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GLASGOW & EDINBURGH EVENTS GUIDE 1 FEB–31 MAR 2019 | ISSUE 752 LIST.CO.UK

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RAVE ON

THE 90S SPIRIT IS RESURRECTED AS JD TWITCH SCORES GFF CLOSING MOVIE BEATS

PLUS

GLASGOW COMEDY FESTIVAL

LET THE LAUGHTER BEGIN

MANIPULATE

BRIAN COX

FEAST OF VISUAL THEATRE RETURNS

ROCK STAR PHYSICIST CHARMS GLASGOW

Janáček

Kátya Kabanová A heart torn between duty and desire

THEATRE ROYAL

GLASGOW 12 • 14 • 16 MAR

FESTIVAL THEATRE

EDINBURGH 21 & 23 MAR

A new co-production with Theater Magdeburg | Sung in Czech with English supertitles Supported by The Alexander Gibson Circle

scottishopera.org.uk Registered in Scotland Number SC037531 Scottish Charity Number SC019787

CONTENTS 1 FEB–31 MAR 2019 | LIST.CO.UK

G

lasgow Film Festival's gone a wee bit techno for 2019, and we're very into it. With the adaptation of Kieran Hurley's Beats set to close the festival, JD Twitch tells us about the music behind the coming-of-age 90s rave film, as well as his brand new label (page 18).

Turn to page 18 for all our GFF coverage, which includes interviews with Jonah Hill (page 24) and Stephen Merchant (page 22), as well as info about all the special events taking place this year (page 63).

Elsewhere in the city, there's the Glasgow International Comedy Festival which features appearances from Garrett Millerick (page 32) and GrĂĄinne Maguire (page 34). Plus, Professor Brian Cox stops by the Hydro (page 42), and Aye Write! (page 55) and the Glasgow Short Film Festival (page 27) are back in town.

Edinburgh's got some pretty great stuff going on too with the new Robots exhibition at the National Museum of Scotland (page 53), Puppet Animation Scotland's annual manipulate festival (page 38), the Warhol & Paolozzi retrospective at Modern 2 (page 100) and the world premiere of BalletBoyz's Them/Us (page 94).

Neo-classical wunderkind Nils Frahm is back on tour with a new set of shows, which take him to both Edinburgh and Glasgow this month (page 76). Other musical highlights include the new Hebridean Dark Skies Festival in Lewis (page 36), the return of Polish metal band Behemoth (page 79) and excellent releases by Angel-Ho, Mercury Rev and Andrew Wasylyk (page 82).

Soon, we'll be looking forward to the spring and summer festival season, which may seem hard to picture right now but it's coming! Until then, stay cosy and enjoy the months ahead.

FRONT Realist

4

News

13

Edinburgh Iranian Festival

17

FEATURES

COVER STORY

GLASGOW FILM FESTIVAL The eyes of the movie world turn to Glasgow once again as the city's film festival delivers 12 days and nights of top-flight cinema. The 1990s gets a special airing through both the opening and closing movies: Mid90s is Jonah Hill's directorial debut while Beats brings Kieran Hurley's play about Scotland's rave culture to the big screen. And for those who like their movie experiences a bit titchier, we also take a wee look at the Short Film Festival.

PHOTO: IDIL SUKAN

30

42

18

Glasgow Comedy Festival

30

Manipulate

38

FOOD & DRINK

BRIAN COX

Once the city's festival film fun is done, the laughter gas gets released over Glasgow crowds with the likes of Reginald D Hunter, Julian Clary, Des Clarke, Lolly Adefope, Larry Dean and Janey Godley doing their comedy thing.

Oldham's former keys man for 90s popsters D:Ream gets set to bring his popular science rollercoaster to the Hydro. The good professor tells us that you don't have to be a 'weird boffin' to get ahead in the world of particle physics.

47

Southside Scran

48

AROUND TOWN Robots

BOOKS

GREAT OFFERS

10 Win tickets to Robots at the National Museum of Scotland

10 Win tickets to Edinburgh Science Festival: Cheeseology 4.0

53 53

55

Aye Write!

55

Samanta Schweblin

56

Nadine Aisha Jassat

56

COMEDY John-Luke Roberts

58 58

Roast of Glasgow

59

Lou Sanders

60

63

Green Book

65

Can You Ever Forgive Me?

66

Capernaum

67

Ray & Liz

68

KIDS

71

First Steps

71

The Singing Mermaid

72

MUSIC

75

Big Joanie

75

Nils Frahm

76

Behemoth

79

Holy Holy

80

Angel-Ho

82

89

Birmingham Royal Ballet

89

Touching the Void

90

A Play, A Pie and A Pint

92

BalletBoyz

94

TELEVISION The Umbrella Academy

VISUAL ART Andy Warhol & Eduardo Paolozzi Margaret Tait

10 Win a family ticket to Kelburn Garden Party

47

The Lookout

THEATRE & DANCE

GLASGOW COMEDY FESTIVAL

18

Glasgow Film Festival

FILM

Editor

2

FIRST & LAST Nish Kumar

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99 99 100

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GRAPHIC CONTENT

CONTRIBUTORS

What we’ve been talking about With Glasgow hosting international festivals in both film and comedy over the next two months, it seems almost silly not to ask people what their favourite comedy film is. From the evidence below, it seems that the Americans have always known their way round a good mirthful movie.

The Big Lebowski. For Donny.

For Walter. For introducing me to White Russians as a student.

For Jesus. For making me laugh so loudly in the cinema that I completely embarrassed the girl who I was with on a first date.

For the rug. Most of all for Jeff Bridges. Am I wrong? Am I wrong here?

Groundhog Day is a film I can watch over and over again. A perfect script, great direction from the late Harold Ramis, and Bill Murray’s finest performance. Not even Andie MacDowell can ruin it.

Rosencrantz and Guildenstern Are Dead with freshfaced Gary Oldman and Tim Roth doing Tom Stoppard’s play amazingly well (they should have done more comedy). It’s way funnier than merely the clever literary chuckles.

The Princess Bride is a fun and brilliant (thanks to writer William Goldman) fairytale that can make adults feel like kids again.

The Wicker Man. That was a comedy, right?

Ace Ventura: Pet Detective has comedy genius Jim Carrey who most of us hadn’t seen before this, and it’s utterly unforgettable.

¡Three Amigos! has a plethora of great jokes.

I’m a sucker for Ghostbusters and always will be. There are the amazing performances via the ‘pest control’ ghost-hunter team of Bill Murray, Harold Ramis, Dan Aykroyd and Ernie Hudson, the Stay Puft Marshmallow Man being blown up, endlessly quotable dialogue and of course, all the slimy special effects!

2 THE LIST 1 Feb–31 Mar 2019

I’ve got to say Kubrick’s Dr Strangelove for blending the absurd with reality and for lines like ‘Gentlemen, you can’t fight in here! This is the War Room!’

Hot Fuzz is spoofy, silly, British goodness.

Want anything from the shop?

His Girl Friday by Howard Hawks, starring Cary Grant and Rosalind Russell is a martial arts movie with dialogue instead of combat. When Russell decided that Grant had more good lines, she hired a guy to write more for her, and since Hawks thought she was ad-libbing he was fine with it. Grant, for his part, was delighted and took it as a challenge.

My shortlist was almost all comedies from the 80s, but none made me laugh and cry more than Planes, Trains and Automobiles.

Also, John Candy really was the greatest.

This Is Spinal Tap has so many great lines, almost too many to quote. If you haven’t seen it, then ‘It’s one louder isn’t it? . . . these go to 11’ will mean nothing.

Trust me, it’s a work of genius.

CONTENT Editor Arusa Qureshi Head of Digital Media Scott Henderson Content Manager Murray Robertson Senior Content Producer Alex Johnston Content Producers Deborah Chu, Katharine Gemmell, Sofia Matias Subeditors Brian Donaldson, Paul McLean SECTION EDITORS Books Lynsey May Comedy / Front Brian Donaldson Dance / Kids Kelly Apter Film Reviews Emma Simmonds Food & Drink Donald Reid Music: Gigs / TV Henry Northmore Music: New Releases Arusa Qureshi News Katharine Gemmell Theatre Gareth K Vile Visual Art Rachael Cloughton PRODUCTION Senior Designer Lucy Munro Designers Stuart Polson, Seonaid Rafferty DIGITAL Senior Developer Andy Carmichael Senior Designer Sharon Irish Data Developers Andy Bowles, Alan Miller, Stuart Moir COMMERCIAL Digital Business Development Director Brendan Miles Partnership Director Sheri Friers Senior Events and Promotions Manager Rachel Cree Senior Account Managers Ross Foley, Debbie Thomson Account Managers Jen Lubbers, Jakob Van den Berg Ad Ops Executive Victoria Parker Affiliate Content Executive Becki Crossley Events and Promotions Assistant Amy Clark ADMINISTRATION Head of Accounting & HR Sarah Reddie Director Robin Hodge CEO Simon Dessain Published by The List Ltd HEAD OFFICE: 14 High Street, Edinburgh EH1 1TE Tel: 0131 550 3050 editor@list.co.uk GLASGOW OFFICE: at the CCA, 350 Sauchiehall Street, Glasgow G2 3JD Tel: 0141 332 9929, glasgow@list.co.uk; list.co.uk ISSN: 0959 - 1915 © 2019 The List Ltd. Reproduction in whole or in part is forbidden without the written permission of the publishers. The List does not accept responsibility for unsolicited material.

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ENJOY IT ICE COLD

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22/01/2019 10:06

The

REALIST Y R A U R B E F

2 MANIPULATE THEATRE

Another global feast of visual theatre and animated film comes to the Traverse with work by artists and filmmakers from the likes of Canada, Colombia, Russia, the US and Hungary being displayed. See feature, page 38. Traverse Theatre, Edinburgh, Sat 2–Tue 12 Feb.

PHOTO: HUGO GLENDINNING

1 GLASGOW FILM FESTIVAL FILM

Glasgow puts out the red carpet for another bonanza of classic movies, new releases and special strands.

The opening film is Mid90s (pictured) as Jonah Hill makes his directorial debut, while the festival is closed

by Beats, a Stephen Soderbergh-produced adaptation of Kieran Hurley’s play set to the backdrop of Scotland’s 90s rave scene. Along the way are anniversary tributes to Alien and The Matrix, and scary movies with FrightFest. See feature, page 18. Various venues, Glasgow, Wed 20 Feb–Sun 3 Mar.

4 THE LIST 1 Feb–31 Mar 2019

3 BALLETBOYZ DANCE

William Trevitt and Michael Nunn bestow a world premiere upon Scotland with Them, which is accompanied by the Christopher Wheeldonchoreographed Us from 2017. See preview, page 94. Edinburgh Festival Theatre, Sat 23 Feb.

So much culture, so little time.

COMEDY

PHOTO: ALEXANDER SCHNEIDER

PHOTO: IDIL SUKAN

4 NISH KUMAR

5 NILS FRAHM MUSIC

With It’s in Your Nature to Destroy Yourselves, the acclaimed comic puts on another masterclass of political humour laced with devastating self-mockery.

See First & Last, page 104. Alhambra, Dunfermline, Fri 8 Feb; Pavilion Theatre, Glasgow, Sat 9 Feb; Royal Lyceum Theatre, Edinburgh, Sun 10 Feb.

The Hamburg neo-classical composer takes to the road with his everburgeoning fanbase getting very excited about hearing tunes from All Melody on the live stage. See feature, page 76. Clyde Auditorium, Glasgow, Mon 18 Feb; Usher Hall, Edinburgh, Tue 19 Feb.

PHOTO: © TRUSTEES OF THE PAOLOZZI FOUNDATION, LICENSED BY DACS 2018

6 BRIAN COX

AROUND TOWN

The man tipped to take on the David Attenborough mantle one day brings us another blizzard of images and ideas as he delivers more popular science to the masses.

Particle physics may well be the new rock’n’roll. See feature, page 42.

SSE Hydro, Glasgow, Tue 19 Feb.

WARHOL & 7 ANDY EDUARDO PAOLOZZI VISUAL ART

I want to be a machine features work from Pittsburgh icon Warhol and Leith legend Paolozzi, showing how they captured images from ads and photographs. See review, page 99.

Scottish National Gallery of Modern Art, Edinburgh, until Sun 2 Jun.

8 LITTLE GIFT KIDS

Kids’ theatre veterans Andy Manley and Shona Reppe team up once again to tell the story of Ted, a lonely man whose life is transformed when he meets a new pal. See preview, page 72. Platform, Glasgow, Wed 13 Feb; Traverse Theatre, Edinburgh, Fri 15 & Sat 16 Feb.

9 THE UMBRELLA ACADEMY TV

Starring the likes of Ellen Page, Mary J Blige and Tom Hopper, this is Netflix’s latest slice of superhero drama in which a group of highly powered child prodigies gather up later in life to seek justice for their dead adoptive dad.

See review, page 96. Netflix from Fri 15 Feb.

10 THE HOLISTIC WAYS FESTIVAL

CHOSEN BY COMEDIAN AND ACTRESS RACHEL JACKSON

Tickets for the Holistic Ways Festival at the Corn Exchange are under a fiver and it promises complementary therapies, free talks, workshops and stage performances. All good stuff for the body and mind. I spend all my money on massages and personal health care.

My onstage persona is quite rock’n’roll and offstage I’m drinking almond milk tea and rubbing peppermint oil into my temples.

Anything to keep the madness at bay, eh? My boyfriend calls me a wanker for liking stuff like this but I think taking care of your body and mind is pretty much the smartest thing you can do in life so a wee day to celebrate that has my vote. Hopefully see you there.

Rachel Jackson & Friends, Tron Theatre, Glasgow, Wed 27 Feb, Wed 27 Mar; Rachel Jackson: Slutty Little Goldfish, Blackfriars, Glasgow, Sun 24 Mar; Jackson also appears in Beats which closes the Glasgow Film Festival, GFT, Sun 3 Mar; The Holistic Ways Festival, Corn Exchange, Sun 24 Feb. 1 Feb–31 Mar 2019 THE LIST 5

PHOTO: MATT CROCKETT

H C R MA

COMEDY 1 GLASGOW FESTIVAL COMEDY

The West reverberates to the sound of raucous laughter for a couple of weeks, as comedians both national and international head to Glasgow. Among the ludicrously large number of highlights are big names such as Reginald D Hunter, Michelle McManus, Rich Hall, Jasper Carrot, Julian Clary and Elaine C Smith, while the next generation of superstars is represented by the likes of Larry Dean, Lou Sanders, Gráinne Maguire, Christopher MacarthurBoyd, Lolly Adefope (pictured), Alfie Brown and Catherine Bohart. See feature, page 30. Various venues, Glasgow, Thu 14– Sun 31 Mar.

2 MATTHEW BOURNE’S SWAN LAKE

3 AYE WRITE!

Over 20 years on from the first performance of Matthew Bourne’s reworking of the classical ballet, audiences are still flocking to see the drama, excitement and sadness of Swan Lake. ‘The Legend Returns’ proclaim the posters and it’s impossible to argue with that sentiment. See review, page 94. King’s Theatre, Glasgow, Tue 5–Sat 9 Mar.

A fine collection of writers, thinkers, musicians, bloggers, comics artists and poets is gathered up once again for Glasgow’s official book festival with the diverse likes of Louis de Bernières, Frank Turner, Tracey Thorn, Gina Miller, Alexander McCall Smith and Lionel Shriver all in town. See preview, page 55. Various venues, Glasgow, Thu 14–Sun 31 Mar.

DANCE

6 THE LIST 1 Feb–31 Mar 2019

BOOKS

The

REALIST PHOTO: CAMILLA GREENWELL

4 GLASGOW SHORT FILM FESTIVAL 5 DRESSED. FILM

THEATRE

STEPS: 6 FIRST BEAUTY AND THE BEAST KIDS

A successful run at last year’s Edinburgh Fringe is followed by a national tour for a tough drama which shows how one woman coped in the aftermath of a sexual assault. See preview, page 93. Tron Theatre, Glasgow, Thu 14–Sat 16 Mar; Traverse Theatre, Edinburgh, Thu 11–Sat 13 Apr.

Birmingham Royal Ballet strip back their version of the classic fairytale to one hour, just the right length of time to keep the little ones enthralled by Belle’s adventures with the Beast. See preview, page 71. Edinburgh Festival Theatre, Fri 15 Mar.

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9 SAMANTA SCHWEBLIN

PHOTO: ALEJANDRA LOÃÅPEZ

The 12th edition of the largest competitive short film festival in Scotland arrives with another cracking line-up of works in a very diverse array of style and content. Ditch your expectations of what cinema does and head down there. See feature, page 27. GFT, Glasgow, Wed 13–Sun 17 Mar.

FILM

RAY & LIZ

Artist Richard Billingham keeps things close to home with his debut feature film which bleakly explores the lives of his mum and dad as they tried to make ends meet and keep themselves sane in 80s Britain. See review, page 68. Selected release from Fri 8 Mar.

VISUAL ART

BOOKS

THE GERMAN REVOLUTION

A total of 75 Expressionist pieces from the early 20th century fill the Hunterian, featuring work by the likes of Oskar Kokoschka, Käthe Kollwitz (pictured), Max Beckmann and George Grosz. See preview, page 100. Hunterian Art Gallery, Glasgow, Fri 1 Mar–Sun 25 Aug.

On the back of a recent Booker International shortlisting, Argentine writer Schweblin reissues Mouthful of Birds, her dazzling and dream-like short story collection from 2010, featuring expert translation from Megan McDowell. See review, page 56. Oneworld, out now.

10 FREYA RIDINGS

CHOSEN BY AUTHOR PM FREESTONE

My writing process starts with music, seeking the perfect soundtrack to delve into a story’s emotional core. It was while I was drafting my YA fantasy novel Shadowscent, that I discovered singer-songwriter Freya Ridings. You may not have heard of her. That’ll soon change. Ridings’ vocals are by turns powerful and ethereal, inviting Florence Welch comparisons.

There’s also an epic Florence-esque glory to some of her piano-led arrangements, while others bring a quieter melancholy. Her debut single ‘Lost Without You’ peaked at number nine in the UK singles charts last October and, with two live albums now under her belt, she’s preparing to release an eponymous studio album. If the live recordings are anything to go by, she puts on an incredible show. And it’s likely to be one of the last times you’ll get to see her for just £15.

