewhere, Amazon’s The Marvelous Mrs Maisel won five gongs in the comedy categories, for supporting actress, outstanding writing, directing, lead actress and outstanding series.

Hosts for the evening Michael Che and Colin Jost opened the ceremony with jokes about alleged sexual abuse in Hollywood, following allegations against high-profile figures such as Harvey Weinstein and Kevin Spacey.

Che said it was an “honour to be here sharing this night with many, many talented and creative people in Hollywood”, adding: “Who have not yet been caught.”

Happy Days star Henry Winkler won an award – 42 years after he was first nominated for an Emmy. The veteran actor, 72, scooped the outstanding supporting actor in a comedy series gong for his role as acting coach Gene Cousineau in HBO’s Barry. He was first nominated in 1976 for playing Arthur “the Fonz” Fonzarelli in Happy Days.

Charlie Brooker won an Emmy for the USS Callister episode of Black Mirror.

THE WINNERS:

Supporting Actor in a Comedy Series: Henry Winkler (Barry)

Lead Actress in a Comedy Series: Rachel Brosnahan (The Marvelous Mrs. Maisel)

Supporting Actress in a Comedy Series: Alex Borstein (The Marvelous Mrs Maisel)

Lead Actor in a Comedy Series: Bill Hader (Barry)

Supporting Actress in a Limited Series or a Television Movie: Merritt Wever (Godless)

Supporting Actor in a Limited Series or a Television Movie: Jeff Daniels (Godless)

Writing for a Limited Series, Movie or Dramatic Special: William Bridges and Charlie Brooker (Black Mirror episode USS Callister)

Lead Actress in a Limited Series or Movie: Regina King (Seven Seconds)

Lead Actor in a Limited Series or a Television Movie: Darren Criss (The Assassination Of Gianni Versace: American Crime Story)

Supporting Actor in a Drama Series: Peter Dinklage (Game Of Thrones)

Supporting Actress in a Drama Series: Thandie Newton (Westworld)

Lead Actor in a Drama Series: Matthew Rhys (The Americans)

Lead Actress in a Drama Series: Claire Foy (The Crown)

Outstanding Limited Series: The Assassination 0f Gianni Versace: American Crime Story

Outstanding Comedy Series: The Marvelous Mrs Maisel

Outstanding Drama Series: Game Of Thrones

" ,"byline": {"email": "" ,"author": ""} ,"topImages": [ {"image": {"url":"/webimage/1.4801922.1537302299!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4801922.1537302299!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "The cast of game of Thrones. Picture: Getty","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "The cast of game of Thrones. Picture: Getty","landscapeurl":"/webimage/1.4801922.1537302299!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ {"image": {"url":"/webimage/1.4801923.1537302302!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4801923.1537302302!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Glenn Weiss (L), winner of the Outstanding Directing for a Variety Special award for 'The Oscars,' proposes marriage to his partner Jan Svendsen. Picture: Kevin Winter/Getty Images","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Glenn Weiss (L), winner of the Outstanding Directing for a Variety Special award for 'The Oscars,' proposes marriage to his partner Jan Svendsen. Picture: Kevin Winter/Getty Images","landscapeurl":"/webimage/1.4801923.1537302302!/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-interview-director-wils-wilson-on-celebrating-the-roughness-in-twelfth-night-at-the-royal-lyceum-1-4801581","id":"1.4801581","articleHeadline": "Theatre interview: Director Wils Wilson on celebrating the “roughness” in Twelfth Night at the Royal Lyceum","commentCount":0,"publishedDate":1537265742000 ,"articleLead": "

In the main auditorium at the Lyceum, they’re taking a lunch break during technical rehearsals for Twelfth Night; and Wils Wilson slips out for a brief chat about her directing life, and her forthcoming production of what is perhaps Shakespeare’s most complex and melancholy comedy. She’s a slight, youthful-looking woman in her forties, now associate artist at the Lyceum, working alongside artistic director David Greig, and in the last couple of years she has moved her home base from her native Yorkshire to Lauder, just south of Edinburgh, where she lives with her two young sons.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4801580.1537265739!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Wils Wilson with musical director Aly Macrae in rehearsals for Twelfth Night"} ,"articleBody": "

Despite her unassuming style, in the last dozen years Wilson has become a quiet powerhouse of creativity in Scottish theatre, directing some of the most acclaimed shows staged in that time by the National Theatre of Scotland and the Lyceum. Her first Scottish production, in 2006, was Home Shetland, part of the NTS’s ground-breaking opening production staged at ten sites around the Scotland; those lucky enough to have seen it will never forget her inspired use of space around the great Northlink ferry docked at Lerwick, including its vast car-deck.

For the NTS, she also co-created a memorable cafe-style children’s show called Gobbo, working for the first time with David Greig; and then in 2011, she directed Greig’s 21st century Borders ballad The Strange Undoing Of Prudencia Hart, in a pub-style production so irresistible that it has remained in the NTS repertoire ever since, touring across the globe. In 2016, Greig invited her to join his Lyceum team; and since then she has directed Karine Polwart’s remarkable solo show Wind Resistance, last autumn’s memorable staging of Bridget Boland’s Cockpit, in which the Lyceum became a post-Second World War refugee transit centre, and – with choreographer Janet Parker – this summer’s astonishing Edinburgh community production of Peter Handke’s The Hour We Knew Nothing Of Each Other.

“I suppose what interests me,” says Wilson, “is theatre that makes an immediate, direct connection with the audience, and completely breaks down the fourth wall. I began making theatre in London in the 1990s, when the whole trend towards site-specific theatre was emerging; and I became absolutely fascinated by that idea of theatre that doesn’t just take the space around it for granted, but is completely responsive to it, and takes the audience into a real journey of exploration.” From 1997 to 2007, Wilson and designer Louise Ann Wilson ran their Yorkshire-based company Wilson & Wilson, creating shows in locations that included a pair of empty terraced houses in Wilson’s home town, Huddersfield; and it was when fellow Huddersfield man John Tiffany, then at the NTS, came south to see a Wilson & Wilson show staged in woodland on the Yorkshire coast, that Wilson won her first Scottish commission to create Home Shetland.

“I asked to be sent as far away from where I was as possible,” Wilson remembers. “And although my son was just a baby, it worked out brilliantly. You could say that I like theatre that’s quite rough,” she adds, “which makes it interesting, at the very least, to be working in a space like the Lyceum.” And she glances round at the red plush of the circle bar, which echoes the gorgeous gilded formality of the theatre’s Victorian auditorium.

In truth, though, the Lyceum is a massively complex and forceful theatre space, one that often responds well to bold treatment. So far, Wilson’s evolving relationship with it has produced some thrilling results; and as she turns her attention to Twelfth Night, she says that she is drawn to Shakespeare precisely because of his “roughness” as a playwright, and the complete absence, in his theatre, of any kind of fourth wall.

“I chose Twelfth Night initially because it has so much music in it,” says Wilson, “and I love the musical aspect of theatre. As I’ve been working on the play, though, I’ve become more and more aware of how practical and workaday Shakespeare is as a writer. He’s interested in the nuts and bolts of theatre, he’s not theoretical. And that goes for the deeper level of his work as well – it’s all about his instinctive understanding of human behaviour, I think, rather than about grand theories or themes. The scale of it can be daunting, though; there’s such richness and range in the text exploring it really could take a lifetime.”

Wilson is working on Twelfth Night with a cast of 12, and she says that her approach is to treat the play as a giant Twelfth Night party, a feast of misrule when people can change costumes, play unfamiliar roles, swap genders and turn the world upside down. As the steward Malvolio, she has cast Christopher Green, better known for his female stand-up characters including Tina C and Ida Barr; her Toby Belch is the brilliant young Scottish actress and singer Dawn Sievewright. Yet at the same time, she is very conscious of the play’s darker undertones; and although audiences are promised a party show with an early-Seventies op-art feel, there’s a sense that this wild party could also be tinged with grief.

“Scotland is a good place to make theatre,” says Wilson, “because you have to think hard about questions like that, about what your shows mean. You can’t just go around being an idiot in some creative way. It’s hard to say why, without ridiculous generalisations; but I think it’s something to do with being a smaller country with its own strong national life. You feel more connected to all aspects of life here – and that makes you more accountable, more involved, more engaged. And that’s why I’ve chosen to be here,” she adds, as she heads back into rehearsal. “Because for me, that’s how it should be, and how I want to work.” - JOYCE MCMILLAN