PM Freestone: Shadowscent – The Darkest Bloom is published by Scholastic, Thu 7 Feb; the book is launched at Waterstones, Edinburgh, Fri 8 Feb; Freya Ridings, Old Fruitmarket, Glasgow, Mon 4 Mar. PM FREESTONE PHOTO: JOSEPHINE TENG

1 Feb–31 Mar 2019 THE LIST 7

GLEN’S G GET YOUR COAT.

AN EVENING WITH ALASKA

WANNABE: THE SPICE GIRLS SHOW

GLEN’S STRAWBERRY DAIQUIRI Glen’s Vodka – 1.5 shots Fresh lime juice – 1 shot Strawberry liqueur – half shot Sugar syrup – half shot Fresh strawberries – 4 Ice cubes

EDINBURGH Edinburgh Playhouse, Sat 30 Mar, 7.30pm, £13–£36 If what you want, what you really, really want is a girl power night out, then Wannabe: The Spice Girls Show can certainly deliver, as they cover all the hits by the biggest girl band of all time.

GLASGOW INTERNATIONAL COMEDY FESTIVAL GLASGOW Various venues, Thu 14–Sun 31 Mar, times vary, prices vary The best of the best comedic talent from all over the UK and abroad bring their funny to Glasgow. 2019’s line-up includes Reginald D Hunter, Foil, Arms & Hog, Elaine C Smith, Larry Dean and Des Clarke.

EDINBURGH La Belle Angèle, Tue 19 Feb, 7pm, £22 RuPaul’s Drag Race season five runnerup and RuPaul’s Drag Race All Stars season two winner Alaska says ‘hieeee’ to audiences this side of the pond. Her one-woman show features comedy, live music, Q&As and much more.

CRAIG HILL: C’MON THE LADS! GLASGOW Òran Mór, Fri 15 & Sat 16 Mar, 7.30pm, £19.25 (£17.60) Edinburgh Festival Fringe favourite and audience interaction expert Craig Hill tours his popular show C’mon the Lads.

It might not really be about football, but sharp wit and hilarious improv are guaranteed.

ANTI-VALENTINES DAY EDINBURGH The Stand, Wed 13 Feb, 8.30pm, £6 (£5) Can’t stand the lovey-dovey mood of Valentine’s Day? Are you coupled,

Muddle three fresh strawberries and add to a shaker. Pour in your Glen’s, strawberry liqueur and lime juice. Fill with ice cubes.

Shake! Strain into a cocktail glass and garnish with a fresh strawberry. Sip and enjoy! Pre-drinks? Easy.

Please enjoy responsibly

8 THE LIST 1 Feb–31 Mar 2019

but disapprove of the commercial holiday? Come laugh it off with a line-up of comedians. Also at The Stand, Glasgow, Wed 13 Feb, 8.30pm, £6 (£5).

S GUIDE

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YOU’RE GOING OUT OUT! We’re all about the good times. So, we’ve joined forces with The List to bring you Glen’s Guide — our pick of the very best events happening across Scotland. From tribute acts to drag acts, musicals to comedies . . . there’s something for everyone.

Whether it’s date night, mum’s birthday, or you’re just looking to brighten up those rainy days, Glen’s got you covered.

COMEDIAN RAP BATTLE GLASGOW The Stand, Wed 6 Feb, Wed 6 Mar, 8.30pm, £6 (£4) Rap and comedy come together at The Stand every month as some of the UK’s best comedians battle it out for some valuable street cred in this Wee Man and Ro Campbell original format.

The Pub Landlord tours his first live show since his 2016 hit Let’s Go Backwards Together, exploring the ‘majesty of our green and pleasant land’. Also at The Stand, Glasgow, Thu 28 Mar, 9.30pm, £16.50.

ED GAMBLE: BLIZZARD EDINBURGH The Stand, Wed 13 Mar, 8.30pm, £13 Mock the Week regular and The Peacock and Gamble Podcast co-presenter Ed Gamble tours his newest ‘flurry of idiocy’.

In his fifth original hour, Ed discusses struggling with his identity and being conned by a guide dog.

ANDREW MAXWELL GLASGOW The Stand, Sat 23 Mar, 7pm, £15.40 The Irish award-winning stand-up comedian (and narrator of MTV’s hit reality tv series Ex on the Beach) tours his newest hour. Also at The Stand (Edinburgh), Sun 24 Mar, 8.30pm, £15.40.

BENIDORM GLASGOW King’s Theatre, Mon 4–Sat 9 Feb, times vary, £19.50–£56.50 Your favourite staff and guests from the Solana take to the stage. The ITV award-winning comedy series has its theatrical debut with a massive UK and Ireland tour, in celebration of a decade of laughter.

AL MURRAY: LANDLORD OF HOPE AND GLORY EDINBURGH The Stand, Wed 27 Mar, 8.30pm (£15)

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@glensvodkaLLG 1 Feb–31 Mar 2019 THE LIST 9

READER OFFERS WIN TICKETS TO EDINBURGH SCIENCE FESTIVAL: CHEESEOLOGY 4.0 The List are partnering up with Edinburgh Science Festival to offer you a pair of tickets to their popular Cheeseology 4.0 event.

Join Edinburgh Science Festival this April and explore the importance of science in the most delicious way possible. Cheeseology 4.0 examines the science behind the production of this fascinating food. Hosted by dairy technologist Paul Thomas and journalist and cheese expert Patrick McGuigan, Cheeseology combines a tutored tasting of some of Europe’s finest cheeses with an explanation of the factors influencing texture and flavour development in each variety.

To be in with a chance of winning, simply log onto list.co.uk/offers and tell us:

Who will be hosting Cheeseology 4.0?

Edinburgh Science Festival: Cheeseology 4.0 Sat 6 (8pm) and Sun 7 (2pm) Apr 2019 Pleasance Upper Hall 60 Pleasance Edinburgh EH8 9TJ

sciencefestival.co.uk TERMS & CONDITIONS: Competition closes Fri 1 Mar 2019. No cash alternative. The List’s usual rules apply.

WIN TICKETS TO ROBOTS AT THE NATIONAL MUSEUM OF SCOTLAND The List have teamed up with the National Museum of Scotland to offer you the chance to win one of three pairs of tickets to the new blockbuster exhibition, Robots.

WIN A FAMILY TICKET TO KELBURN GARDEN PARTY 2019 The List have partnered up with Kelburn Garden Party to offer you the chance to win the ideal family weekend.

See early clockwork machines, a modern recreation of renowned British robot Eric, and stars of the silver screen including a T-800 endoskeleton used in the movie Terminator Salvation and a replica of Maria from the iconic 1927 film Metropolis.

Set around the 13th century Kelburn Castle, Kelburn Garden Party is a festival known for their diverse musical lineup and range of additional attractions such as interactive art installations, living theatre, cabaret, pop-up parties and the Neverending Glen, just to name a few. With dedicated kids areas and activities, such as adventure assault courses to secret woodland trails, kids will have a weekend they won’t forget.

Developed by the Science Museum.

Supported by players of People’s Postcode Lottery.

It’s a cultural safari for the mind, body soul and quite frankly unmissable for the serious festival-goer, young and old.

To be in with a chance of winning, just log onto list.co.uk/offers and tell us:

To be in with a chance of winning, simply log onto list.co.uk/offers and tell us:

From early mechanised human forms to today’s cutting-edge technology, Robots reveals our 500-year quest to make machines human.

In what year was Fritz Lang’s iconic film Metropolis released?

Robots Until Sun 5 May 2019 National Museum of Scotland Chambers Street Edinburgh EH1 1JF

nms.ac.uk/robots TERMS & CONDITIONS: Competition closes Sun 31 Mar 2019. Each winner will be allocated two adult tickets for use until Sun 5 May 2019. No cash alternative. The List’s usual rules apply.

Image © The Board of Trustees of the Science Museum.

10 THE LIST 1 Feb–31 Mar 2019

What is the name of the interactive art trail that rises through the woods above Kelburn Castle at the festival?

Kelburn Garden Party Fri 5 - Mon 8 Jul 2019 Kelburn Castle Largs KA29 0BE

kelburngardenparty.com TERMS & CONDITIONS: Competition closes Fri 15 March 2019. Prize is two adult tickets and two kid tickets. ‘Kids’ are considered 12 years and under. The List’s usual rules apply.

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NEWS

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Announcements, line-ups and opinion SUMMER NIGHTS AWAIT This year’s Summer Nights at the Bandstand lineup has just been announced and it’s a doozy. The programme includes the likes of Teenage Fanclub (Tue 30 Jul), Father John Misty (Fri 2 Aug) and two consecutive nights from The National (Tue 6 & Wed 7 Aug). Other acts confirmed are Burt Bacharach (Fri 26 Jul), Caro Emerald (Sat 27 Jul), Suede (Wed 31 Jul), Patti Smith and her Band (Thu 1 Aug), The Human League (Sat 3 Aug), Echo & the Bunnymen (Thu 8 Aug), Bloc Party (Fri 9 Aug) and a full band show from Hue & Cry (Sat 10 Aug).

GLASGOW GETS ROOTIN’-TOOTIN’

Still Game

Some of the biggest names in country music descend on Glasgow’s SSE Hydro in March for three whole days (Fri 8–Sun 10 Mar) of performances as part of C2C: Country to Country 2019. Chris Stapleton, Keith Urban and Lady Antebellum will headline each night respectively, plus the likes of Lyle Lovett, Brett Eldredge, Hunter Hayes and many more. Make sure you don’t forget your cowboy boots.

SCOTLAND’S TV SAGA With the call for a second film and TV studio in Scotland heard loud and clear last year, and Screen Scotland tasked with the project, it was disappointing when plans for a site near Edinburgh fell through because of land disputes. However, a new deal is now in the works with a spot near Dalkeith Country Park chosen. The studio, which would feature nine sound stages across 48 acres, would be a welcome addition to the film and TV industry and economy.

BBC SCOTLAND DEBUTS

Lady Antebellum

The new BBC Scotland TV channel finally debuts on Sunday 24 Feb, after being announced by the BBC’s director-general back in 2017. The channel, which will broadcast from 7pm until midnight, has a clear aim to reflect on Scottish life and has announced some solidly Scottish content like the last-ever series of Still Game and a documentary featuring Scots YouTuber Jamie Genevieve.

WIDE DAYS GETS WIDER Scotland’s Music Convention is celebrating ten years of existence by offering an expanded programme with even more networking opportunities and pre-event activities. On top of that, live music will be specially curated by three Scottish festivals in different venues.

Wide Days takes place from Thu 11–Sat 13 April and will include a special focus on music publishing, its popular feedback panel A&R You Brave Enough and music business education programme CMU:DIY.

GLEE CLUB OPENS GLASGOW VENUE

Summer Nights

The Glee Club launches a brand new comedy club in Glasgow in February, making it the biggest in the city with a 400-seat capacity. The club, on Renfrew Street, is the only comedy club located in the city centre.

Check out the launch nights on Fri 1 & Sat 2 Feb with Gary Little, Geoff Norcott, Jay Lafferty and a very special guest. The Glee also has venues in Birmingham, Oxford, Nottingham and Cardiff.

1 Feb–31 Mar 2019 THE LIST 13

NEWS HITTING THE RIGHT NOTE Katharine Gemmell discovers a Glasgow record label putting their money where their mouth is to make a real difference on International Women’s Day

COMING UP

HEBRIDEAN DARK SKIES FESTIVAL An ambitious programme features stargazing events, workshops and talks led by leading scientists, as well as film, music and theatre, all located on the Isle of Lewis, which has some of the darkest skies in the UK and is one of the best places in the country to see the Aurora Borealis.

See feature, page 36. Various venues, Isle of Lewis, Fri 8–Mon 21 Feb.

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arch 8 marks International Women’s Day, an important commemoration of the movement for women’s rights that honours their achievements and stands as a reminder that the world remains gender imbalanced. In recent years, IWD has become increasingly blighted by marketers who use the day for faux activism, usually to sell a product, reducing the day’s importance to a feed of half-hearted hashtags and affiliate links.

However, beneath the white noise of meaningless campaigns are well-intentioned initiatives using the day as ammunition to do some real good. Enter Glasgow’s Double A-Side Records, a tiny record label that is releasing an all-women compilation for IWD, with all proceeds going to Glasgow and Clyde Rape Crisis.

The record label’s first compilation release, Play It Like a Woman features ten diverse tracks from women artists based in or connected to Scotland.

Among those featured are Carla J Easton’s ‘Girl From Before’, Hairband’s ‘Sassy Moon’ and Law Holt’s ‘Hustle’, with further contributions from Lunir, Martha Ffion, L-space, Curdle, Life Model, Lou Mclean and Jo Foster.

Alicja Tokarska and Angus Lawson, co-founders of the label, list three main motivations behind the project: to raise awareness of the scale of gendered violence, to question the underrepresentation of women in the music industry, and ‘to show the middle finger to the patriarchy’. Alicja explains: ‘It’s unbelievable how many women experience

14 THE LIST 1 Feb–31 Mar 2019

DUNDEE WOMEN’S FESTIVAL Celebrating International Women’s Day (Fri 8 Mar) with almost three weeks of events, drama, discussions, workshops and community integration. The theme for 2019 is ‘Hear Women’s Voices’.

Various venues, Dundee, Sat 2–Sat 16 Mar.

gendered violence each year, both in Scotland and worldwide. There needs to be a drastic change of policies around this issue, including educating young people about consent. We hope that one day the need for organisations like Rape Crisis will cease to exist but, unfortunately, all we can do today is support the cause and their great work.’

On the topic of under-representation in the music business in Scotland, she says: ‘There are countless talented women in the music business in Scotland, which made choosing artists for the project extremely difficult, and it still feels that promoters don’t seem to see that. We want to continue the conversation and show that there is so much choice when it comes to incredible women in the industry.’

Alicja and Angus started Double A-Side Records in their living room in 2017 with the desire to promote local artists while giving them a fair contract. So far, the label has released two LPs, one from Edinburgh multi-instrumentalist Barbe Rousse, and a double single from Home Economics and Life Model.

The Play It Like a Woman compilation will be released digitally and on a playful purple-coloured vinyl on Friday 8 March, with an all-day launch party at The Glad Cafe on Saturday 9 March. The launch will feature live performances from acts featured on the record and friends of the label. All proceeds from the launch gig will also go towards Glasgow and Clyde Rape Crisis.

To find out more and to buy the record, go to doubleasiderecords.com

ABERDEEN JAZZ FESTIVAL Musicians and performers descend on the Granite City for a few days of jazz and blues, with everything from jamming and workshops, to chilled out gigs on the green and late-night sessions. Various venues, Aberdeen, Thu 21–Sun 31 Mar. PUPPET ANIMATION FESTIVAL The Puppet Animation Festival is the UK’s oldest and largest performing arts event for children, attracting over 16,000 children and their families to performances and workshops throughout Scotland, provided by leading puppetry companies from the UK, Europe and the rest of the world. Various venues, Scotland, Sat 30 Mar–Wed 20 Apr. COUNTERFLOWS A festival of underground, experimental and international music, Counterflows marries the local to the international with artists from around the world collaborating with homegrown talent in spaces across Glasgow.

The line-up features Humming Dog, Triple Negative, Sholto Dobie and many more. Various venues, Glasgow, Wed 4–Sat 7 Apr.

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BIG PICTURE

EDINBURGH IRANIAN FESTIVAL The Edinburgh Iranian Festival celebrates its tenth year with another bumper display of Middle Eastern culture at its most glorious and diverse. There’s a feast of music, food, fashion, dance, art and poetry, and as ever, an excellent selection of Iranian cinema, both old and new, is laid on at the Filmhouse. The programme includes the likes of 24 Frames, Abbas Kiarostami’s experimental final film before his death in 2016; African Violet, about a married couple who take in the wife’s first husband when it’s clear he’s being abandoned by his children; and Hendi and Hormoz, in which a young teenage relationship attempts to thrive amid the strain of ancient customs.

■ Edinburgh Iranian Festival, various venues, Edinburgh, Fri 1–Sat 9 Mar.

1 Feb–31 Mar 2019 THE LIST 17

w o g s a l G Film al v i t s e F

FIGHT THE POWER 18 THE LIST 1 Feb–31 Mar 2019

Glasgow club legend Keith McIvor talks to David Pollock about creating the score for Beats, a new movie exploring Scotland’s illegal rave scene in the 90s, and why he’s taking a stand against the far right with his new recording venture

‘I

do believe music can change things, or at the very least inspire,’ says Keith McIvor, aka JD Twitch, of Glasgow’s defining club night, DJ duo, alternative electronic label and underground way of life of the last 20 years, Optimo. ‘Music is a powerful force in the world, one that transcends language and comes from a place in the soul.’ He explains this in the context of his new Optimo Music sublabel AF Trax (the ‘AF’ stands for ‘Against Fascism’), but it applies also to the story behind the new film Beats, which he has created the score for. ‘[Beats director] Brian Welsh came to see me play about a year and a half prior to work on the film commencing and we had a brief conversation. I think he had decided there and then that we would work together.’ Welsh’s film – an adaptation of Kieran Hurley’s outstanding stage play – looks at the early 90s’ illegal rave scene in Scotland. Twitch is music supervisor and was the DJ at the rave scene in the film, mixing up classics of the era like Human Resource, Inner City, Model 500 and Ultra-Sonic with Optimo favourites including Liquid Liquid, the Joubert Singers and Vapourspace.

‘Initially I made several mixes and, from those, certain tracks stuck in Brian’s mind,’ he explains when asked about the soundtrack. ‘One whole section of one of those mixes appears in the film almost as I jammed it. But overall, over the course of the production, I must have sent almost one thousand different pieces of music to Brian. So some of it was instinct but a lot of it was lateral thinking and rummaging.’

Despite being given free rein by Welsh to consider different styles for the soundtrack, there was a decision made early on that the mood was more important than historical accuracy with regard to the music, though the majority of music used is of the era. Beats is a story of rebellion and protest, with the film emphasising the feelings of young people grappling with bigger political questions, which is something Twitch’s new label similarly tackles head on.

‘Against Fascism Trax is a record label whose aim is to make a musical and cultural protest in opposition to rising far right politics and ideology,’ he says, ‘and it will also hopefully raise some funds for Hope Not Hate, which campaigns to counter racism and fascism. The moment I realised I wanted to do this was around the time Trump was elected, but it took a lot longer to pull it all together than I had anticipated.

I’m fully aware a small record label is going to make little difference, but doing something has to be better

than doing nothing. I wasn’t prepared to bury my head in the sand and hope this all goes away.’