Twelfth Night, Royal Lyceum, Edinburgh, until 6 October

" ,"byline": {"email": "" ,"author": "Joyce McMillan"} ,"topImages": [ {"image": {"url":"/webimage/1.4801580.1537265739!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4801580.1537265739!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Wils Wilson with musical director Aly Macrae in rehearsals for Twelfth Night","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Wils Wilson with musical director Aly Macrae in rehearsals for Twelfth Night","landscapeurl":"/webimage/1.4801580.1537265739!/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-jonny-mansfield-s-elftet-jazz-bar-edinburgh-1-4801577","id":"1.4801577","articleHeadline": "Music review: Jonny Mansfield’s Elftet, Jazz Bar, Edinburgh","commentCount":0,"publishedDate":1537265420000 ,"articleLead": "

Any uninformed who may have presumed an elftet to be an ensemble of delicate sprites would have been instantly disabused by the formidable opening blast from the 11 musicians crammed precariously on the Jazz Bar’s stage. With brass fanfaring giving way to fiery electric guitar work and an elephantine bass clarinet stomp, Silhouette introduced this young band’s bewilderingly varied tone palette, led by award-winning vibraphonist Johnny Mansfield and pitching a muscular brass and reeds quartet alongside cello and violin, guitar, electric bass, drums, plus singer-flautist Ella Hohnen-Ford.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4779522.1537265415!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "editorial image"} ,"articleBody": "

Jonny Mansfield’s Elftet, Jazz Bar, Edinburgh ****

Ford’s vocals were sometimes overwhelmed by the instrumental forces surging around her, but she crooned a cover of Norah Jones’s Painter’s Song that glided with the plomb of a Forties dance band. While inevitably evoking rumbustious shades of Loose Tubes, Elftet generate an idiosyncratic vibe of their own: the smooth bossa jog of another number might have been the theme for a Sixties movie, although with trenchant interjections from James Davidson on flugelhorn and Tom Smith on alto sax.

Mansfield’s vibes whirring over ascending bass clarinet (George Millard) and powerful brass outbursts transcended the whimsical lyrics of Wings, while Tim Smoth’s Big Day out, described as a journey, certainly travelled, from a neo-baroque prelude from violinist Dom Ingham, through quirky tempo changes and robust sax and flugelhorn breaks, to a powerful finale. Their closer, the leisurely-paced Sweet Potato, was a fine distillation of their protean nature, combining spot-on brass work with engagingly down-homey guitar from Oliver Mason. - JIM GILCHRIST

" ,"byline": {"email": "" ,"author": ""} ,"topImages": [ {"image": {"url":"/webimage/1.4779522.1537265415!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4779522.1537265415!/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/1.4779522.1537265415!/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-lammermuir-festival-opening-weekend-1-4801576","id":"1.4801576","articleHeadline": "Music review: Lammermuir Festival Opening Weekend","commentCount":0,"publishedDate":1537265291000 ,"articleLead": "

Cathedrals of sound – that’s the cliché routinely wheeled out to describe Bruckner’s monumental symphonies. But cliché or not, it felt like the ideal description for the Lammermuir Festival’s opening concert (****), whose climax was a magnificent Bruckner Seventh that filled every nook in the warm interior of St Mary’s Church, Haddington.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4801575.1537265288!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "John Butt and the Dunedin Consort perform at the Lammermuir Festival"} ,"articleBody": "

Indeed, the BBC Scottish Symphony Orchestra players themselves spread back far beyond the nave and chancel, with six or seven rows of woodwind and brass, but they thereby delivered a wonderfully three-dimensional richness to the sound. Conductor Karl-Heinz Steffens took things at a leisurely pace – perhaps unnecessarily so, with St Mary’s admittedly resonant yet beautifully clear, crisply detailed acoustic – and stressed the architectural grandeur of the Symphony. His brassy climaxes (complete with quartet of Wagner tubas) were almost overwhelming – but, more importantly, felt like the inevitable outcome of the slowly evolving material that had gone before. His dense, heavy scherzo, however, felt slightly too tightly controlled and soft-edged to whip up the demonic energy the movement can often generate.

Nevertheless, it was a magisterial performance, full of sonic splendour, with the BBC SSO players on exceptional form. They were utterly convincing, too, before the interval as a far more intimate ensemble for Haydn’s C major Cello Concerto, with 2012 BBC Young Musician winner Laura van der Heijden as soloist. She gave a sprightly, impeccably phrased account, as muscular as it was lyrical – even if her sometimes rather liberal tempo fluctuations threatened to drag back Steffens’s brisk pace at times.

“I know what you’re thinking: what does that sound like backwards?” A change of tone completely on Saturday afternoon, for harpsichordist and scholar John Butt’s masterful journey through Bach’s Musical Offering in Gladsmuir’s Victorian Parish Church, for which he was joined by seven players from his Dunedin Consort (*****). It was a wonderfully witty yet erudite event, matching brilliantly characterful playing – of the intricate canons and inventions Bach conjured from an awkward theme throw at him by Frederick the Great – with pointed insights from Butt himself.

And it was just the kind of format to bring what Butt described as this ‘arcane mind-music’ dazzlingly alive, as he came up with ever more ingenious ways to demonstrate how Bach went far beyond the King’s initial challenge. How about coming up with alternative possibilities for Bach’s unrealised, DIY closing canons? Or getting listeners to raise their hands when they’d had enough of a ‘perpetual’ canon, which could theoretically go on forever? Butt’s talk-plus-performance concept was just as playful and insightful as Bach’s music – enormous but entirely serious fun for both mind and heart.

More music for the heart to close Saturday, with a deeply expressive all-Schubert concert from brothers Magnus and Guy Johnston on violin and cello, and pianist Tom Poster (****) in the intimate, capacity-filled space of Dirleton Kirk. There might have been a few unwelcome intonation lapses and misjudged articulations in Guy J’s hearty, rubato-heavy Arpeggione Sonata, but the threesome’s B flat Piano Trio was full of heroic energy, and their opening Notturno exquisitely refined – a performance to truly treasure. - DAVID KETTLE

" ,"byline": {"email": "" ,"author": ""} ,"topImages": [ {"image": {"url":"/webimage/1.4801575.1537265288!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4801575.1537265288!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "John Butt and the Dunedin Consort perform at the Lammermuir Festival","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "John Butt and the Dunedin Consort perform at the Lammermuir Festival","landscapeurl":"/webimage/1.4801575.1537265288!/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/simple-minds-star-recruits-gaelic-singers-for-videogame-soundtrack-1-4801465","id":"1.4801465","articleHeadline": "Simple Minds star recruits Gaelic singers for videogame soundtrack","commentCount":0,"publishedDate":1537254041568 ,"articleLead": "A musician who plays with iconic Scottish rock band Simple Minds has recruited some of Scotland’s leading Gaelic singers for the soundtrack of a major new videogame.","articleThumbnail": {"thumbnailUrl":"/webimage/1.4801464.1537253074!/image/image.jpeg_gen/derivatives/landscape_170/image.jpeg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "More than 30 Gaelic songs feature on the soundtrack of new video game Bard's Tale IV: Barrows Deep"} ,"articleBody": "

Bass player Ged Grimes masterminded the recording of more than 30 songs for The Bard’s Tale IV: Barrows Deep, a fantasy adventure set in 18th-century Scotland.

Among the performers used were 82-year-old South Uist singer Rona Lightoot and 16-year-old Peigi Barker, from Inverness-shire, who played Young Merida in the Disney-Pixar film Brave.

Kathleen MacInnes, Eilidh Cormack, Fiona Hunter and Kim Carnie are among the other singers to feature on the new version of the role-playing classic, which was first released in 1985.

Grimes also brought in a 40-strong Gaelic choir for the game, which has been released by the Los Angeles-based film inXile Entertainment after the firm raised $1.5 million in a crowdfunding campaign.

Grimes, whose previous bands include Danny Wilson and Deacon Blue, said: “I wanted to capture the breadth of outstanding voices and musicianship that exists in my homeland and create a soundtrack which reflected Scotland’s unique musical heritage.

“These ancient songs tell us about how life was lived long ago but can also give us wisdom, vision and hope for the future.”