Three releases are lined up on AF Trax so far, the first from new Glasgow artist Logtoad, aka performance artist, sound designer and DJ Guy Veale. Veale used to play pre-Optimo sessions at McSorley’s bar by the Sub Club, has DJed the club as Guy De Bored, and formerly played bass with Optimo favourites Big Ned as Eggo ‘Bob’ Fludd. His record – which takes in breaks, acid and inventively eclectic techno in the vein of early Aphex Twin – is called ‘Rat Full of Coins Vol.1’, a slogan which may be familiar to Optimogoers.

It’s a long story involving standing on someone’s handbag at the club and imagining he had trampled on a ‘rat full of coins’, a weird sensation which he related to Twitch’s DJ partner Jonnie Wilkes. ‘Jonnie asked me if he could use the expression for one of his infamous slogan posters at the Optimo 20 festival at SWG3,’ says Veale. ‘Poor Twitch spent much of the festival having to tell confused punters that he had no idea what it meant.’

On being the first artist on a label dedicated to opposing the far right, Veale has a quote from George Orwell which he believes sums up the situation: ‘Except for the relatively small number of fascist sympathisers, almost any English person would accept “bully” as a synonym for “fascist”. That is about as near to a definition as this muchabused word has come.’ Veale himself adds: ‘The core of the message here is that being “against fascism” goes way beyond standard dichotomies, and ought to unite huge communities of politically diverse individuals and groups. It’s easy to become frustrated by debates or arguments on social media between people who have way more in common with one another than they do with fascists.

‘There’s a lot of blame and recrimination circulating over positions articulated online, with groupthink crystallising around particular issues and people assessed on such black and white terms that they’re increasingly less inclined to contribute. In my limited bubble of awareness, it seems quite common for principled, passionate commentators to berate those who don’t subscribe to their line of thinking. This tendency won’t win over any floating lurkers, and at worst actually fuels the rise of intolerance.

Meanwhile, trolls and actual fascists are happy to just bask in the acrimony.’

With further AF Trax releases due from Al Jerry and Hot Chip’s Joe Goddard, Twitch says that some of the inspiration came from the Rock Against Racism gigs of his youth, and particularly the work of Crass. He points out the full manifesto for the label is printed on each sleeve, and picks this excerpt as summing it up: ‘We live in an era where talking is

endless, but where actions are harder to find. If AF Trax reaches just one person to make them change their mind over being a supporter of the far right, motivates somebody to work against fascist thinking, informs someone or raises funds – then I will view it as having been a success. Something solid will have been created, we will have done something.’

Beats, meanwhile, enjoys a crossover with the label to the extent that it also explores the intersection between music and politics. ‘Even though my (musical) background is very different,’ says Twitch, ‘the rave scene very much resonated with my experiences in Scotland at the time. I was present when it was filmed, and it felt uncannily like I had been beamed back to the early 1990s. The rave epiphany scene that uses the Vapourspace track is particularly effective, I think it’s my favourite moment in the film. It’s the closest I’ve ever seen any film get to truly showing what those moments could be like.’

Beats is the closing gala of Glasgow Film Festival, GFT, Sun 3 Mar. 1 Feb–31 Mar 2019 THE LIST 19

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ithin the space of a week in August 2007, Glasgow audiences were treated to three extraordinary shows of classic American independent rock, as Louisville, Kentucky’s Slint and New York City’s Sonic Youth both appeared on the stage of the sadly departed ABC on Sauchiehall Street. It was the former group that director Lance Bangs was in Glasgow to work with, but while they were in the city he ended up shooting a film with Sonic Youth, as well; a film documenting the performance in full of their breakthrough fifth album Daydream Nation (1988), which will receive its premiere at this year’s Glasgow Film Festival.

‘When I was a teenager I would see Sonic Youth perform in a venue called City Gardens in Trenton, New Jersey,’ says Bangs of his first interaction with the band, on the phone from Athens, Georgia. ‘I started shooting Super 8 and 16mm films of their shows, and I worked with a lot of acts that were colleagues of theirs, like Nirvana and Pavement. In 1995 they headlined the Lollapalooza festival, and I shot a bunch of footage during that tour.’

Shortly afterwards, the filmmaker Spike Jonze was commissioned to make a music video with Sonic Youth and given access to Bangs’ collection of footage of them. ‘We compiled it together and shared the directing credit on the video for ‘The Diamond Sea’ in 1995. That was very generous of them . . . Prior to that I’d just been a personal filmmaker, making my own films in the early 1990s, and after that I started working professionally in music video and with bands.’

Since then, Bangs has become one of the most prolific makers of music videos, live films and artist documentaries of his time, working with names including REM, Moby, Fatboy Slim, the White Stripes, Arcade Fire, Green Day, Yeah Yeah Yeahs and many others (he’s also an award-winning commercial director). In the meantime, the footage he shot during those two Glasgow shows didn’t so much languish as take a long, steady time to come to fruition.

‘Over the course of their life, Sonic Youth were not a very nostalgic band,’ says Bangs. ‘Generally they would make a new record every year and perform new material, that was the thing they were most interested in, so it was unusual to see them agree to the challenge from Don’t Look Back (a concert

strand of the late All Tomorrow’s Parties festival, which pioneered the trend for bands revisiting classic albums in full) to perform these songs. They had to go back and listen to the original record, to songs that had never really been performed live, and isolate guitar parts on the master tapes in order to relearn them.’

This short run of Daydream Nation dates in 2007 was made even more difficult by the fact that most of their original, customised gear had been stolen from a tour van in California in 1999. ‘It was an album which saw the band playing longer structures with more complicated intros and outros, and interesting lyrics that have some literary, almost science fiction imagery,’ says Bangs. ‘This gave it a landscape of its own, and it was an interesting place to go and spend some time.

The amount of preparation they had to put into playing that material, it focused them to rethink it and take those songs into an interesting format.’

His own involvement with the filming really was just down to the coincidence of being in the same place at the same time, with a local crew quickly engaged for the shoot, although Bangs is no stranger to Glasgow; he’s a friend of Mogwai, has directed videos for Belle & Sebastian, and has visited with his wife Corin Tucker’s band Sleater-Kinney. The delayed completion and release has been partly down to Sonic Youth’s 2011 split (at the same time as Thurston Moore and Kim Gordon, the couple at the centre of the band, separated), but largely down to concern that traditional music DVD outlets like Tower Records appear to be dying out; a streaming release is in the planning.

‘Once we hit the 30th anniversary of the release of Daydream Nation (in 2018), we realised there was interest in showing the footage and traveling around doing these events,’ says Bangs, who will be in Glasgow with the band’s drummer Steve Shelley.

‘We’ve been touring the United States with it, but not playing it in its full form, which we’ve been saving for the Glasgow Film Festival premiere. It’s been a fun way to travel to cities that we enjoy and catch up with people in different areas, and to talk to them and show them what we made.’

Daydream Nation, GFT, Sat 23 Feb; Lance Bangs in Person, GFT, Sun 24 Feb. Part of the Sound & Vision strand of Glasgow Film Festival.

DREAM TI Director Lance Bangs talks to David Pollock about Daydream Nation, his film capturing Sonic Youth’s extraordinary 2007 Glasgow gigs and why it’s taken so long to come to light

20 THE LIST 1 Feb–31 Mar 2019

TICKET

AND THE BAND PLAYED ON Check out more highlights from the festival’s Sound and Vision Strand, celebrating the best in music documentaries and live performance BEING FRANK: THE CHRIS SIEVEY STORY Everyman, Sat 2 Mar, 6pm; CCA, Sun 3 Mar, 2pm CELLIST – THE LEGACY OF GREGOR PIATIGORSKY GFT, Fri 22 Feb, 5.45pm & Sat 23 Feb, 12.35pm HER SMELL GFT, Sun 24 Feb, 8pm JIM GALLOWAY – A JOURNEY IN JAZZ CCA, Thu 21 Feb, 6pm SATAN & ADAM CCA, Thu 21 Feb, 8.45pm & Fri 22 Feb, 1.30pm THE SCIENCE OF GHOSTS CCA, Mon 25 Feb, 8.30pm & Tue 26 Feb, 3pm SUMMER GFT, Fri 1 Mar, 5.45pm & Sat 2 Mar, 3.30pm VISIT∆TIONS PRESENTED

BY LOST MAP The Savings Bank, Sun 24 Feb, 7pm VOX LUX Cineworld, Sat 2 Mar, 8.30pm & Sun 3 Mar, 3.30pm

1 Feb–31 Mar 2019 THE LIST 21

w GlasgoFi lm Festival Stephen Merchant, writer and director of Fighting with My Family, tells Murray Robertson how Dwayne ‘The Rock’ Johnson turned him on to the world of wrestling

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he extraordinary tale of WWE superstar Paige was memorably documented in 2012 Channel 4 documentary The Wrestlers: Fighting with My Family. It’s a fascinating portrait of two generations of professional wrestlers all living in a modest Norwich council house while attempting to break into the lucrative US market. Dwayne Johnson, himself from a family of wrestlers, happened to watch the film while in London, and it stayed with him. A few years later he decided to turn it into a feature.

‘I think there’s probably only one or two English people in his phone: me and Jason Statham,’ explains Stephen Merchant.

‘And Statham he hires when he needs someone shorter than him to pretend to beat up in a film, and he comes to me for everything else.’ Johnson had worked with Merchant on 2010 comedy The Tooth Fairy, and the pair had stayed in touch.

Johnson asked his friend to watch the documentary. ‘I sat down expecting to think, “I don’t care about wrestling, I’m not interested,” and very quickly I was charmed by this family’s story. I found it very moving, particularly the hardships of chasing this wrestling dream.’

And so Merchant wrote and directed Fighting with My Family with the intention of keeping it as authentic as possible.

‘There was a kind of Rocky quality to Paige’s story anyway: the underdog story.’ He auditioned over 60 actors for the lead role before finding his Paige in rising star Florence Pugh. ‘We needed someone who had the physicality and the charisma so that you believe she could become a star in that world. But we also needed someone who could power the movie and carry it on her own shoulders. It wasn’t an easy role to cast, or to play.’

Pugh was sent to the US for weeks of physical training at the

same Florida facility where Paige had trained. ‘On day five of our shooting schedule, Florence had to walk out in front of 20,000 real-life wrestling fans at the Staples Centre in LA to recreate one of Paige’s matches, and I was terrified for her. But she had nerves of steel – or she just sucked it up – and she went out there and was kind of incredible.’

Although Merchant has spent plenty of time behind the camera as co-director alongside Ricky Gervais, he finds directing solo quite a different experience. ‘When you’re directing with someone else you have a sort of creative ally which is very beneficial because you’ve got two people who are sort of in the trenches together. [Directing Fighting with My Family] was very hard work but it was also very nutritious, it was like eating a giant steak: there was something very kind of meaty and nourishing about the whole enterprise which I found exciting. But it certainly wasn’t easy.’

One ally Merchant did have on set was Dwayne Johnson, although even The Rock had to be carefully managed. ‘That big sequence we shot at the Staples Centre: we had one hour to shoot after a real televised WWE match. They kept the crowd back and Dwayne very graciously MC’d the event. But when Dwayne goes in front of a wrestling crowd it’s like Elvis has come on – it’s insane. And I said to him please don’t get carried away cos we’ve only got an hour; just get out there, explain what we’re doing and get off. And that guy walks out in the ring, he’s doing 20 minutes on the mic and making phone calls and playing with the crowd, and I’m the only person who’s ever been screaming to get The Rock out of a wrestling ring.’

Fighting with My Family, Cineworld, Glasgow, Thu 21 & Fri 22 Feb.

NO HOLDS BARRED

22 THE LIST 1 Feb–31 Mar 2019

7

B RE W H E MI A P R E SE NT S

Nights of

Entertainment Step into the wonderment of Brewhemia this Spring for our brand new lineup of entertainment. From spoken word to immersive theatrics and foot-stomping live music; we’ve got something for everyone.

Mondays

Tuesdays

Wednesdays

Thursdays

Find out what’s happening in Fife Friday & Saturdays

All day Sunday

www.welcometofife.com/events

For full info visit brewhemia.co.uk 1 Feb–31 Mar 2019 THE LIST 23

w GlasgoFi lm Festival

KING OF THE HILL 24 THE LIST 1 Feb–31 Mar 2019

Best known as a comedy actor, Jonah Hill makes his directorial debut with Mid90s, which opens this year’s Glasgow Film Festival. As Katie Goh found out, it’s a movie that draws on his own experiences growing up around the LA skateboarding scene and the darker side of skate culture

I

t seems like it’s only a matter of time before Hollywood’s biggest stars make the transition from being in front of the camera to behind it. Actors like Clint Eastwood, Angelina Jolie, Ben Affleck, George Clooney and, most recently, Bradley Cooper, have fitted comfortably into the director’s chair. The latest to make the apparently effortless move from acting to directing is Jonah Hill with his directorial debut Mid90s, a tender coming-of-age skateboarding story set in Los Angeles during the (you guessed it) mid-1990s.

Starting out as a comedic actor in Superbad and 21 Jump Street, Hill has moved steadily towards more dramatic projects like The Wolf of Wall Street, War Dogs, and last year’s Netflix series Maniac. In some ways, Mid90s is a surprising first feature for Hill to helm: it’s funny but it’s far removed from the raunchy comedies he’s known for. Yet, it’s the film Hill felt destined to make.

‘I always wanted to be a writer and director,’ he explains, calling from New York where he now lives. ‘I accidentally fell into a great 15 year acting career which allowed me to have a front row seat to watch all my heroes make movies.’

Although Hill studied playwriting and was making films from the age of 18, he calls working with the likes of Martin Scorsese, Bennett Miller, and Todd Phillips, his ‘film school’.

So, why move to directing now? ‘It was the coinciding of a lot of things,’ Hill says. ‘I didn’t want to do it prematurely.

I didn’t want to do it just to do it, I wanted to do it when I had something to say. I wanted to wait until I had the skillset and I was emotionally mature enough.’ It soon becomes apparent that Hill is a serious film aficionado; we spend five minutes discussing the intricacies of shooting on Super 16 (to make Mid90s’ LA look like the desaturated, grey city of his adolescence) and the film’s square 4:3 aspect ratio (‘I can’t bring myself to watch it on iTunes!,’ he laughs).

While Mid90s isn’t an autobiographical film, it does touch on elements of Hill’s own experiences within skate culture.

‘I grew up skateboarding [and] I was terrible at it,’ he reflects. ‘But it definitely shaped who I was. Skateboarding brings people together and it got me out of a racial and socioeconomic bubble I would have been stuck in otherwise.

[Skating] shapes your sense of humour, your musical taste, your ethic, the way you see the world.’

When asked why so many artists, particularly filmmakers, come from skating backgrounds, Hill replies: ‘Every skateboard deck is blank and then people make art on them.

Skaters take a city that was designed for something else entirely and turn it into their own piece of art. It’s just such a creative way to look at the world.’

While Hill speaks with great admiration and fondness of skate culture, it wasn’t always reciprocated. ‘Skateboarding is always butchered in movies,’ he says. So when Mid90s was announced, ‘the whole skate world was rolling their eyes and there was blowback like, “the guy from Superbad is going to make a movie about skating? It’s going to suck.”

And rightly so.’ To ensure skateboarding wasn’t butchered in his film, Hill was careful to cast real skaters. ‘The big first mistake skating films make is they take actors and turn them into skateboarders and that’s just never going to work. Skateboarders are some of the most beautiful, funny, damaged, broken, inspiring, unique people I’ve ever met.

For me, it was about finding the people who could bring the

characters I had written to life and doing months of work to get them there.’

Hill also wanted to use Mid90s to tackle the darker side of the skate culture of his adolescence. ‘Personally, I had to unlearn a lot of the lessons [from] the toxically masculine skate culture of that time,’ he says. ‘Sexuality was taught to me as an achievement, not as something about love and respect. The way [the characters] talk about gay people and women, personally I find it disgusting. But I also think it would have been an offensive choice to not show it as it was then because that’s saying that it didn’t happen. In order for things to change, we have to acknowledge what we learned.

‘For me, that was the hardest time in my life and I wanted to show how confusing it was. I wanted to show that nothing is black and white. Every good person does fucked up things and every fucked up person has done really great things. We want black and white because we want certainty but real confidence is living in uncertainty.’ He laughs: ‘And it scares the shit out of us!’

Mid90s is the opening gala of Glasgow Film Festival, screening at GFT, Wed 20 Feb.

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very actor needs a defining role early in their career.

For Josh O’Connor, it was playing the taciturn farm hand Johnny Saxby in Francis Lee’s 2017 award-winner God’s Own Country. Since then, his career has exploded, from being nominated for a BAFTA Rising Star award to winning roles in everything from the recent TV version of Les Misérables to the forthcoming season of The Crown.

So how does it feel to be in such demand? ‘I pinch myself every now and then,’ he admits, blushing.

Fortunately, this down-to-earth Cheltenham lad hasn’t let it affect his work. His latest role, in Harry Wootliff’s intimate and truthful romantic drama Only You, is every bit as splendid as his performance in God’s Own Country. He plays Jake, a 26-year-old PhD student

living in Glasgow who meets office worker Elena (Victoria star Laia Costa) quite by chance on New Year’s Eve. A relationship swiftly sparks, as they fall in love, but with Elena almost ten years older, her biological clock is ticking.

Unlike the typical Hollywood fantasy that sees couples get pregnant instantaneously, they struggle to conceive. ‘This was a couple who fall madly in love very quickly, and then it’s a case of this other thing, wanting a child, that stunts it and interrupts it,’ says O’Connor. ‘I found it really strange because there were times when I felt there was this third character, the child that we wanted.’ Gruelling rounds of IVF follow as the stress plays havoc with their relationship.

Noting that real nurses were used in the IVF scenes, O’Connor

deliberately steered clear of learning too much in advance about the subject. With the film shot chronologically, ‘it was quite nice to feel and experience that as we went along,’ he says.

If that contributed to Only You’s spontaneous air, O’Connor and his co-star nail the pain and anxiety of trying to get pregnant. As he puts it, ‘[You see] the stepping stones of hope that come along the way but then can crash . . . and then do you keep going?’

O’Connor, 28, was particularly taken with filming in Glasgow’s hip Finnieston area. ‘I loved my time there,’ he says, ‘and it was perfect for the film. The thing you notice . . . it really is such a cosmopolitan city. Someone like [the Spanish] Elena would just exist in that world. There’s a lot of students in that town, but also a lot

of people from all over the place.

I really liked that Harry wasn’t really commenting on the fact that Elena was from where she was.’

Since Only You, O’Connor has worked non-stop, from shooting the fourth and final season of ITV’s The Durrells to co-starring with Annette Bening and Bill Nighy in family drama Hope Gap. Most significantly, he’s now filming the third season of Netflix phenomenon The Crown, playing the young Prince Charles opposite an ‘incredible’ Olivia Colman’s Queen Elizabeth II. With ‘proper pros’ like Helena Bonham Carter and Tobias Menzies also cast, O’Connor can’t wait for it to be unveiled. ‘I’m pretty excited about what we’ve done together.’

Only You, GFT, Glasgow, Fri 22 Feb.

Rising star Josh O’Connor talks to James Mottram about his lead role in romantic drama Only You, screening at Glasgow Film Festival, and his excitement about playing Prince Charles in the third series of The Crown

HEIR TO THE THRONE 26 THE LIST 1 Feb–31 Mar 2019

w o g s a Gl lm Fi t Shor tival Fes

HOLY TERRORS

Siblings Dominique and Dan Angeloro chat to Arusa Qureshi as they bring their controversial political revenge fable, TERROR NULLIUS, to the Glasgow Short Film Festival

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ince 2002, Australian art collective Soda_Jerk have been sampling, splicing and remixing existing films, with the intention of creating something wholly unique in the process. From well-known scenes to decadesold characters, siblings Dominique and Dan Angeloro take the familiar and amalgamate new ideas to produce unconventional and often politically charged storylines.

TERROR NULLIUS, their hour-long experimental film from 2016, was steeped in controversy upon its release when key funders chose to distance themselves from it, citing its ‘unAustralian’ content. Now based in New York, the duo are set to bring TERROR NULLIUS to the Glasgow Short Film Festival, where they’ll also be presenting an installation of four of their Astro Black Afrofuturist video cycle.

How did Soda_Jerk come together and what were your original creative goals in terms of image making and sampling?

We were first switched onto sampling through the experimental hip hop and queer performance scenes that we were part of in the late 90s. It wasn’t just that audio sampling was a big part of the way that artists were working, but also that these scenes were intertwined with a pervasive DIY, punk and squat culture. So the idea of seizing privatised resources and politically appropriating them was running parallel to the ways that people were engaging with technology, and even real estate. We understood sampling as part of a broader resistance to cultural privatisation.

You describe TERROR NULLIUS as part political satire, eco-horror and road movie. How influenced are you by history and current politics?

For anyone that cares about social justice and the environment, these can feel like incredibly grim times.

It’s hard not to feel overwhelmed by the apocalyptic conservatism and bigotry that’s fueling politics in Australia and abroad. TERROR NULLIUS was our way of dealing with that, of upending our feelings of despair and channeling them into an unapologetic rage and defiance.

Had the idea for the film been brewing for a while?

We’d been developing the idea of an ambitious political revenge film since 2006 when we made a short Australian remix called Picnic at Wolf Creek. But by 2016 we were feeling a growing sense of urgency to respond to the increasingly sinister conservative turn in Australian politics. It’s debilitating to encounter these obscene

national narratives and feel powerless to effect change. So we wanted to create a vigilante fable of social justice that reversed these dynamics of power and oppression.

What did the experience of losing key support for TERROR NULLIUS teach you and do you think that there’s a genuine issue with people’s willingness to have conversations about difficult topics when it comes to art?

The experience has definitely piqued our concern about the kinds of partnerships that are encouraged between art and capital. In order for an artwork to be political we feel it has to have a potentially disruptive dimension, or the capacity to unsettle. So it’s hardly surprising that the provocations posed by political art aren’t always a comfortable fit with the priorities of private funding and corporate sponsorship. Art feels like one of the last bastions where it should feel safe to have open and uncensored conversations about things that are divisive and challenging. And that’s something we need to protect at all costs.

How did you find the overall reaction to the film when it was first shown?

We’re big fans of film experiences that encourage audience misbehavior like grindhouse and cult cinema. And that’s something that we were thinking about as we made TERROR NULLIUS. So it’s incredibly satisfying to sit in on screenings where crowds laugh and heckle at the screen.

But what cuts even deeper is when people reach out to us to say they’ve felt moved or empowered by the film. Or the silence that comes at a moment of heavy reckoning.

What are you hoping that audiences at the Glasgow Short Film Festival will take away from the film?

As filmmakers, we’re not the least bit interested in delivering tidy answers. We’re much more interested in TERROR NULLIUS as a kind of provocation, an invitation to further thought and conversation. The film has some weighty ideas for sure, but it’s also heaps of fun. Sort of arthouse meets grindhouse. Beautiful and bloody, urgent and irreverent, optimistic and apocalyptic, funny and full of rage.

Glasgow Short Film Festival, GFT, Glasgow, Wed 13– Sun 17 Mar. TERROR NULLIUS opens the festival on Wed 13 Mar.

1 Feb–31 Mar 2019 THE LIST 27

SUPPORTED CONTENT

2019

Top: Mary Jean Chan (credit: Forward Prizes 2017), George Mario Angel Quintero (credit: Sara Marin Amariles), Nadine Aisha Jassat (credit: James Barlow Photography) / middle: A.E. Stallings (credit: Milos Bicanski) / bottom: Balázs Szőllőssy, Laura Accerboni (credit: Carlo Accerboni), Marco Fazzini ˝ ˝

Some of this year’s StAnza poets tell us their thoughts on the power of poetry beyond borders In periods of great uncertainty, poetry can be a means of comfort for many, reassuring, soothing or even challenging in its form and function. Each year, StAnza (Wed 6–Sun 10 Mar) delivers a programme packed with the finest voices in the poetry world, ranging from world-renowned writers to emerging performers who aim to engage audiences with key issues in a creative and constructive manner.

As Scotland’s international poetry festival, StAnza continues to remain open, welcoming and positive in its events, installations and exhibitions, reflected both in the poets and artists invited to take part and also in this year’s theme of ‘Another Place’.

With its international focus contrasting directly with an increasingly insular political climate, we caught up with a handful of poets taking part in StAnza this year to get their thoughts on why the festival – and poetry on the whole – are vital in the exploration of new ideas, places and the unfamiliar.

On being a part of StAnza this year and the international nature of the festival Mary Jean Chan: I’m excited to be a part of StAnza this year. I think poetry festivals are a great way for poets from around the world to meet one another and to be inspired by different poetries and poetics.

I’ve always been hopeful for the future of poetry. As long as language and beauty continue to matter to people, poetry will thrive.

Balázs Szőllőssy: Poetry is the most delicate way of speaking a language, and festivals which make the effort to make us even a tiny bit more sensitive to each other’s words and thoughts make me feel hopeful for the future of humankind in general.

28 THE LIST 1 Feb–31 Mar 2019

‘Poetry will not change or save the world but it will always be on the side of resistance to hate’

kind of limbo waiting to see where there future will be.

I have become acutely aware of this displacement.

On how poetry explores ideas of home and place and its ability to transport readers to different and unfamiliar places Laura Accerboni: The ‘house’ is a recurrent image in my recent poems. I think that the historical moment we are experiencing, the dramatic migration and the criminal response by some politicians, have made images of places and of houses central in my writing.

Literature has the power to tell, to make familiar places look alien, to show us our reality in a different light. And yes, to lead us where we do not know.

On interpreting StAnza’s theme of ‘Another Place’ in their own work

On whether we’ll see more resistance from the poetry world as far as cultural intolerance goes

Nadine Aisha Jassat: Much of my work deals with the theme of memory, translating experiences from one place to the other. It is that bridge between the past and the present, somehow inhabiting both, and yet living in another place of its own. My collection, Let Me Tell You This, takes readers on this journey from the other places I have been in, and lived through, to where I am now, as well as the connections between women, both historically and in my own life, in healing, sustaining, and surviving.

AE Stallings: I have spent most of my adult life in Greece, living in another language and another culture from the land of my birth. Maybe a poet is always otherwhere. Since 2016, I have also been spending a lot of time with asylum-seekers in Greece, with people who have fled their homes and are in a

George Mario Angel Quintero: Poetry is intuitive and intimate language that touches on the universality of human experience. Even when it does not mean to be, it is in opposition to intolerance and cruelty by its nature. Poetry will not change or save the world. But it will always be on the side of resistance to hate.

Marco Fazzini: Resistance in poetry will always be synonymous with rebellion, renovation and linguistic revolution. Poets are always the first, in any particular society, to respond to these kind of coercive conditions. I am looking forward to reading a new imaginative and poetic ‘resistance’ in this right-wing political climate.

■ StAnza: Scotland’s International Poetry Festival, St Andrews, Wed 6–Sun 10 Mar.

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w o g y s d l a e a l v GComsti e 30 THE LIST 1 Feb–31 Mar 2019

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G l a segow C o m Festi dy val

CHOOSE LAUGH We kick off our Glasgow Comedy Festival coverage by asking a bunch of acts who are in town during March to pick one show they’d most like to see during the month. As it turns out, family loyalty means nothing when it comes to a comedian’s recommendation . . .

TIFF STEVENSON

ANDY ZALTZMAN

In Lunatic, Alfie Brown picks apart socially acceptable ways to respond to an awful incident and, in doing so, challenges society’s behaviour as well as his own. Which makes it sound very highbrow but it’s top to bottom funny.

■ Tiff Stevenson: Mother, Blackfriars, Fri 22 Mar; Alfie Brown: Lunatic, Blackfriars, Fri 15 Mar.

I’d be fascinated to see Bannockburn, a new play about the celebrity 1314 battle. As an Englishman, I remain convinced that Robert the Bruce was offside when he clonked England star Henry de Bohun on the noggin with his axe. Hopefully this production will clear that up, and some kind of replay can be arranged.

■ Andy Zaltzman: The Bugle Live, The Stand, Tue 19 Mar; Bannockburn, The Bungo, Thu 28 Mar.

COLIN HOULT I’m very excited to see that my old friend Jonny Donahoe has created a new show; he’s the loveliest, cleverest fellow with a fascinating and heroic tale to tell. Also he’s appearing as Jonny & The Baptists which is always a hoot and features Paddy, an angel made flesh.

■ Colin Hoult as Anna Mann, Old Hairdresser’s, Sun 24 Mar; Jonny Donahoe: Inheritance, Vacant Space, Sun 31 Mar.

SOFIE HAGEN I highly recommend Desiree Burch who is one of those people that, apart from making me laugh all the time, also constantly surprises. She has experienced enough in her life to do hundreds of shows and I’ll be front row for all of them.

■ Sofie Hagen Does a Preview of Her New Show, Blackfriars, Thu 14 Mar; Desiree Burch, Old Hairdresser’s, Sat 23 Mar.

DES CLARKE Tidying Up with Marie Kondo is a new Netflix show. It’s about a Japanese woman that helps tidy your house. She says only keep things that spark joy. David Kay isn’t a Japanese woman.

Nor will he tidy your house. But he sparks joy.

■ Des Clarke: Broken, The Garage, Fri 29 & Sat 30 Mar; David Kay, The Stand, Thu 28 Mar.

ABIGOLIAH SCHAMAUN Alison Spittle is one of my favourite people in comedy. Some think laterally, some think sideways, but Alison thinks in zig-zags. You’ll know when I’m at her show because I’ll be the one bent over in stitches thinking ‘how did she connect those two ideas? How?!’

■ Abigoliah Schamaun: Do You Know Who I Think I Am?, Blackfriars, Sat 16 Mar; Alison Spittle Makes a Show of Herself, Blackfriars, Fri 29 Mar.

SINDHU VEE Bobby Mair is one of the most original, fearless, zany, unpredictable and authentic comics around.

And he achieves this without leaning into shock and provocation at the cost of genuine jokes. It’s a beautiful thing to enjoy from a comic who, despite his ability to go anywhere topic-wise, is always warm.

■ Sindhu Vee: Sandhog, Old Hairdresser’s, Sun 24 Mar; Bobby Mair: Undeterred, Blackfriars, Sat 23 Mar.

JACK BARRY I’d recommend Egg’s Richard Pictures. The title itself is great because it’s a long version of ‘dick pics’, which I don’t think nearly enough people appreciate. Lots of silly characters, well-observed sketches and a genuine message that will leave you thinking.

■ Jack Barry: Tango, Old Hairdresser’s, Sun 24 Mar; Egg: Richard Pictures, Old Hairdresser’s, Fri 22 Mar.

HARRIET KEMSLEY The only thing I love more than Evelyn Mok’s shows are her Christmas cards. This year’s featured her standing alone on a Welsh cliff dressed as Elvis. I probably should have recommended my husband Bobby Mair’s show which is on straight after me at the same venue. However, I will not.

■ Harriet Kemsley: Slutty Joan, Blackfriars, Sat 23 Mar; Evelyn Mok Tries to Make You LOL, Hug & Pint, Sat 16 Mar.

Left: Andy Zaltzman / Right (top to bottom): Abigoliah Schamaun, Colin Hoult, Sindhu Vee, Jack Barry, Harriet Kemsley 1 Feb–31 Mar 2019 THE LIST 31

w o g y s d a l GComsteival Fe FACE

VALUE

Garrett Millerick raised his already excellent stand-up game last year with a show that mined personal trauma. He tells Brian Donaldson that he just wants to bring people together and tell them stories

‘M

y wife has resolutely refused to nearly die so far. That’s putting a spanner in the works slightly.’ If you’ve seen Garrett Millerick on stage before, you’ll recognise this as quite a Garrett Millerick thing to say.

Grumpy, misanthropic, verbose, ranty and highly opinionated, the comic’s work has always been enjoyable, but in 2018 it stepped up a level. His show, Sunflower, was initially written as a general two-fingered salute at the horrors of the world with light-hearted jesting around pop stars having to sell their awards for cash, his own disdain for holidaying and why mixology is a dark art.

But then personal disaster struck when his aforementioned spouse suffered, but happily survived, an ectopic pregnancy. It meant that his show had to be swiftly rewritten for his Edinburgh August run and a new emotional heft was added to its second half.

‘When I was getting into the more serious storytelling bits of it, I remained very conscious that this was a comedy show,’ Millerick recalls.

‘There had to be relief in there and jokes driving that narrative; you couldn’t get lost in it just being a dark story which it had been in the early previews.

The break had been very clean: the comedy stops and here comes this horrific story. The challenge then was to try and discover where the humour was in that story. Initially it was quite hard to do, but the reaction to it was such that people came to the show who had had similar experiences. They wanted to talk afterwards, so it became very cathartic.’

Now he’s back with an early version of his next show, Smile, which like his 2018 hour is a Beach Boys reference. ‘My agent and producer asked what I was going to call the next show and I said Smile; and they said that’s great, that’s really positive. Well, Smile was the name of the album that Brian Wilson was attempting to make in order to top his most creative achievement but never managed it. He didn’t release it and became a broken drug-fuelled recluse for a couple of years.

There is a joke in there somewhere.’

32 THE LIST 1 Feb–31 Mar 2019

Admitting that he has four or five topics on the boil at the moment for Smile, he’s firmly of the belief that a show’s purpose eventually reveals itself once you get deeper into working on the material. ‘There’s probably a link between those things that I’m attracted to write about, even if I haven’t codified it yet. But if I concentrate on that too much it probably won’t happen.’

The next few weeks will be vital for Millerick, though, as one thing he’s determined to avoid is arriving here in March with a half thought-out show. ‘They don’t let you fuck around in Glasgow.

If it’s not good enough they’ll tell you.’ Assuming he’s on his finest form, there’s little chance of Millerick coming to metaphorical blows with his Glasgow crowd. Now that his stand-up seems to be moving up a gear, what is it that will drive him on further to try and reach greater heights?

‘I really enjoy getting on stage and finding new and interesting ways to look at things. It’s that thing of taking a group of people who have nothing in common and who you have nothing in common with, and then leaving the room at the end of it with something in common. It’s about bringing everyone into your worldview . . . That sounds terribly wanky doesn’t it?’

Garrett Millerick: Smile, Vacant Space, Glasgow, Sat 30 Mar.

1 Feb–31 Mar 2019 THE LIST 33

FLAWS FOR THOUGHT The opinionated and insecure Gráinne Maguire delves once more into her problematic personality for a new show. The Irish comic confesses to Jay Richardson that she can’t stop acting desperate to please

G

ráinne Maguire has a theory as to why the relatively modest town of Navan in Ireland is such a fertile breeding ground for great comedy, being the birthplace of Dylan Moran, Tommy Tiernan and Father Ted co-creator Arthur Mathews among others. ‘As the crow flies, we’re quite near Sellafield,’ she suggests. ‘And we’ve a huge mine in the town, Tara Mine, which is lead and zinc. So I think we’re being slowly, mentally poisoned. Like really shit X-Men.’ Less libellously, the London-based stand-up pays tribute to her former drama teacher Richie Ball, a playwright who ‘was a sort of mentor to Dylan and Tommy. He’s an amazing person, always mentioning Tommy. And it feels special. Like I’m part of his gang.’

Combining forthright opinions and massive insecurity, Maguire’s stand-up is characterised by her idealism, sharply informed political views and a messy, catastrophic personal life. ‘I know. I’m like Mary Poppins; I just go where I’m needed,’ the former primary school receptionist sighs. A staunch Labour member, her weakness for a rightwing bad boy has become a recurring trope, from last year’s Edinburgh Fringe show I Forgive You: Please Like Me, right back to her earliest stand-up performances and first festival in 2007, which she kept secret from her loved ones.

‘Telling your family that you want to be a standup comedian is like saying you want to be a supermodel: so embarrassing,’ she explains. ‘So I held off for as long as possible.’

Despite a well-regarded podcast, Changing Politics, which advocates practical ways to advance democracy, her Question Time and Panorama appearances, countless Radio 4 credits and her work as a tutor with aspiring comedy writers, Maguire has also dabbled with clowning: ‘every comedian’s midlife crisis’.

Famed clown guru Philippe Gaulier hated her, she laughs. ‘He wouldn’t let me do any of the exercises. Anytime I opened my mouth he was like “urgghh, you want it too much; it’s horrible”. Just like every boyfriend I’ve ever had. It’s not like I haven’t heard that before.’

34 THE LIST 1 Feb–31 Mar 2019

True to form, Maguire’s latest show, It’s Problematic, focuses on how she ‘can see what other people are doing wrong but is really about all the bits of my personality that cause problems for myself. As much as I try really hard to be the wokest, most aware and good, moral person, at the end of the day I have these huge, gaping flaws.’

Similarly, she’s drawn to politics because of the soap opera. ‘It’s just humans fucking up; these character flaws end up writing history. If Theresa May could be more relaxed and if Boris Johnson had not sent to boarding school, Brexit wouldn’t be happening. Isn’t that mad?’