" ,"byline": {"email": "brian.ferguson@jpress.co.uk" ,"author": "Brian Ferguson"} ,"topImages": [ {"image": {"url":"/webimage/1.4801464.1537253074!/image/image.jpeg_gen/derivatives/box_600/image.jpeg","thumbnailUrl":"/webimage/1.4801464.1537253074!/image/image.jpeg_gen/derivatives/landscape_170/image.jpeg","alt": "More than 30 Gaelic songs feature on the soundtrack of new video game Bard's Tale IV: Barrows Deep","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "More than 30 Gaelic songs feature on the soundtrack of new video game Bard's Tale IV: Barrows Deep","landscapeurl":"/webimage/1.4801464.1537253074!/image/image.jpeg_gen/derivatives/landscape_595/image.jpeg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ {"image": {"url":"/webimage/1.4801466.1537254044!/image/image.jpeg_gen/derivatives/box_600/image.jpeg","thumbnailUrl":"/webimage/1.4801466.1537254044!/image/image.jpeg_gen/derivatives/landscape_170/image.jpeg","alt": "Ged Grimes has performed with Deacon Blue, Danny Wilson and Simple Minds.","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Ged Grimes has performed with Deacon Blue, Danny Wilson and Simple Minds.","landscapeurl":"/webimage/1.4801466.1537254044!/image/image.jpeg_gen/derivatives/landscape_595/image.jpeg","landscapewidth":595,"landscapeheight":398}} ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"https://www.scotsman.com/news/opinion/kelly-donaldson-this-festival-has-got-creativity-down-to-a-fine-art-1-4800988","id":"1.4800988","articleHeadline": "Kelly Donaldson: This festival has got creativity down to a fine art","commentCount":0,"publishedDate":1537247206000 ,"articleLead": "

No matter what age you are, the onset of autumn will always have that ‘back to school’ feel. Not least because the vast majority of groups and classes we engage with as adults also start back up around this time after a ­summer hiatus.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4800987.1537268296!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Kelly Donaldson, Communications Manager, Voluntary Arts Scotland"} ,"articleBody": "

Across Scotland, volunteers and organisers are busy opening up community spaces for lets, dusting off materials, taking in subs and ­getting ready for another exciting term of activity. It’s during these coming months that Voluntary Arts Scotland reaches out to groups, venues, local authorities, libraries and ­creative networks to encourage ­everyone to put the Get Creative Festival into their plans for next year.

Run by Voluntary Arts, in close partnership with the BBC and other creative organisations, Get ­Creative shines a spotlight on the incredibly diverse activity that takes place week-in, week-out across the UK.

It’s an opportunity for drama groups to fling open their door and invite newcomers to watch a rehearsal, for craft groups to run a ‘come and try’ session, for painting classes to hold exhibitions – and much, much more.

For groups, it’s a chance to attract new members or audiences. For ­venues it’s a chance to engage with their local communities. For the ­public it’s a chance to try something different and discover a new (or long forgotten) passion.

For policy-makers, politicians and funders, it’s a reminder of just what a vibrant ­voluntary arts sector we have – and the essential part it plays in bringing people together, tackling isolation, raising skills, easing stress and, lest we forget, having fun.

Taking place from 11-19 May next year, we anticipate the Get Creative Festival to be the biggest yet.

Events take place in a wide range of ­venues, from community centres to pubs, theatres to public parks – and work best when people and organisations pool their resources, energy and enthusiasm.

The impact that working towards a common goal has on ­people is ­palpable – but so too is the way their efforts reach out into the community.

In 2017, two knitters in Musselburgh decided to ‘craft bomb’ their local area – and by the time the project took place, more than 70 local people had come onboard, creating and donating colourful items to decorate trees, railings and benches in their local park.

“It was just phenomenal the way it took off,” said Gaynor Allen of the Riding of the Marches Craftbomb group. “It was great to see the smiles on people’s faces when they saw it. We were told that it made their day, and that every time they walked past it made them happy.”

Voluntary Arts Scotland has a range of free resources to help groups take part in Get Creative 2019 – all accessible from our website www.voluntaryarts.org – and when the time comes, we’ll be helping to publicise events across Scotland on our Get Creative Map. We can also help venues and larger organisations who would like to team up with a local group, and offer tips and advice on ways to get involved.

The Get Creative Festival may be eight months away, but now is the time for groups to start talking and planning how they could take part, and perhaps start applying for small pots of funding to ­support their event.

Feedback from previous festivals shows there is an appetite for groups to feel part of something bigger, to attract new participants and ­audiences, and connect with sources of support in their local area – the Get Creative Festival can do all that and more.

If your group would like to get involved in this special 10-day event, or if you work with a local authority, venue or support organisation, and would like to facilitate ­creativity in your area, contact us on info@vascotland and we’ll point you in the right direction.

Everyone else, put a creative date in your diary to try something new next May.

Kelly Donaldson, communications manager, Voluntary Arts Scotland.