She resists the label of political comic, insisting that she’ll always aim for the laugh ahead of partisan point-scoring. Still, her proudest moment came in 2016, when she protested Ireland’s abortion laws by live-tweeting her menstrual cycle to Enda Kenny, Ireland’s prime minister at the time. Though Kenny never responded, the initiative attracted worldwide publicity.

‘It was about using comedy to make people think about things in a different way,’ she recalls.

‘It was stand-up with a point and true satire. I felt really angry about the abortion laws. If I talk about politics, it has to be something I have a really personal connection with rather than just slagging off Theresa May for the sake of it.’

Alongside her stand-up, Maguire is currently developing a sitcom ‘about a very woke, earnest, liberal girl who finds herself in a relationship with a horrible, right-wing man.’ And there’s another podcast on the way, in which she explores cults.

‘I’m so shocked that I haven’t fallen into a cult because I am prime material: gullible and a people pleaser. It’s a miracle I haven’t. I was really bored one day and just started walking up and down outside a Scientology centre. Eventually, they brought me in and gave me one of their personality tests. It was fascinating. And I had to physically force myself to walk out because they were so convincing.’

Gráinne Maguire: It’s Problematic, Hug and Pint, Glasgow, Sat 16 Mar.

PHOTO: IDIL SUKAN

G l a segow C o m Festi dy val CRAIC ON The Irish have long known how to tell a good yarn and the comedic tradition is alive and well with this quintet of acts doing Glasgow CATHERINE BOHART Just four years into her standup career and Bohart has an enviable array of credits and plaudits to her name already.

Immaculate is her first fulllength show and was raved about at last year’s Edinburgh Fringe, with critics and audiences enthralled by her true tale of being a bisexual, OCD daughter of a Catholic deacon. Awkward.

Catherine Bohart: Immaculate, Blackfriars, Sun 17 Mar. FOIL, ARMS AND HOG This trio of sketch guys have forged their reputation thanks to a mass online following who have enjoyed their japes about Brexit, grandparents of the future and ‘How to Speak Dublin’.

Foil, Arms and Hog: Craicling, King’s Theatre, Sun 17 Mar. ANDREW MAXWELL A veteran of the stand-up game by now, this popular Dubliner keeps on rolling, with Showtime taking the temperature of the Britain he calls home as it gets set for an almighty social and economic rupture. Maybe.

Andrew Maxwell: Showtime, The Stand, Sat 23 Mar. ELAINE MALCOLMSON She may well have the most intriguing show title at this year’s festival, and this deadpan act will keep the intrigue rumbling with a set about princesses and animals.

Elaine Malcolmson: Meet Me at the Old Dead Whale Carcass, State Bar, Thu 14 Mar. NEIL DELAMERE If straightforward stand-up is your bag, there’s no better proponent of the art than the seasoned Delamere. There may be no frills involved here, but the laugh count is sure to be high.

Neil Delamere, The Stand, Sun 31 Mar.

1 Feb–31 Mar 2019 THE LIST 35

HEBRIDEAN DARK SKIES FESTIVAL

THE DARK NIGHT Short days and long winter nights may not be everyone’s cup of tea, but the launch of the Hebridean Dark Skies Festival aims to celebrate the beauty and magic of darkness, as David Pollock finds out

‘T

he skies here are incredible on a clear night, and especially in winter,’ says Andrew Eaton-Lewis, events and marketing co-ordinator for An Lanntair arts centre in Stornoway.

‘You can see all kinds of astronomical sights through the naked eye including the Orion Nebula, the Milky Way Galaxy and the Great Andromeda Galaxy. The Northern Lights can also be spotted. Did you know that because of light pollution 80 percent of Europe and America never experiences proper darkness? Here we do, and that’s something this festival wants to celebrate.’

He’s enthusing about the sights on his home island ahead of this month’s first ever Hebridean Dark Skies Festival, which Eaton-Lewis has programmed as a multi-arts event based at An Lanntair, but also as a celebration of the particular kind of isolation found on Lewis; not that the island is culturally isolated, thanks to the internet and an arts programme the equal of any other town-based centre.

‘Dark Skies is aimed at everyone. We’ve made a particular effort to try and appeal to all age groups and interests,’ says Eaton-Lewis. ‘We’ve got a strong pre-school and schools programme, an award-winning children’s theatre show in Andy Cannon’s Space Ape, an indoor planetarium with screenings for all ages, science talks aimed at teenagers, events for an older audience, and we’re taking the festival out to Calanais Visitor Centre and Gallan Head. There’s been a lot of interest – some events are almost sold out already.’

Two highlights he’s personally looking forward to are the opening gala film Wunder Der Schopfung (‘Wonder of Creation’, Germany, 1925), with a live score by jazz duo Herschel 36, and Whatever Gets You Through the Night, a night of music and film which follows on from Eaton-Lewis’ previously curated events in Glasgow and Edinburgh, featuring artists including Emma Pollock, Rachel Sermanni, the Lewis-based Gaelic singer Ceitlin LR Smith and local band the Sea Atlas. ‘I first saw Wunder Der Schopfung

36 THE LIST 1 Feb–31 Mar 2019

at the (Bo’ness) Hippodrome Silent Film Festival in 2016 and thought it was extraordinary,’ says EatonLewis. ‘A strange journey through the history of the universe, with cutting-edge special effects for the time and a very modern score for the 21st century.’

‘One of the first ideas I had for the festival was to ask Emma Pollock if we could use her song “Dark Skies”, which she wrote for Whatever Gets You Through the Night, for the trailer,’ he continues. ‘It felt important that this festival is not just about astronomy, but about dark skies in a broader sense. From an emotional perspective, the night-time can be a time of struggle or celebration, excitement or fear, hope or despair.’

Natalie Marr is an artist and researcher at the University of Glasgow, who will be collaborating with Pollock on an event. ‘We’ll be discussing our different approaches to the night sky through the sharing of stories and creative materials,’ says Marr. ‘Then later my plan is to head outside at Gallan Head and get up close and personal with the dark skies of Lewis. My research is about International Dark Sky Places and the cultural value of dark landscapes. Besides incredible views of the universe, they invite us to re-imagine our relationship to place and to planet.’

Eaton-Lewis says there has been interest in the festival from as far away as London, and if visitors travel, they’re very welcome. ‘We have a world-class arts centre with a high-quality programme and a broad audience,’ he says, noting that the festival is already set to return in 2020. ‘There’s a perception that winters on Lewis are long and difficult because of the darkness and the often harsh weather, and while there’s some truth to this, it’s also incredibly beautiful. There’s something magical about the darkness, especially once you leave Stornoway. You’re completely enveloped in it, and the skies are like nothing you will ever see in a city.’

Hebridean Dark Skies Festival, An Lanntair and various venues around Lewis, Fri 8–Thu 21 Feb, lanntair.com/darkskies

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MANIPULATE

GAME T CHANGER Gareth K Vile looks ahead to the latest installation of manipulate as the festival celebrates 12 years of puppetry, poetry and provocative performance

38 THE LIST 1 Feb–31 Mar 2019

he evolution of the manipulate festival of visual theatre has seen it develop from its roots in puppetry and more physical forms of performance into an annual boundary-pushing celebration of international and Scottish theatre. Over 11 days, it entertains and reimagines apparently familiar ideas and stories, lending them an urgent, contemporary meaning and relevance. Artistic director Simon Hart has pursued this vision for more than a decade, and throughout this time has supported Scottish artists – through workshops and mainstage productions – while exposing audiences to the best visual theatre from around the world.

‘One of Puppet Animation Scotland’s central roles is to support Scottish-based theatremakers to develop great work,’ Hart explains.

‘I think it’s vitally important that we provide regular opportunities for companies and artists to present their work successfully at manipulate, be that an initial creative idea in our Snapshots series, or more substantially realised pieces in our Rising Voices programme, all the way to finished productions ready for national and international touring.’

For 2019, Scotland is represented by Karl Jay-Lewin and Matteo Fargion, Glasgow’s

MANIPULATE

Tidy Carnage, Mele Broomes – whose Void has already shaken audiences both at Tramway and in its site-specific version – Fiona OliverLarkin, Hopeful Monster and Al Seed, as well as performers in the Surge: Pitch event and the final evening’s Clown Cabaret Special Edition.

Ranging across choreography, puppetry and clowning – in the case of Al Seed, a distinctive blending of storytelling, physical theatre and bouffon – Clown Cabaret captures the dynamic landscape of Caledonian experimental performance.

The show draws on the highlights of Clown Scratch Cabaret which has been supporting Scotland’s clowns over the past three years with regular visits to Edinburgh’s Roxy and Glasgow’s Tron, as well as other venues. Hart recognises that ‘the consistently growing enthusiasm for and knowledge about clowning techniques adds greatly to the development of physical and visual theatre in Scotland. As more and more Scottish practitioners acquire and hone these techniques, they often then utilise them in more “serious” theatre-making.’

With Al Seed’s Bridges of Madness reminding audiences of one of Scotland’s most established clown-influenced performers – now with the backing of ‘the world’s first 18th-century jazzblues band’ – manipulate’s platform covers the rising stars and the veterans.

Across the years, however, the uncompromising experimentation of the festival’s companies has been tempered by their use of familiar narratives: Sleeping Beauty and Macbeth both receive visual theatre remakes in 2019, while Void draws on the dystopia of JG Ballard’s novels and science provides the material for Green Ginger’s Intronauts and Wunderkammer from Germany’s Figurentheater Tuebingen.

‘I wonder if one reason for engaging with more familiar stories is that then both artist and audience have a common framework, knowledge and set of expectations,’ Hart says.

‘Against these, the physical and visual elements employed can either provide further articulation or usefully digress from the essential elements of the narrative. Using stories we have even the most general knowledge of helps take the narrative weight off these means of expression.’

And it is exactly this combination of the familiar and the uncanny, the known and the unexpected that seems to lie at the heart of manipulate’s continued appeal. The visual and physical elements of the shows are, as Hart concludes, ‘employed to do what they do best: to explore and bring to light unseen fears, preoccupations and motivations’

From left: Intronauts, Macbeth, Wunderkammer

manipulate, Traverse Theatre, Edinburgh, Sat 2–Tue 12 Feb. 1 Feb–31 Mar 2019 THE LIST 39

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PHOTO: FELIX BROEDE

h s i n n Fi

ON A HIGH NOTE

For their 2019 programme, the Scottish Chamber Orchestra is teaming up with ‘the David Bowie of the fiddle’, Finnish violinist Pekka Kuusisto.

Miranda Heggie finds out more about the genre-defying musician When talking about a male classical violinist, an image of someone performing in a huge scarlett dress might not necessarily be what first springs to mind. Nor, perhaps, would a new soundtrack for The Moomins, a collaboration with US folk singer Sam Amidon or a performance at a rock festival with The National. But then Pekka Kuusisto – who’ll be directing and playing with the Scottish Chamber Orchestra for two concerts in March – is an artist who’s impossible to pigeonhole.

He’s a musician who seems to always be seeking something fresh, whether that’s new sounds created with new technologies or an unusual angle in a centuries-old concerto. His take on Tchaikovsky’s Violin Concerto during 2016’s BBC Proms was equally as memorable as his hilarious encore, when he got the 6000-strong audience to their feet, singing along to a Finnish folk song. And now Glasgow and Edinburgh audiences will be treated to Kuusisto’s infectious charisma as he teams up with the SCO, whose flexibility and willingness to take risks make them a perfect partner.

But back to that dress. In perhaps his most outlandish collaboration yet, Kuusisto worked with South Korean artist Aamu Song to create a gigantic red dress which completely filled the stage of the Pierre Boulez Saal in Berlin for performances in the summer of 2018. Sewn into the skirt were

200 ‘pockets’ – which really were a bit more like sleeping bags – for audience members to ensconce themselves in, allowing them to feel part of the music and helping to dissolve barriers between performer and listener.

Always pushing the boundaries of classical music as a genre, Kuusisto is now bringing his creative programming to Scotland for two concerts he has devised especially for the SCO, which will feature plenty of musical surprises, including a piece of music for solo cello and 20 wine glasses!

Kuusisto has always been interested in shaking up the format of a traditional classical concert, and you can guarantee his concerts with the SCO will be adventurous and full of energy. He believes ‘the audience should not always be allowed to sink into a comfortable familiarity at a concert, but they should be derailed in all kinds of ways that scratch the skin of whatever organs they receive their experiences with.’ So expect the unexpected and throw away your inhibitions: this adventurous concert has ‘memorable’ written all over it, no matter what your musical tastes. n Pekka Kuusisto directs the Scottish Chamber Orchestra at Queens Hall, Edinburgh, Thu 21 Mar & City Halls, Glasgow, Fri 22 Mar. Tickets online from sco.org.uk or Queens Hall box office (0131) 668 2019 and City Halls box office (0141) 353 8000.

1 Feb–31 Mar 2019 THE LIST 41

BRIAN COX

NATURE BOY

The ever optimistic ex-pop star Brian Cox is convinced that the world of scientific discovery is in a good place. In preparing for another stratospheric live stage show, the good professor tells Brian Donaldson that he has no regrets

‘S

ome people get the impression that science is only for weird boffin-type people. It’s very important to get the message across that scientists have chosen a career in finding out about nature, and that’s it. You don’t have to be a freak. You don’t have to be Mozart to be a professional musician or Einstein to be a scientist, otherwise we wouldn’t have any.’

Wise words as ever from Professor Brian Cox, the man who has been tipped by some to carry the torch for the natural world once David Attenborough finally quits trotting the globe. For now, the ex-D:Ream keyboard man is putting all that future national treasure status onto the backburner and preparing for another blockbuster live stage tour, simply entitled Professor Brian Cox Live 2019.

‘I’ve always thought that a lot of people are really interested in these ideas,’ notes Cox. ‘If it’s available they’ll come and enjoy being challenged. I meet people who are always interested in something that astronomy or fundamental physics and biology have to say: they’re interested in whether aliens are out there or how the universe began or how it’s going to end or if it’s expanding.’

42 THE LIST 1 Feb–31 Mar 2019

Making complicated ideas accessible to a mass audience has been Cox’s thing ever since he put the music world behind him and stepped fully into the realm of particle physics and astronomy. TV shows such as Stargazing Live and Wonders of the Solar System have been lapped up by the living-room masses, and similar numbers have witnessed his live work.

This time around, he’s upped the ante and utilised some extraordinary kit to spread his word. ‘All my shows up to this point have been organic, growing from previous things I’ve said. This is the first time I’ve tried to craft something from scratch. I’ve been lucky because the first people I asked to do graphics were Double Negative, the company who worked on Christopher Nolan’s Interstellar.

They thought this would be a really fascinating and different thing for them to do. The resolution that we’re using on these screens is bigger than IMAX.’ Cox is as comfortable on stage in front of thousands of people as he is when faced by a TV camera, but he is clearly fine with that previous life in a chart-topping band being well behind him. ‘At the age of 17 and 18, I just wanted to be a pop star, so there wasn’t a great

deal of art involved in my pursuit of that. I don’t think I had it in me to create great things.

I couldn’t write an Abbey Road and that’s what I would have wanted to do. I’m definitely better at science than I am at music.’

As a leader in his field, Cox is always looking to future generations and helping along the next set of Professor Brians. He teaches first year in Relativity at the University of Manchester and despite everything that’s going on in the world (Brexit, anti-science populist leaders in the US, Brazil and across Europe), he remains cheerfully optimistic about what lies ahead. ‘Most of my colleagues agree that there’s an improvement in the level of students coming through. We have nothing to worry about in terms of the ability and commitment of young people. If anything, they’re maybe a bit too serious. I understand why that is; they’re paying a lot of their education from their own money, so it certainly does seem to focus them.

But I remind them that it’s about having fun as well. Being 18 to 21 or 22 is a really important part of your life.’

Professor Brian Cox Live 2019, SSE Hydro, Glasgow, Tue 19 Feb.

19 MARCH – 4 MAY 2019 ROYAL LYCEUM THEATRE EDINBURGH AND THE OLD VIC PRESENT THE WORLD PREMIERE OF

BOOK BY

BILL FORSYTH AND DAVID GREIG

MUSIC & LYRICS BY

MARK KNOPFLER

A NEW STAGE MUSICAL BASED ON THE SCREENPLAY OF THE ORIGINAL FILM, WRITTEN AND DIRECTED BY BILL FORSYTH

NEW DATES ADDED DUE TO POPULAR DEMAND

TICKETS 0131 248 4848 | lyceum.org.uk Principal Production Sponsor

Supported by

This production is generously supported by The National Lottery through Creative Scotland and presented by special arrangement with Neal Street Productions and Patrick Daly of Caledonia Productions.

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

CO-PROMOTION

ZERO TO HERO Free support available to help your restaurant cut waste and save costs? Yes, Chef Zero Waste Scotland is inviting restaurants and cafés to take advantage of the free support available to reduce the amount of good food going to waste in Scotland. It’s estimated that one in every six meals prepared by the hospitality industry is thrown away, and these are meals which have been carefully sourced, prepared and served by catering staff across Scotland. Overall, this waste costs the industry over £200 million each year, which means that the hospitality sector has significant potential to cut back on costs.

Businesses can engage customers on this important and impactful issue through the Good to Go doggy bag scheme, which aims to tackle plate waste. By normalising the idea of taking leftovers home, Good to Go hopes to remove any embarrassment that customers may feel when asking for a doggy bag.

‘Good to Go has helped us provide a convenient service to our customers which they have now come to expect,’ says Suzanne O’Connor of the Contini Restaurant Group, after receiving a free starter pack at The Scottish Cafe & Restaurant in Edinburgh. ‘You can feel confident sending

44 THE LIST 1 Feb–31 Mar 2019

your food away from the kitchen as food safety is covered on the labels and having biodegradable boxes also ensures that we are aren’t using single plastics which we know people are trying to avoid. I would encourage any business to benefit from this free support while it’s available.

Most importantly you’re providing a better service to your customers with the potential to change food waste behaviours and save money!’

Zero Waste Scotland currently offer free Good to Go starter packs on a first come, first served basis to SMEs. Participants will receive 300 food boxes, labels detailing food safety guidance, paper bags and marketing materials.

■ To find out more, visit zerowastescotland.org.uk/foodwaste/good-to-go or email goodtogo@zerowastescotland. org.uk

NEW SCOTTISH DRINKS

RAISE YOUR SPIRITS As Dry January draws to a close, Jason Campbell Thomson takes a look at the flourishing Scottish drink scene, with plenty of top tips for your booze shelf in 2019

S

ome of us are old enough to remember when abstaining from Scottish drinks wasn’t exactly a hardship. Beer and wine lists in bars and restaurants lacked variety, and while whisky was of course available it tended to be either the preserve of older men, or come doused with lemonade when your nana had a cold. Gin was all but ignored on the back bar, and liqueurs were something that lurked, dustily, at the back of the cupboard, only coming out with the Christmas decorations. How times have changed – and 2019 is set to bring another round of excellent additions from producers all over the country.

WHISKY COMES OF AGE

There has been a raft of new whisky distilleries launching all over Scotland in the past few years (where there’s a gin now, there’ll be a whisky soon enough) and the fruits of their labours are beginning to hit the market this year. Fife is leading the charge with new single malts expected from Eden Mill, Kingsbarns and hopefully something from the popular Daftmill distillery. All will likely be in limited supply, so move fast if you want to get your hands on them.

The Glasgow Distillery Co recently debuted the first whisky made in the city in over 100 years, with more on the way.

SCOTCH AND RYE

Don’t expect it to be all single malt. While strict regulations and the burden of tradition

has somewhat tied the hands of Scottish distillers in the past, other countries – especially the USA – have been experimenting hard. That spirit of innovation has caught on here and some of the newer producers are all but ignoring the rule book. The Ncn’ean distillery, based in Drimmin on the west coast, and Fife’s Lindores Abbey in Newburgh have looked to whisky’s past for inspiration. Both have crafted aqua vitae-style spirits, taking their whisky’s new-make spirit and infusing it with a blend of herbs and spices for balance. These maltbased delights are the perfect alternative for anyone feeling a tad gin fatigued.

They’re not the only ones doing something a little different. Sweetdram moved their distillery to Edinburgh last year and may just be making some of the most interesting and unique drinks around, whether it’s Escubac, their gin alternative, or their take on the Italian amaro liqueur with a whisky twist.

Meanwhile in Aboyne, the Lost Loch Spirits distillery is putting a Scottish stamp

on some more unusual spirits – their Murmichan absinthe is made in the Highlands and takes its name from a particularly wicked Scottish fairy.

And several distilleries are experimenting with producing rye whisky, something not seen in Scotland for over 100 years. Arbikie were the first distillery to hit the shelves, but expect more soon from Brewdog’s Lone Wolf distillery and InchDairnie. Rye and absinthe?

Sounds like we have the makings of a Scottish Sazerac cocktail.

VINTAGE SPIRITS

Continuing the cocktail theme, auction sites for older bottlings are booming and it’s catching the attention of the nation’s best bartenders. Rum, whisky and vermouth from the 1960s, 70s and 80s are said to offer a different flavour profile to what’s available today, and the talent mixing the drinks are taking full advantage. Bullard & Worth (formerly Bryant & Mack) in Edinburgh’s Rose Street Lane North have a lovely collection if you’d like to try some for yourself.

1 Feb–31 Mar 2019 THE LIST 45

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FOOD & DRINK THE LOOKOUT BY GARDENER’S COTTAGE

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

Stunning views and food to match It’s relatively unusual for a custom-built restaurant to open in Edinburgh and this one is a doozy. Sweeping views are framed by floor to ceiling glass windows: gaze out over a myriad of slate rooftops and Georgian architecture, ending in the shining ribbon of the Firth of Forth. As well as making its own mark on the Edinburgh skyline, it’s clear that The Lookout

by Gardener’s Cottage is one of the best places in the city to enjoy it. And then there’s the food . . . equally stunning, if you can just tear your eyes away from all those views.

■ See review, page 50.

1 Feb–31 Mar 2019 THE LIST 47

FOOD & DRINK

DRINKS NEWS

NEWS & REVIEWS

What better way to woo someone this Valentine’s Day than to ply them with gin?

Should that gin be Makar Cherry Gin (recently voted the UK’s best flavoured gin in the World Gin Awards) in a little heart-shaped bottle, then how could you possibly fail in romance? They’ve also infused the stuff into chocolates – just in case you need any more help.

With so much gin around, we need more events at which to drink it. The inaugural True OrigGINs festival, set up by two Aberdeenshire bros, promises over 70 Scottish – and only Scottish – gins. The show kicks off in Banchory (15 Feb), before arriving in Edinburgh (29 Mar), Inverurie (19 Apr) and then on to Glasgow (31 May).

HEADING SOUTH Southside Scran sees Tom Kitchin opening up a new bistro in Bruntsfield.

Malcolm McGonigle checks it out

A

nticipation has been at fever-pitch (well, as feverish as the douce Southside gets) for the opening of this latest offshoot of Tom and Michaela Kitchin’s growing family of restaurants. Many see it as a further vote of confidence in a Bruntsfield scene that has been ripe for refinement for a while now, and given the city centre’s well-reported trials and tribulations a move to the affluent ’burbs certainly seems a smart move from a restaurateur’s point of view.

Let’s not forget either that the Kitchins did more than their fair share of the leg work to put Leith on the food map a decade or so ago; it’s no wonder then that many see Southside Scran’s opening as one of the hottest tickets in town.

A soft grey shopfront leads to a chic, tranquil interior filled with deep greens and blues, honeycomb tiles, sumptuous leather seating and a sparkling bar area. There’s all of the buzz and bustle of a typical French brasserie, while the menu (as expected) is a masterclass in Scottish sourcing, drawing exceptional farm, sea and loch produce from Scotland’s larder. (Equally rocking the Gallic vibe is the complete lack of veggie dishes listed on the menu, save salads and sides,

but it does state that dishes can be adapted on request.)

A vivid risotto sets the tone – bright, pungent and full of flavour, it’s laced with smoky roasted pumpkin, toasted seeds and topped with crispy sage leaves. Elsewhere, Borders game pithivier is a small puff pastry pie, loaded with densely seasoned meat offset by a bouncy quince gel.

Notable mains include moist and creamy monkfish tail topped with lively cajun spices and Clash Farm pork belly – tender, juicy with a crisp crackling skin in a rich meaty sauce.

The intended star of the show though (alongside approachable and highly competent staff) is a rotisserie, which dominates the back wall and casts mouth-watering scents into the room as it grills, with sharing dishes like a whole roast Gartmorn chicken not only a nod to relaxed, family-style dining but also a great way to sample its work.

+

Over 60 wines served by the glass . . .

-

. . . but wines are pricey

SOUTHSIDE SCRAN 14–17 Bruntsfield Place, Southside, Edinburgh, EH10 4HN, 0131 342 3333, southsidescran.com Mon–Fri noon–2.30pm, 5–10pm; Sat/Sun 9–11am, noon–10pm Average cost of two-course lunch/dinner: £17 / £35 48 THE LIST 1 Feb–31 Mar 2019

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News to nibble on

PHOTO:JAMES GOURLAY

for two of the Edinburgh art scene’s newest openings. The team behind the excellent Mimi’s Bakehouse have taken over the café space at the City Art Centre, while the folks at the Pantry have moved into the café at the Dovecot Studios. Excellent cakeage is assured.

Glasgow’s animal-free scene ever expands with the arrival of Soul Food Kitchen, a new plant-loving, goodliving diner from the owner of the former Southside vegan café Soy Division.

Our team of reviewers are currently out and about visiting hundreds of restaurants, bars and cafés in Edinburgh and Glasgow for our 26th Eating & Drinking Guide, which hits shelves in April. As ever, they’ll be dishing up their favourite spots in each section in our coveted Hit Lists, but it’s also

a chance for you, dear reader, to tell us about the places you love in each city in our Reader Awards. To vote for your fave, simply find the venue at list. co.uk/food and hit the green ‘Nominate this Restaurant’ button – plus you could win an exclusive Birra Moretti dining experience.

Nobody seems to have told Benihana about the restaurant downturn – the one especially afflicting mid to upper market chains.

The 55-year-old US teppanyaki specialists are poised to open their first UK restaurant in two decades, bringing their blend of theatrics and Japanese food to Glasgow’s Buchanan Street.

You can’t go wrong with coffee, cake and culture, so if looking at beautiful things makes you hungry then you’ll want to make a beeline

Lady Libertine is the latest opening from the always-interesting Bon Vivant group. Tucked into the basement corner of the Edinburgh Grand, it’s a two-storey bar with food available till late, classy cocktails, DJ’s a-plenty and exciting plans to do their bit for Edinburgh’s music scene.

As The List went to press, news reached us of the death of Andrew Fairlie. Chef-proprietor of the only restaurant in Scotland with two Michelin Stars, Fairlie’s down-toearth decency, culinary intelligence and exceptionally high standards set an inspiring example. Our condolences to his family, friends and the many colleagues he influenced and encouraged over the years.

'Live life with a Little Spice' Experience our 1st Authentic Sichuan Cuisine in Scotland.

349 Sauchiehall Street G2 3HW

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0141 333 1788

1 Feb–31 Mar 2019 THE LIST 49

FOOD & DRINK

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RECENT OPENINGS

Glasgow has nailed its Brexit colours to the mast and welcomed a Euro-loving bistro with open arms, as Martin Cross discovers

T

aking over the former Chelsea Market spot, Jacques is the ‘wee brother’ to Brel on Ashton Lane. While it lacks the beer garden and conservatory that helped make the original a West End institution, the new Finnieston outpost stays faithful to the continental theme, and the menu, while not identical to Brel’s, shows a distinct family resemblance. Jacques is big on cheese, with fondue a daily fixture and a giant melting wheel of raclette featuring on Sundays, plus there’s a tendency for it to turn up elsewhere – Toulouse sausage and chips comes with a little pot of grated Comté on the side. The Franco-Belgian alliance carries through to big bowls of mussels with chips, while the ‘poisson frîtes’ is a reassuringly Scottish piece of haddock in a light, crisp beer batter. Enterprisingly, Jacques offers a vegan cheese fondue, as well as a vegan seitan sausage and a chickpea burger. Bare brick walls, bar stools and well-upholstered booths give the interior a comfortable, pub-like feel, complemented by a wide-ranging drinks list naturally including half a dozen Belgian beers, as well as more than 20 gins.

JACQUES 1146 Argyle Street, West End, G3 8TF 0141 339 6909, jacquesbar.co.uk £22 (lunch/dinner)

The best of the new restaurant, café and bar openings in Glasgow and Edinburgh.

Prices shown are for an average two-course meal for one.

Glasgow CLAY OVEN

INDIAN 67 Kilmarnock Road, Southside, 0141 632 2324, clayovenonline.com, £19 (dinner) Another curry house doing Punjabi-style favourites . . . but wait . . . things are different. First clue is the cool contemporary styling of this unlicensed diner (BYOB £1pp), then the cheeky menu wording (‘Layered paratha: Round. Flakey. Yaas’). Another indication is the eating. Sizzling plates of succulent chicken tikka grilled to smoky delight are big crowdpleasers. But it’s not all meat madness – there are veggie dhals, deliciously light and fluffy paneers, and a vegan section, too. Patron Shazad Mohammed has a solid rep after four years at his Giffnock takeaway, and this Shawlands sit-in has a good mix of folk giving his home-cooking style the thumbs-up.

STACK AND STILL PANCAKE HOUSE 100 West George Street, City Centre, 0141 471 0417, stackandstill.co.uk, £13.50 (lunch/dinner) With a boast of being the UK’s largest pancake house, Stack and Still is certainly large. Surprisingly large. Do 200 people in Glasgow really want pancakes all at the same time? Regular weekend queues suggest yeah, they do. It’s easy to see why – this place has nailed the interactive family dining experience. Over 10 million combos mean you can be your fussiest self. Various

base pancakes are loaded with sweet or savoury toppings, from standard (maple syrup, Nutella, bacon) to adventurous (marinated king prawns, pickled red onion). The self-serve bar is a gimmicky bit of fun, too.

HALLOUMI SOUTH GREEK 697 Pollokshaws Road, Southside, 0141 423 6340, halloumiglasgow.co.uk, £9.95 (set lunch) / £19 (dinner) More European chic than traditional taverna, only the Hellenic pillars at this Southside sister to the city centre spot hint at the nature of the cuisine. That and the cute piles of cut pitta adorning tables and waiting to be dipped into creamy, delicious tzatziki. Small mezze plates are the way to go here. Lamb souvlaki is a fine choice – tender pink meat under crunchy chargrilled edges showing a deft hand over the charcoals, while vegetarian dolmades are light and nicely textured. The subtly lit interior, with trailing plants and splashes of Athenian colour, is cool without ever feeling cold.

Edinburgh MUMBAI DINERS’ CLUB INDIAN 3 Atholl Place, West End, 0131 229 8291, mumbaidinersclub.co.uk, £10 (set lunch) / £25 (dinner) Located in a plush renovated townhouse in Edinburgh’s West End, this elegant Indian restaurant impresses. The menu fuses Scottish produce with Indian flavours, including North Sea monkfish grilled in the tandoor, hake smoked in-house and served with tamarind spiced courgettes, and the restaurant’s most popular dish – venison boti kebab. If you fancy a blowout, there’s also

a nine-course tasting menu which features Shetland scallops and grilled tawa lobster. A sommelier guides diners through an extensive wine list, while a dedicated patisserie chef crafts exquisite desserts, including saffron poached pears with homemade cinnamon icecream, and star anise and hot chocolate mousse.

EL CARTEL MEXICAN 15 Teviot Place, Old Town, 0131 370 8189, elcartelmexicana.co.uk, £14 (lunch) / £14 (dinner) The Teviot Place version of El Cartel serves up the same Mexican delights as their original Thistle Street restaurant in a slightly bigger space (15 tables to 10).

Expect funky calaveras (skull art) and Mexican tiles with hip hop beats, as well as 80 tequilas, mezcals and agaves, Mexican beers and Margarita slushies turning slowly in the machines. Unlike Thistle Street though, they take reservations here, so don’t let the thought of queuing on a rainy night put you off their brilliant spicy small plates, like cream cheese balls with jalapeño and black onion seed, guacamole with plantain chips and frequently changing taco selections.

THE LOOKOUT BY GARDENER’S COTTAGE SCOTTISH Calton Hill, New Town, 0131 322 1246, thelookoutedinburgh.co, £27 (lunch) / £27 (dinner) With course after course of beautifully curated dishes, a theatrical open kitchen and all the views, the Lookout is a feast for the senses. To begin, thick slabs of malted sourdough from their own bakery are spread with an aerated seaweed butter. Then hare, yakitori, plum and spring onion appear, garnished with flecks of burnt leek powder and glazed with a fermented birch sap and yakitori syrup. Food isn’t always presented in its most obvious form: chanterelles are blended through the barley on a venison main, while cockles in the sustainably farmed halibut – a true bowl of the sea – are camouflaged into the emulsion.

Independent write-ups on all the restaurants worth knowing about in Glasgow and Edinburgh are available on our online Eating & Drinking Guide at list.co.uk/food-and-drink 50 THE LIST 1 Feb–31 Mar 2019

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This year Birra Moretti is on a mission to help people make time for those that matter most, by bringing people around 100,000 tables to enjoy the finest Italian food and drink. Il Grande Invito will see the authentic Italian lager create amazing dining experiences across the country and to celebrate it is giving you the chance to win an amazing dining experience for you and friends.

To vote, just head to list.co.uk/offers and tell us your favourite restaurant in Glasgow or Edinburgh by 1 April 2019. T&C’s apply. @thelistmagazine #ListReaderAward

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PHOTO: PLASTIQUES PHOTOGRAPHY, COURTESY OF THE SCIENCE MUSEUM

ROBOTS The most significant collection of humanoid robots ever assembled In documenting 500 years of developments, Robots is the first exhibition of its kind. Visitors will have the chance to see over 100 robots on display and some of the latest ‘humanoid’ robots in action – singing, storytelling and walking – making it an event that will captivate audiences of all ages.

Robots explores developments in technology, examining the function of robots in popular culture and their increasing role in science (from the earliest automata to those used in science-fiction films) to the latest technologies currently being tried and tested in research labs. With Edinburgh being a major centre for robotics, the exhibition will also include an exclusive insight into the groundbreaking work taking place in the city.

‘Robots have long captured our imagination, with popular culture exploring what a future living alongside them might hold,’ says Dr Tacye Phillipson, senior curator of science at National Museums Scotland. ‘The exhibition highlights some of the capabilities of these mechanical marvels, but also examines how technically challenging it is for scientific fact to catch up with the imagination of science fiction.’

Having been developed by and first shown at London’s Science Museum, this is the last chance visitors will get to see the exhibition in the UK before it tours internationally. (Arabella Bradley) ■ National Museum of Scotland, Edinburgh, until Sun 5 May.

1 Feb–31 Mar 2019 THE LIST 53

AROUND TOWN | HIGHLIGHTS

AROUND TOWN HIGHLIGHTS Events are listed by city, then date.

Submit listings for your event at list.co.uk/add

GLASGOW RUTHERGLEN COMIC CON Rutherglen Town Hall, Sat 2 Feb, bgcp.co.uk A host of traders selling comics, graphic novels, crafts, art and more. Plus, there’s a cosplay competition, workshops, quizzes and guest comic artists and writers.

MOD GHLASCHU City Halls, Sat 2 Feb, modghlaschu2019.com Weeklong festival promoting the Gaelic language, culture and heritage through musical competitions.

HINA MATSURI JAPANESE SPRING FESTIVAL Kibble Palace, Sat 2 Mar, japanese-matsuri-glasgow.org. uk Take part in this celebration of Japanese culture by checking out a spot of taiko drumming, trying your hand at origami and sampling some traditional sweets.

AYE WRITE! Various venues, Thu 14–Sun 31 Mar, ayewrite.com Aye Write! remains committed to celebrating Scottish and international writers and writing. Folk-punk icon Frank Turner and crime novelists James Oswald, Neil Broadfoot and MR Mackenzie have been announced for the 2019 programme, plus many more. See preview, page 55.

BLUE PLANET II: LIVE IN CONCERT SSE Hydro, Thu 21 Mar, blueplanet2live.co.uk Return to the seas as fantastic footage from BBC’s flagship nature programme, Blue Planet II, plays in the vast space of the Hydro with a soundtrack performed live by a full symphony orchestra. The performance is narrated by Anita Rani.

HITLIST

BIG BURNS SUPPER Various venues, Dumfries, until Sun 3 Feb, bigburnssupper. com Stars from across the country congregate as Dumfries celebrates the birth of the Bard with a vast selection of dance, theatre, visual arts, live art and comedy, turning Burns’ Night into a festival of contemporary arts.