" ,"byline": {"email": "" ,"author": "Kelly Donaldson"} ,"topImages": [ {"image": {"url":"/webimage/1.4800987.1537268296!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4800987.1537268296!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Kelly Donaldson, Communications Manager, Voluntary Arts Scotland","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Kelly Donaldson, Communications Manager, Voluntary Arts Scotland","landscapeurl":"/webimage/1.4800987.1537268296!/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-scotties-tron-glasgow-1-4801184","id":"1.4801184","articleHeadline": "Theatre review: Scotties, Tron, Glasgow","commentCount":0,"publishedDate":1537193649000 ,"articleLead": "

There’s something both ambitious and awkward about Theatre Gu Leor’s latest show, supported by the National Theatre of Scotland and the Abbey Theatre, Dublin. It will delight those who care for Scotland’s Gaelic heritage, and probably irritate those who don’t. It asks audiences to listen to dialogue in at least three languages – Scots Gaelic, Irish Gaelic and English – and provides no translation, doubtless raising the hackles of those who are not willing to follow the drama regardless; it will please those who want to hear and consider the truth about Scotland’s close and complex historic relationship with Ireland, and perhaps enrage those who would rather shut down the whole subject.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4801189.1537191510!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Scotties"} ,"articleBody": "

Scotties, Tron, Glasgow ****

And it can’t be said, either, that Muireann Kelly’s 90-minute play – co-written with Frances Poet – always handles these demands with brilliance and aplomb. In setting out to tell the tale of Michael, a young 21st century Glasgow lad researching the Kirkintilloch tragedy of 1937 – when ten young male potato-pickers from Achill in Mayo were burned to death in a locked farm bothy – it burdens itself both with a slightly predictable modern family drama, and a mystical dream layer in which Michael relives the tragedy through visions. Neither is easy to handle or entirely convincing, although young Glasgow-Irish actor Ryan Hunter – making his professional debut as Michael – builds a powerful, poignant link between the two narratives.

Yet still, there’s a force behind this play that somehow lifts it well clear of its weaknesses; a passion to tell a story largely untold in Scotland, to name the dead, and to confront the culture of bigotry and hostility towards Irish Catholic migrants that disfigured 19th and early 20th century Scotland, and that persists today in a lingering culture of sectarianism.

There is a reopening of old wounds involved in this story, no question; one of the strongest characters is Michael’s grandmother, played by Anne Kidd, who wants to know nothing about her own mother Molly’s roots in Achill. Yet Michael’s passion to understand his own identity and history is irresistible, for us and for the play’s other characters; and with young Rada graduate Faoilean Cunningham giving a wonderful, compelling performance as the young Molly, and the whole show carried along on a tide of fine live music by Laoise Kelly, Muireann Kelly’s eight-strong company deliver a show to remember, and an important staging-post in Scotland’s long journey towards greater knowledge of itself, through the stories it tells. - Joyce McMillan

*Macrobert, Stirling, 19 September; Eden Court, Inverness, 21 and 22 September; Lemon Tree, Aberdeen, 24 September and Traverse Theatre, Edinburgh, 27-29 September. Also on Achill Island, Mayo, 5-6 October.

" ,"byline": {"email": "" ,"author": ""} ,"topImages": [ {"image": {"url":"/webimage/1.4801189.1537191510!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4801189.1537191510!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Scotties","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Scotties","landscapeurl":"/webimage/1.4801189.1537191510!/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-3d-festival-slessor-gardens-dundee-1-4800950","id":"1.4800950","articleHeadline": "Music review: 3D Festival, Slessor Gardens, Dundee","commentCount":0,"publishedDate":1537176251000 ,"articleLead": "

There may have been something formulaic about the reasoning behind this mini-festival in support of the V&A Dundee’s opening over the weekend – the three “D”s in question were, apparently, “Dundee, design and Discovery” – but the execution of the whole thing was perfectly staged in order to allow the thousands outside on the public park and concert space Slessor Gardens to feel as though they were part of the celebration happening within Kengo Kuma’s new landmark building.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4800949.1537176248!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Bobby Gillespie performing at the 3D festival at Slessor Gardens in Dundee PIC: Andrew Milligan/PA Wire"} ,"articleBody": "

3D Festival, Slessor Gardens, Dundee *****

Friday night’s event was a proper urban festival bill with a diverse, one-stage line-up featuring singer Tallia Storm, Dundee’s own about-to-break indie-pop star Be Charlotte, aka Charlotte Brimner, and the contemporary style of Lewis Capaldi, a young vocalist from Whitburn in West Lothian whose 2018 has exploded to the point that his two consecutive dates at the Barrowlands later in the year sold out within minutes. Capaldi’s style is very much in keeping with that popularised by last year’s Edinburgh Hogmanay headliner Rag ‘n’ Bone Man, with stripped-back instrumentation giving way to the gruff and lived-in quality of his voice, a kind of sleek contemporary fusion of the blues’ raw vocal tone and blue-eyed soul’s earnest pop hooks.