54 THE LIST 1 Feb–31 Mar 2019

EDINBURGH EDINBURGH OFFICIAL CHINESE NEW YEAR CONCERT Usher Hall, Sat 9 Feb, chinesenewyear.scot Chinese New Year celebration, hosted by the Asian Association of Commerce, Culture and Education in Europe. Featuring music from the Edinburgh Symphony Orchestra, the Edinburgh Singers, as well as Chinese folk pieces performed

by Chinese artists.

VALENTINE’S WEEKEND SHINDIG Brewhemia, Fri 15 & Sat 16 Feb, brewhemia.co.uk On Friday and Saturday nights at Brewhemia you can dine, drink, be entertained and even dance on top of tables. The Valentine’s weekend line-up features Wedge of Glory, HighFade and Major Love.

CAPITAL SCI-FI CON Corn Exchange, Fri 15–Sun 17 Feb, capitalcomiccon.com Edinburgh’s not-for-profit pop culture, comic and movie convention for fans by fans is back in 2019. A chance to indulge in the world of comics, superheroes and graphic novels with stalls offering back issues, books and merchandise as well as a number of special guests.

EDINBURGH INTERNATIONAL FESTIVAL OF MIDDLE EASTERN SPIRITUALITY AND PEACE Various venues, Sat 2–Fri 29 Mar, eicsp.org This international festival draws together people from a wide range of spiritual backgrounds, cultures, traditions and communities to celebrate peace and mutual understanding via spiritual, educational, artistic and cultural events. The 2019 programme includes a wellbeing workshop with Gillian Allan, Aileen Reid and Karen Small, a full day conference on Kahil Gibran and more.

BP PORTRAIT AWARD 2018 Scottish National Portrait Gallery, until Sun 10 March, npg.org.

GIANT LANTERNS OF CHINA Edinburgh Zoo, until Sun 17 Feb, edinburghzoo. org.uk/lanterns Bespoke display of 450 lanterns created by 150 Chinese craftspeople from Sichuan.

PROFESSOR BRIAN COX SSE Hydro, Glasgow, Thu 19 Feb, thessehydro. com Professor Brian

Giant Lanterns of China

uk See work from the prestigious annual portrait painting competition ran by the National Portrait Gallery in London. The award includes some of the best contemporary works in the world today.

EDINBURGH’S FESTIVAL OF IRELAND Various venues, Fri 15–Sat 23 Mar, edinburghsfestivalofireland.org A little bit of Ireland descends upon Edinburgh around St Patrick’s Day. Edinburgh’s Festival of Ireland is a multi-arts, family-friendly celebration of the links between Edinburgh and Ireland, with storytelling, music, dance, talks and comedy events.

Last year featured a topical talk by the Irish Ambassador and an Irish Dance Concert featuring Siamsoir Irish dancers.

ROBOTS National Museum of Scotland, until Sun 5 May, nms.ac.uk Major new exhibition that looks at our 500-year quest to make robots human. See preview, page 53.

Cox takes audiences on a journey through space and time. The particle physicist is best known for his popular BBC series Wonders of … and nonfiction titles including Why Does E=mc²? and The Quantum Universe. See feature, page 42.

AUDACIOUS WOMEN FESTIVAL

OUT OF TOWN FORT WILLIAM MOUNTAIN FESTIVAL Various venues, Fort William, Wed 20–Sun 24 Feb, mountainfestival. co.uk A series of films and lectures celebrating the great outdoors and mountain culture, held in Scotland’s outdoor capital.

DUNDEE WOMEN’S FESTIVAL Various venues, Dundee, Sat 2–Sat 16 Mar, dundeewomensfestival. org.uk Celebrating International Women’s Day (Fri 8 Mar) with almost three weeks of events, drama, discussions and workshops.

KIRKCALDY’S FOOD AND DRINK FAIR Fife College, Kirkcaldy, Sat 16 Mar, welcometofife.com A celebration of local food & drink with demonstrations, talks and plenty of samples. The programme for 2019 will once again feature Gary Maclean, the 2016 winner of BBC’s Masterchef The Professionals.

Various venues, Edinburgh, Thu 21–Mon 25 Feb, audaciouswomen. scot A festival for and by women with something to give – breaking down personal, political and institutional barriers and giving a massive shout out to women everywhere. Events include workshops, readings, performance, exhibitions and taster sessions.

EDINBURGH YARN FESTIVAL Corn Exchange, Edinburgh, Thu 21–Sat 23 Mar, edinyarnfest. com A festival aimed at ‘yarn-enthusiasts of all flavours’, this woolly bonanza caters for all who knit, crochet, embroider, spin, haberdash or just appreciate a darn good yarn.

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

AYE WRITE! Glasgow’s annual book celebration is back Bringing readers, writers and story-lovers of all ages together, Glasgow’s annual book festival returns with a punchy programme featuring local and international names. A well-loved annual fixture in Scotland’s literary calendar, Aye Write! has been inviting speakers to Glasgow’s Mitchell Library since 2007. This year, the potential impact of Brexit will feature as a theme throughout the festival. It will also welcome a distinct set of headliners, including journalist and triathlete Louise Minchin (pictured), bestselling author of Captain Corelli’s Mandolin Louis de Bernières and musician Tracey Thorn.

The doors to one of Europe’s largest public libraries will also be thrown wide to welcome writers like Gina

Miller, Paul Mason, Kamal Ahmed, Lionel Shriver and Alan Johnson while folk-punk sensation Frank Turner will discuss his new book, Try This at Home. Plus some of the biggest names in Scottish fiction (Val McDermid and Alexander McCall Smith to name a couple) will be in town to chat about books old and new.

The fun will take place across three extended weekends in March while Wee Write! Glasgow’s Book Festival for Children and Young People also returns at the start of the month with a schools programme and hugely exciting Family Day at the Mitchell Library.

(Lynsey May) ■ Various venues, Glasgow, Thu 14–Sun 31 Mar.

1 Feb–31 Mar 2019 THE LIST 55

BOOKS | REVIEWS SHORT STORIES PHOTO: ALEJANDRA LOÃÅPEZ

SAMANTA SCHWEBLIN

Mouthful of Birds (Oneworld) ●●●●● Such was the unrelenting dread of the Man Booker International shortlisted Fever Dream, some readers may be somewhat reticent to pick up another of Samanta Schweblin’s works.

Despite and because of its flowering foreboding, that 2017 publication seems near impossible to follow. Perhaps it’s shrewd, then, to skip back and start with the Argentine’s short story collection Mouthful of Birds, which was written in 2010 but only just translated from the original Spanish by Megan McDowell (a quality Kitemark for translated fiction).

These fabulist half-light tales leave some elements tantalisingly unsaid or off-page, but are sharpened through her technique and clarity of prose. While their terrain feels otherworldly, it is all formed from domestic everyday stresses and relationships spun into off-kilter dreamscapes: a married couple desire to have a child just a little too much; a daughter is considered to be as fragile as a butterfly, when the greatest danger is her father’s protective fist closing in around her.

Like dreams, these 20 tales are all-too ripe for deconstruction.

Some seem transparent in their meaning, others are opaque puzzles. But original intent can be inconsequential. Upon publication, meaning is remanded to the custody of readers.

Schweblin is among the many Latin American writers currently pushing boundaries (in 2010, Granta chose her as one of the top authors under the age of 35 writing in Spanish). While these earlier stories nod to magical realist masters, such as her compatriot Borges, the writing feels challenging and contemporary and is fresh meat for the English language reader. (Alan Bett) ■■Out now.

DYSTOPIAN FICTION

MEMOIR

POETRY

The Dreamers (Simon & Schuster) ●●●●●

When I Had a Little Sister (4th Estate) ●●●●●

Let Me Tell You This (404 INK) ●●●●●

KAREN THOMPSON WALKER

When a mysterious sleeping virus takes over the fictional Californian college town of Santa Lora, the area is put under a cordone sanitaire. Separated from the rest of the world, those who are still awake find themselves in a living nightmare. The Dreamers is Karen Thompson Walker’s sophomore effort after her critically acclaimed debut The Age of Miracles, once more exploring dystopian themes.

A large ensemble cast, from young girls living with a conspiracist father to a psychiatrist investigating the sickness, are shown struggling to cope. As the virus spreads through the air, interesting questions are raised about Western society’s rigid concepts of time and reality, and the value of different lives.

Overall, the novel is highly imaginative and engrossing with a subtle slew of informed references from various aspects of academia.

Walker’s writing is luminous throughout and it’s this technical skill that pushes the events with an energy that makes up for the lack of distinct narrative voice. The haphazard structure and sheer volume of characters overbear the plot, with individuals not given the chance to fully form, while others appear briefly, with assumed significance, never to appear again. A resolution seems palpable throughout, but when the end does come, we find more questions and uncertainty in its stead. (Katharine Gemmell) ■■Out now.

56 THE LIST 1 Feb–31 Mar 2019

CATHERINE SIMPSON

In December 2013, Catherine Simpson received the phone call she had long been dreading: her sister had taken her own life. For years Tricia suffered from depression and paranoia, leaving her increasingly alienated from her family and the outside world. When her diaries were discovered later, a tantalising glimpse of her voice appears.

It took Simpson years to be able to face reading them and search for the cause of her sister’s pain.

The result of Edinburgh-based author Simpson’s agonising inquiry is this memoir, a deep dive into the repercussions of her family’s inability to meaningfully communicate with one another.

Simpson reconstructs a complicated portrait of the past with tenderness and unsparing detail, one in which their domineering mother looms large.

This eye for detail does at times threaten to derail the narrative, as she veers off into anecdotes about pets, ancestors and holidays that sometimes feel tangential. Yet her impulse to immortalise such memories is understandable, especially when it becomes clear that for Simpson, forgetting means losing a piece of her sister again. In its excavation of the past, When I Had a Little Sister is both an act of personal catharsis and an important rejection of the silence that still surrounds mental illness today.

(Deborah Chu) ■■Out Thu 7 Feb.

NADINE AISHA JASSAT

Nadine Aisha Jassat’s Let Me Tell You This is a debut collection that marks a brilliant addition to Scotland’s poetry landscape. Born in the UK, Jassat is of mixed heritage with roots stretching from Zimbabwe to India. Styled as a self-reflective lyrical peregrination of sorts, the poet cultivates the wild glee of wanderlust, unlocking hidden dimensions of identity that elude immediate perception.

As the boldness of the title suggests, a reclamation of the right to speak burns urgently at its core. In this way, the lyric ‘I’ acting with authority to articulate, becomes a symbolically charged terrain in its own right, gesturing beyond its graphic bounds to wider gender and racial struggles. The book negotiates a poetics of escape from reductive assumptions surrounding race and gender, and from the pre-written narratives society relentlessly seeks to impose. The task gains delightful texture in the poem, ‘Threads’, which begins ‘Gathering frayed ends [ . . . ] Trying to use my words like stitches’.

A musicality sings from the pages as does a playful fondness for rhyme, crafting a charming intertextual cohesion. The debut offers a fine display of ‘how to make something beautiful / something useful, from tangled yarn / and threads’, embracing rather than seeking to conceal the chaos and contradiction of identity with all its loose, unruly strands. (Jade Cuttle) ■■Out Thu 7 Mar.

HIGHLIGHTS | BOOKS

BOOKS HIGHLIGHTS Events are listed by city, then date.

Submit listings for your event at list.co.uk/add

GLASGOW RUTHERGLEN COMIC CON Rutherglen Town Hall, Sat 2 Feb, bgcp.co.uk A host of traders selling comics, graphic novels, crafts, art and more. Plus, there’s a cosplay competition, workshops, quizzes and guest comic artists and writers.

WORKING COMICS LIVE PODCAST Òran Mór, Wed 13 Feb, gla.ac.uk The Working Comics Podcast event invites the public to come and join in on a conversation about making and working in the independent comics biz.

The panel for the discussion includes Colin Bell, Catriona Laird, Jem Milton, John Farman, Dave Cook and Eli Winter.

AN EVENING WITH ANN CLEEVES Waterstones, Newton Mearns, Wed 27 Feb, waterstones.com Ann Cleeves launches the paperback version of her last instalment in the Shetland series. The novel, which was adapted into the popular TV series Shetland, sets out DI Jimmy Perez’s last disturbing case.

AN EVENING WITH ALEX GRAY Waterstones, Newton Mearns, Tue 26 Mar, waterstones.com Scottish crime writer Alex Gray discusses the latest book in the Lorimer series, The Stalker. There is also a chance to ask the author any burning questions you have about DCI Lorimer and Soloman Brightman.

EDINBURGH CREATIVE WRITING WITH ES THOMSON Royal College of Physicians, Sat 19 Jan, rcpe.ac.uk Creative crime writing class hosted by a historical crime fiction writer. The three-hour workshop gets participants to use historical material for their inspiration.

HITLIST

WINTER WORDS FESTIVAL Various venues, Pitlochry, Thu 14–Sun 17 Feb pitlochryfestivaltheatre. com The annual literary festival welcomes a diverse range of writers and speakers for a programme of songs, stories and workshops. Notable attendees this year are

EXPECT THE UNEXPECTED RARE BOOKS EXHIBITION TOURS, IN MANDARIN AND ENGLISH Main Library, Edinburgh University, Mon 4 & Tue 5 Feb, chinesenewyear. scot Kirsty McNab of the Museums in Mandarin team gives a tour of the rare book exhibition, which features among other things an early quarto edition of Shakespeare’s Love’s Labour’s Lost.

ALAN TROTTER: MUSCLE Lighthouse Books, Thu 7 Feb, lighthousebookshop.com Lighthouse Books celebrates the release of Edinburgh-based writer Alan Trotter’s debut novel, Muscle. The novel is a Tarantino-inspired piece of dark fiction, with heaps of violence and madness.

PM FREESTONE BOOK LAUNCH Waterstones, West End, Fri 8 Feb, waterstones.com YA author PM Freestone sits down for a conversation with Laura Lam, chaired by Sarah Broadley. She delves into her new YA fantasy adventure, Shadowscent: The Darkest Bloom.

TRAVIS ALABANZA ON POETRY AND POWER David Hume Tower, University of Edinburgh, Fri 8 Feb, travisalabanza. co.uk Travis Alabanza – performance artist, poet, writer, theatre-maker and queer activist – performs poetry from his 2017 chapbook ‘Before I Step Outside (you love me)’ and touches on poetry’s political and personal power.

POETRY CIRCUS – BROKEN HEARTS Bongo Club, Fri 15 Feb, thebongoclub.co.uk The wordsmiths at performance poetry company Poetry Circus bring back their anti-Valentine’s themed night for the broken-hearted.

Featuring Elizabeth McGeown and Jo Gilbert, plus a burlesque floorshow from Anfromada Mystic and a musical number from the Jennifer Ewan Band.

CATHERINE SIMPSON Lighthouse Books, Wed 20 Feb, lighthousebookshop.com Catherine Simpson talks about memories and

Nadia Sawalha, Kaye Adams, Liz Lochhead, Steve Kettley, Neil Oliver and Doddie Weir.

GRANITE NOIR Various venues, Aberdeen, Fri 22–Sun 24 Feb, granitenoir. com Aberdeen’s crime writing festival returns for the third year with author events, workshops

mental health at the launch of her memoir When I Had a Little Sister, an account of her younger sister’s struggle with depression and paranoia and her family who never spoke about it.

DOLLY ALDERTON: EVERYTHING I KNOW ABOUT LOVE Queens Hall, Sat 23 Feb, thequeenshall.net The award-winning journalist and writer comes north of the border to talk about her best-selling debut book, Everything I Know About Love. The book is a hopeful account of the trials and tribulations of adulthood.

Travis Alabanza

THE KING & QUEEN TOUR: HOLLY BLACK & CASSANDRA CLARE Assembly Roxy, Mon 25 Feb, assemblyfestival.com Talk and signing from authors Cassandra Clare and Holly Black. Clare chats about her latest work Queen of Air and Darkness, while Black chats about The Wicked King.

AN EVENING WITH JANICE GALLOWAY, SCOTTISH FICTION STAR Topping & Company Booksellers, St Andrews, Thu 14 Feb, toppingbooks. co.uk The celebrated Scottish author reads from her new work Jellyfish, a direct challenge to David Lodge’s declaration that ‘literature is mostly about having sex and not much about having children; life’s the other way round.’

REAL TALK: STORYTELLING FOR WELLBEING Scottish Storytelling Centre, Thu 28 Feb, scottishstorytellingcentre.com Real Talk hosts an evening of storytelling focused on mental health and wellbeing.

The session hopes to create a safe space to talk about the mind and give others insight into individual experiences.

AN EVENING OF TARTAN NOIR WITH JAMES OSWALD AND TF MUIR Topping & Company Booksellers, St Andrews, Tue 19 Feb, toppingbooks. co.uk Two Fife-based writers, who use the East Neuk as inspiration for their writing, come together to discuss Tartan Noir and their latest offerings

TRACEY THORN – ANOTHER PLANET: A TEENAGER IN SUBURBIA Traverse Theatre, Wed 13 Mar, traverse.co.uk The writer and one-half of musical duo Everything But the Girl launches her brand-new memoir Another Planet: A Teenager In Suburbia, a nostalgic look at growing up in the 70s.

THE BOOKSHOP OF THE WORLD WITH ANDREW PETTEGREE & ARTHUR DER WEDUWEN Topping & Company Booksellers, St Andrews, Fri 1 Mar, toppingbooks. co.uk Two University of St Andrews academics, Andrew Pettegree, Professor of Modern History, and Arthur der Weduwen, post-doctoral research fellow, talk about their new book and the untold story (of how the Dutch conquered the European book market) that inspired it.

OUT OF TOWN CHARLOTTE RUNCIE WITH SALT ON YOUR TONGUE: WOMEN AND THE SEA Topping & Company Booksellers, St Andrews, Wed 13 Feb, toppingbooks. co.uk Find out what the sea has meant to women through the ages as Charlotte Runcie presents her new book which mixes personal prose and history.

and family shows.

The 2019 programme includes appearances from Stuart MacBride in conversation with Susan Calman, Abir Mukherjee, Sophie Hannah, Yrsa Sigurdardottir, Mark Billingham and more.

STANZA Various venues, St Andrews, Wed 6–Sun

BIG SKY: BIG HORIZONS – MARINA BENJAMIN Music Hall, Aberdeen, Mon 4 Mar, aberdeenperformingarts.com Hear about Marina Benjamin’s new memoir Insomnia, a personal account of her experience with the eponymous condition.