This merging of the authentic and the purely pop is also something we’ve come to expect from the latest incarnation of headliners Primal Scream, a group who always found inspiration in a search for rock’s sense of “authenticity”, but who are canny enough these days to know that packing the set with hits and giving the crowd what they want is their safest and most entertaining bet.

Their look on this stage was all about impact – with singer Bobby Gillespie going for a bright red suit with lightly flared trousers and bassist Simone Butler wearing sequined leopardprint – and their setlist was equally built to grab attention. The euphoric rockers Movin’ On Up, Jailbird and Can’t Go Back opened, with a finale which matched their very best songs to one another; the blissed-out acid house psych of Come Together and Loaded, and the irresistible party rock of Country Girl and Rocks. Yet Gillespie and co. remain just subversive enough to slip a song about industrialised state oppression (Swastika Eyes) in there, as well as dedicating Shoot Speed Kill Light to the Associates’ Alan Rankine and Billy Mackenzie, “heroes of ours and sons of your city”, in Gillespie’s words. Of the V&A, he said “we hope it’ll inspire a new generation of young artists – that’s what we want, right?”

For the occasion, friend of the band and well-established Scots artist Jim Lambie had created a gorgeous set of backdrop visuals, while the evening ended with a stunning lightshow by Dundee-based creative agencies Biome Collective and Agency of None protected on to the V&A itself, with a sublime club soundtrack – mixing in tracks by the Communards, Eurythmics and Simple Minds – from Edinburgh-raised DJ and designer Clair “Éclair Fifi” Stirling.

For Saturday’s far more low-key, family-based afternoon session (with interactive events from Beano Studios and Abertay University), the musical focus was on Dundee itself, including the soulful dream-pop of St Martiins; Andrew Wasylyk’s elegant, baroque songwriting; sometime View frontman Kyle Falconer’s more downhome solo set; and Be Charlotte once more. The afternoon – and the weekend’s entertainment – ended with a poignant set from Gary Clark, former frontman of Dundonian group Danny Wilson, who paid respect to son of the city Michael Marra and closed with his old band’s Mary’s Prayer, backed by community choir Sistema. - David Pollock

" ,"byline": {"email": "" ,"author": ""} ,"topImages": [ {"image": {"url":"/webimage/1.4800949.1537176248!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4800949.1537176248!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Bobby Gillespie performing at the 3D festival at Slessor Gardens in Dundee PIC: Andrew Milligan/PA Wire","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Bobby Gillespie performing at the 3D festival at Slessor Gardens in Dundee PIC: Andrew Milligan/PA Wire","landscapeurl":"/webimage/1.4800949.1537176248!/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/dundee-s-main-theatre-company-launches-search-for-a-new-home-1-4800680","id":"1.4800680","articleHeadline": "Dundee’s main theatre company launches search for a new home","commentCount":0,"publishedDate":1537091295000 ,"articleLead": "

Dundee’s long-established theatre company is set to launch a search for a new home in the wake of the city’s V&A museum opening.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4800679.1537091292!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Artistic director Andrew Panton. Picture: Contributed"} ,"articleBody": "

A long-term aim of a purpose-built venue for the 21st century will be explored during Dundee Rep’s 80th-anniversary year in 2019, its artistic director has revealed.

Andrew Panton, who was appointed in 2016, suggested it had outgrown its existing home, which opened in 1982.

Panton said he would like to kick-start a conversation on whether a brand new theatre should be the next big cultural project for the city.

But he insisted a new home for Dundee Rep, which will celebrate the 20th anniversary of its own full-time ensemble in 2019, did not necessarily have to be built on the waterfront where the V&A has opened.

A key priority will be to make sure a new building can host anything from in-house studio plays and experimental theatre to major touring productions bypassing Dundee at present. It will also have to accommodate the needs of Scottish Dance Theatre, which shares Dundee Rep’s building. Panton said: “It’s really about thinking about what is going to serve this thriving, developing city in the best way in terms of its theatre output. Is it this building? Probably not. We need to think about that.

“Given that 2019 is our 80th anniversary, we’ll certainly be talking about a capital campaign. If the city is looking for another cultural project then the conversation I’d like to have is about whether there is an appetite for a new purpose-built theatre. I wouldn’t say our building is falling to bits, but it does need a lot of work.”

Dundee Rep started life in 1939 when the new company shared an old jute mill with the Dundee Dramatic Society. It was another 40 years before a deal was agreed for a new building on Dundee University land.

However, Panton said Dundee Rep’s seating capacity could potentially more than double from just over 400 to up to 1,000 in a new building.

He said: “We have to work out the business model. Is our building the right capacity? Probably not. Do we need more seats? Probably. Do we need a second space? Definitely. A studio space would allow us to do different kinds of experimental work and more work with young people and vulnerable adults.

“I think we’d be looking at a capacity of between 800 and 1,000, but the idea would be for something really flexible, which we could make into different configurations, which we can’t do just now. You could have a completely flat space with no seats, a single raked seating bank or three or four of them with a stage in the round.

“The city has a clear appetite for theatre, but there is a limit to the size of shows we can put on. We don’t have a way of receiving big tours. People have to go to Aberdeen, Edinburgh and Glasgow to see them. It’s also about having a building that is truly a venue.”

" ,"byline": {"email": "" ,"author": "BRIAN FERGUSON"} ,"topImages": [ {"image": {"url":"/webimage/1.4800679.1537091292!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4800679.1537091292!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Artistic director Andrew Panton. Picture: Contributed","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Artistic director Andrew Panton. Picture: Contributed","landscapeurl":"/webimage/1.4800679.1537091292!/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-scottish-ensemble-pause-glasgow-science-centre-1-4799837","id":"1.4799837","articleHeadline": "Music review: Scottish Ensemble - Pause, Glasgow Science Centre","commentCount":0,"publishedDate":1536987627000 ,"articleLead": "

WHAT a great idea, to present a musical performance, interspersed with musings by a cognitive neuroscientist on how music acts on the brain, within in the steely geometric structure of Glasgow Science Centre.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4799836.1537176368!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "The Scottish Ensemble's musicians are flexible, open-minded virtuosi. Picture: Hugh Carswell"} ,"articleBody": "

Glasgow Science Centre *****

The musicians were the flexible, open-minded virtuosi of the Scottish Ensemble; the scientist, one Dr Guido Orgs; and the programme, devised by Scottish Ensemble violinist Daniel Pioro, a fascinating potpourri of eccentric styles and thoughtful intrigue.

Orgs’ two short discourses were delightful in their intellectual simplicity – basic questions, straightforward answers. Around those and other complementary verbal considerations by director Jonathan Morton and Pioro, the Ensemble’s performances were though-provoking, atmospheric and remarkably decent-sounding for such an unconventional venue.

At one end of the chronology was Biber’s thoroughly quirky first Rosary Sonata and Handel’s silvery Sonata in D, both delivered with stylistic grace. Everything else was of more recent parentage, from John Cage’s seminal 1950s statement on silence, 4’33”, to the reflective nostalgia– Bach’s Passion Chorale seeped in a wash of contemporary haze – of Caroline Shaw’s Punctum.

Pioro’s own enthusiasms shone through, often in feats of violinistic brilliance. The relentless energy of Glass’ Knee Play 2 was electrifying, and Pioro’s brace of arrangements exploring the “divine” – a stirring Raga and a sublime meditation on the ancient hymn Veni Creator Spiritus – were delicious moments.

Pauline Oliveros’ 70 Chords for Terry was a fiery stimulant for the senses, Sørensen’s Shine you no more a dazzling folk inspired finale. Much to think about, loads to enjoy. - KEN WALTON

" ,"byline": {"email": "" ,"author": "Ken Walton"} ,"topImages": [ {"image": {"url":"/webimage/1.4799836.1537176368!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4799836.1537176368!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "The Scottish Ensemble's musicians are flexible, open-minded virtuosi. Picture: Hugh Carswell","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "The Scottish Ensemble's musicians are flexible, open-minded virtuosi. Picture: Hugh Carswell","landscapeurl":"/webimage/1.4799836.1537176368!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} ]}}} ]}