10 Mar, stanzapoetry. org StAnza is a literary festival that focuses on verse. Joining the locals in St Andrews for readings, performances, slams, open mics, jazz, films, workshops, poetryrelated art exhibitions and installations are a host of local and international wordsmiths at this fiveday celebration of poetry.

WORLD BOOK DAY Various venues, Scotland, Thu 7 Mar, worldbookday.com The world celebrates books in all their forms for a whole day in this dedicated annual celebration. Look out for events happening across the country and head to list.co.uk/books to find a World Book Day event near you.

1 Feb–31 Mar 2019 THE LIST 57

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

JOHN-LUKE ROBERTS Pursuing a manifesto of absurdity while armed with a large heap of excellent jokes

It’s becoming increasingly obvious to say, but John-Luke Roberts really does have a taste for the extra-long show title. Back in August, he made a big impression on critics and sold-out audiences with an hour of idiosyncratic mayhem which never veered into the realm of selfindulgence due to the fact that Roberts always remembers to pack his shows with lots and lots of great jokes. That one was called All I Wanna Do Is [FX: GUNSHOTS] with a [FX: GUN RELOADING] and a [FX: CASH REGISTER] and Perform Some Comedy!

He will be revisiting that hour (ostensibly a ‘manifesto of absurdity’ which considered the fate of the ‘missing Spice Girls’) at Edinburgh’s Monkey Barrel in April. And for his Glasgow International Comedy Festival appearance, he’ll be making further daft waves with After Me Comes the Flood (But in French) drip splosh splash drip BLUBBP BLUBBP BLUBBPBLUBBPBLUBBP!!

Specific details are hard to come by so far for this happening, but you can be assured of an evening that challenges the bounds of what a comedy gig actually is. Expect to be taken on a merry dance down the avenues of a brand of semi-surrealist humour which never forgets to hold onto something akin to a core narrative while delivering one excellent gag after another. (Brian Donaldson) ■ Vacant Space, Glasgow, Sun 31 Mar; Monkey Barrel, Edinburgh, Mon 29 Apr.

58 THE LIST 1 Feb–31 Mar 2019

GLASGOW ROAST | COMEDY

list.co.uk/comedy

ROAST OF GLASGOW The test of a confident institution is its ability to laugh at itself. As Glasgow opens its doors in March to welcome a host of comedians, we ask four Scottish stand-ups to tear the city a new one in the comedy roast style

PHOTO: STEVE ULLATHORNE

PHOTO: TRUDY STADE

MARK NELSON

NATALIE SWEENEY

CHRISTOPHER MACARTHUR-BOYD

ASHLEY STORRIE

I’m not saying Glasgow is violent but Taggart was a documentary.

Glasgow is a city of culture; and by that I mean most of the women have a yeast infection.

Glaswegians drink so much that the second most common blood type is vodka.

Glasgow is not an athletic place; its idea of cross fit is when you chase someone for calling you a cunt / bawbag.

Glasgow is famously divided down the middle: between people that hate Edinburgh and people that really hate Edinburgh. n Mark Nelson: Brexit Wounds, The Stand, Glasgow, Thu 14 & Fri 15 Mar.

Welcome to Glasgow: the place that proves arsonists hate art.

Glaswegians were clever about building a cinema as one of their tallest buildings; the only time Glaswegians will climb stairs is when they’re guaranteed a seat for two hours.

When the new Jungle Book film came out, Glaswegians thought it was all a Scottish Government campaign and that the bairn necessities was just promotion for Nicola Sturgeon’s new baby boxes. n Natalie Sweeney is part of 3 Men and a Tall Lady, Iron Horse Pub, Glasgow, Sat 23 Mar.

I grew up in Glasgow, and I’ve spent about 97% of my life living here, so it’s hard to have any degree of civic pride when almost everything bad that’s ever happened to me took place in this dear green place. ‘People Make Glasgow’! Aye, people make Glasgow unbearable. Tell ‘People Make Glasgow’ to the junkie who abducted me on the day of my high-school ball. Though, to be fair, the transport links are dyno and there are some good places to eat. n Christopher Macarthur-Boyd: work-in-progress, State Bar, Glasgow, Sat 23 Mar; Home Sweet Home, The Stand, Glasgow, Sat 30 Mar.

We would have a yellow vest revolution but it’d be hard to tell the difference between protesters and the weird guys that wear high vis from home and pretend to run the taxi rank queue. Even though nobody’s hired them.

Visitors to Glasgow need to know that a fruit machine does not sell fruit, and that a puggy isn’t actually a small dog with breathing problems.

They say Glasgow is a melting pot, but unless the melting point of humans is two degrees celsius, they’re talking shite. n Ashley Storrie: Hysterical, The Stand, Glasgow, Fri 22 Mar.

1 Feb–31 Mar 2019 THE LIST 59

COMEDY | PREVIEWS STAND-UP PHOTO: IDIL SUKAN

JUSTIN MOORHOUSE

THE STAND, GLASGOW, SAT 16 MAR; THE STAND, EDINBURGH, SUN 17 MAR My comedy hero is Les Dawson. He is, in my opinion, the father of modern comedy, especially the comedy that lazily gets lumped as ‘northern’. To the idiotic some, he was your archetypal 70s comedian, a frilly-shirted rotund bloke doing gags about his mother-in-law just like the rest of them. But he invented that character, he created that persona, and that mother-in-law wasn’t real. She was a Hogarthian monster he designed perhaps to expose his own inadequacies.

Born and formed in Collyhurst, a rain-sodden north Manchester slum, Les always looked outward. He left school at 14, dreaming of becoming a writer. Instead, he worked in the parcels’ department of the Co-op. For a short time, Les worked on The Bury Times, he sold vacuum cleaners, did National Service and at one time got by playing piano in a Parisian bordello. Typical northern working-class comedian! His jokes were tightly formed and perfectly constructed. Though that doesn’t mean he was obsessed with keeping the word-count low; far from it. The florid passages were so perfectly written that they’re a delight just to read, never mind hear.

He was a giant of comedy, a titan of panto, a brilliant writer, a droll deadpan. When he left us early in 1993, Nick Smurthwaite’s obituary in The Independent summed him up brilliantly as ‘the most original and unexpected of stand-up comics, combining the coolness and command of Jack Benny with the studied misanthropy of WC Fields, his hero.’ He was the best.

(As told to Brian Donaldson) 60 THE LIST 1 Feb–31 Mar 2019

Hug and Pint, Glasgow, Fri 15 & Sat 16 Mar Blowing any audience cobwebs away with a show that revelled in its tales of misadventure, Lou Sanders’ Shame Pig was a highlight of last August’s Edinburgh Fringe, with its star laying some of her least proud moments out in the open for all to hear. A vital distinction was drawn between momentary embarrassment and the kind of shame that can impact on mental health. A relentlessly silly hour, Shame Pig was, at the same time, the sort of poignant comedy we need right now: acknowledging that being imperfect is surely the one thing we all have in common.

Our conversation quickly turns to Jon Ronson’s revelatory book So You’ve Been Publicly Shamed. ‘I love Jon Ronson,’ Sanders tells me from Sydney where she’s gigging and ‘squeezing in a lot of beach time. I opened for him in London when he was doing a tour of his new book which I was delighted about as he’s the best nonfiction author in the world. That book was life changing and everyone needs to read it and have a think about their actions. Compassion has been replaced with finger pointing and blame and everyone’s gone quite bonko.’

Both Shame Pig and a work in progress of new show The Face That Launched 1000 Dicks will get an airing at the Glasgow Comedy Festival. She’s still writing it, but has it mapped out conceptually. ‘At this stage I want to talk about context. We’re so divided and everything’s reduced to headlines so it’s harder for people to say their truth with depth and nuance because they’re worried about being called out or cancelled. It would be better if people could speak from the heart and be allowed space for what they believe at that time and to think differently and make mistakes. But that might be too hard to make funny.’ If anyone can accept that challenge, it’s Lou Sanders.

(Craig Angus)

PHOTO : PAUL WOLFG ANG W EBSTER

MY COMEDY HERO

LOU SANDERS

PREVIEWS | COMEDY

list.co.uk/comedy STAND-UP

PAUL MCCAFFREY

The Stand, Edinburgh, Tue 26 Mar; Glee Club, Glasgow, Wed 27 Mar Some might say that Paul McCaffrey has earned his stripes and deserves a proper shot in the comedy limelight. Having supported the likes of Sean Lock and Kevin Bridges in recent times, the popular Mancunian stand-up is launching into his own first proper national tour.

‘A lot of my recent stuff has been around the difficulty of adapting to my 40s,’ he says. ‘I wouldn’t say that I’m growing old disgracefully, but there’s certainly an arrested development there which is quite common with my peer group. People who were around during rave and Britpop are perhaps doing adulthood in a slightly different way to how it was previously done by other generations. It feels as though there’s this desire to continue having a good time even if the body might not be up for that.’

With I Thought I'd Have Grown Out of This By Now, he’ll be delivering a compilation of his best bits to date merged with a version of his acclaimed Edinburgh Fringe show, Pills, Thrills and Bellylaughs.

That set centred on the story of him going to a music festival with some friends, 20 years after their last visit to such an event. ‘I definitely used to look a lot younger than my age. Up to my mid-30s, every time I’d tell someone how old I was, they’d never believe me, but more recently that stopped happening. I used to be quite good at sleeping, but all that has stopped. That’s not comedy, it’s just facts.’ (Brian Donaldson) VARIETY

ELAINE C SMITH

King’s Theatre, Glasgow, Fri 15 Mar Elaine C Smith may now have reached her 60s, but her recent workload tells you that she has little intention of slowing down. She’s done panto, played Miss Hannigan in Annie, appeared in BBC sitcom Two Doors Down (for which she picked up a Scottish BAFTA in November) and filmed a Spanish movie entitled I Love My Mum. Add to that her various charitable work and political activism, and you have someone who is constantly on the move.

As she prepares to bring songs, laughs and stories to the Glasgow Comedy Festival, she does admit to still feeling a little touch of nerves. ‘When you’re 22, it’s about being loved by everyone.

When you’re my age now, it’s because you just want to do a good job. You don’t want them walking away and saying “I thought she’d be funnier than that”. But if you know your material, and you’ve got your timing right and you’re rehearsed, then it’ll all be fine.’

As her King’s date looms, she has a fair idea what her audience will be expecting. ‘I’ve been doing a routine for over 20 years about popular song and women, and why we’re off our heads: I’m always amazed at the number of people who ask me to do that bit again. I always know how to begin and where the end is, but it’s about knowing when to do the politics and where I should put the Mary Nesbitt stuff.’ (Brian Donaldson)

COMEDY

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‘MON DOON!

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1 Feb–31 Mar 2019 THE LIST 61

COMEDY | HIGHLIGHTS

COMEDY HIGHLIGHTS Events are listed by city, then date.

Submit listings for your event at list.co.uk/add

GLASGOW NO SUCH THING AS A FISH King’s Theatre, Fri 1 Mar, atgtickets.com/venues/kingstheatre Bizarre and humorous facts from the QI universe in this live touring version of the hit podcast. Also King’s Theatre, Edinburgh, Sun 24 Mar, capitaltheatres.com/your-visit/ kings-theatre JOHN COOPER CLARKE City Halls, Sat 9 Mar, glasgowconcerthalls.com/city-halls The legendary Mancunian punk poet, who is a spiritual godfather to the likes of Mike Skinner and Plan B hauls his insatiable laconic wit on tour.

ALFIE BROWN: LUNATIC Blackfriars, Fri 15 Mar, blackfriarsglasgow.com Alfie Brown talks about identity politics, and trying to be a good father in a horrible world.

LOU SANDERS: SHAME PIG Hug and Pint, Fri 15 Mar, thehugandpint.com Eccentric standup comedy. See preview, page 60.

GRAINNE MAGUIRE: IT’S PROBLEMATIC Hug and Pint, Sat 16 Mar, thehugandpint.com Funny material from the regular guest on Radio 4’s The Now Show. See feature, page 34.

DESIREE BURCH: WORK IN PROGRESS Old Hairdresser’s, Sat 23 Mar, theoldhairdressers.com The acclaimed American comedian works up some new material.

Award nomination. Also Macrobert Arts Centre, Stirling, Thu 28 Feb, macrobertartscentre.org; King’s Theatre, Glasgow, Thu 14 Mar, atgtickets.com/venues/kingstheatre

LOLLY ADEFOPE: WORK IN PROGRESS Old Hairdresser’s, Sat 23 Mar, theoldhairdressers.com Lolly Adefope presents a new hour as she explores some in-depth character comedy.

EDINBURGH IMPROV FESTIVAL Assembly Roxy & Scottish Storytelling Centre, Thu 7–Sun 10 Feb, edimprovfest.com Scotland’s first and only festival devoted to improv features the wonderful Abandoman.

JESSIE CAVE: SUNRISE The Stand, Sun 3 Mar, thestand. co.uk/whats-on/Edinburgh Jessie Cave discusses her recent break-up and the attempts to get her life back in order. Also The Stand, Glasgow, Mon 4 Mar, thestand.co.uk/whatson/Glasgow

GLENN WOOL: WOOL’S GOLD II (THE IRON PIRATE) The Stand, Sun 10 Feb, thestand. co.uk/whats-on/Edinburgh Awardwinning comedian and new dad Wool delves into his back catalogue of

GLEN’S COMEDY LOCK-IN Gilded Balloon Basement, Fri 29 & 30 Mar, gildedballoon.co.uk New comedy night featuring Katie Mulgrew, Phil Jerrod, Amy Matthews and Tony Law.

DAVID KAY The Stand, Thu 28 Mar, thestand. co.uk/whats-on/Glasgow Excellent ramblings from perhaps the world’s only scone-focused comedian.

CHRISTOPHER MACARTHURBOYD: HOME SWEET HOME State Bar, Sat 23 Mar Another top hour from one of the country’s most promising comedy talents. Also The Stand, Glasgow, Sat 30 Mar, thestand.co.uk/whats-on/Glasgow GARRETT MILLERICK: SMILE Vacant Space, Sat 30 Mar, thevacant.space New comedy show from comedian and writer Garrett Millerick. See feature, page 32.

JOHN-LUKE ROBERTS: AFTER ME COMES THE FLOOD . . .

Vacant Space, Sun 31 Mar, thevacant.space Anarchic and surreal comedy from the moustachioed maestro. See preview, page 58.

EDINBURGH

CATHERINE BOHART: IMMACULATE Blackfriars, Sun 17 Mar, blackfriarsglasgow.com Comedy from bisexual, OCD daughter of an Irish Catholic Deacon.

FERN BRADY: WORK IN PROGRESS Gilded Balloon Basement, Sun 3 Feb, gildedballoon.co.uk New material from this rising comedy star.

RUSSELL KANE: THE FAST AND THE CURIOUS King’s Theatre, Thu 21 Mar, atgtickets.com/venues/kingstheatre The award-winning comedian tours his newest show.

LARRY DEAN: BAMPOT The Stand, Tue 5 Feb, thestand. co.uk/whats-on/Edinburgh Larry presents his thoughts on Scottishness, sodomites and self-esteem which earned him an Edinburgh Comedy

HITLIST

SEAN LOCK Glee Club, Glasgow, Fri 1 & Sat 2 Feb, glee. co.uk/comedy/glasgow The Glee Club launches its Glasgow venue with a night of comedy headlined by the popular TV stalwart.

NISH KUMAR: IT’S IN YOUR NATURE TO DESTROY YOURSELVES

62 THE LIST 1 Feb–31 Mar 2019

material to perform some of his more subversive routines.Also The Stand, Glasgow, Mon 11 Feb, thestand. co.uk/whats-on/Glasgow

Pavilion Theatre, Glasgow, Sat 9 Feb Jokes about humankind’s capacity for self-destruction from the double Edinburgh Comedy Awards nominee.

See First & Last, page 104.

Also touring, see list. co.uk/comedy for details AHIR SHAH: DUFFER The Stand, Edinburgh, Sun 17 Feb, thestand.

Larry Dean

‘Bohemian Rhapsody’. Also The Stand, Glasgow, Mon 18 Feb, thestand.co.uk/ whats-on/Glasgow Olga Koch

co.uk/whats-on/ Edinburgh Two-time Edinburgh Comedy Awards nominee Ahir Shah discusses life and what comes after; death and what comes before; and

OLGA KOCH: FIGHT Monkey Barrel, Edinburgh, Tue 19 Feb, monkeybarrelcomedy. com The Amused Moose National New Comic Award finalist discusses the most surreal year in

her family’s life, which began when her father was stopped by authorities on the Russian border.

Also Old Hairdresser’s, Glasgow, Sat 23 Mar, theoldhairdressers.com BILL BURR SEC, Glasgow, Thu 28 Feb, sec.co.uk Sharp and opinionated humour from the American stand-up.

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

GLASGOW FILM FESTIVAL SPECIAL EVENTS The festival’s popular programme of special events returns, with The List joining the party in 2019 Rapidly becoming the stuff of legend, the Glasgow Film Festival’s Special Events bring films to life off the screen, allowing audiences to experience beloved classics in a completely new light.

This year, The List is proud to partner with the Glasgow Film Festival to present a special screening of Fight Club (pictured, Parkhouse Business Park, Fri 1 Mar), immersing audiences in Chuck Palahniuk’s notoriously seedy underworld of street fighting and anti-corporate disaffection with re-enactments, fancy dress and other surprises. Or try your luck at an evening of bingo debauchery, hosted by glamorous drag queens at a showing of Priscilla, Queen of the Desert (Grand Ole Opry, Thu 21 Feb), with the chance to win free film tickets for yourself and a pal.

Who ya gonna call? The 1984 paranormal classic Ghostbusters (Argyle St Arches, Sun 24 Feb) will be screened twice: once for the wee ones, with plenty of family-friendly activities like slime-making in the Slime Lab, while the big ones visit the Mixology Lab to sample spooky cocktails and get ghost-catching tips from the Ghostbusters squad. More strange things are afoot at the screening of Bill & Ted’s Excellent Adventure (Buchanan Galleries Shopping Centre, Wed 27 Feb), with attendees strongly encouraged to come dressed as their favourite historical figure.

Don your all-black couture at special screenings of The Matrix (Argyle St Arches, Fri 22 & Sat 23 Feb), featuring spoon-bending installations and an afterparty that’ll shake the foundations of Zion. For the thrill seekers, brave the Xenomorph at an Alien-themed laser tag adventure (Parkhouse Business Park, Thu 28 Feb), or face your fears and enter the woods to find the infamous Blair Witch – before it finds you (secret location, Sat 2 Mar). (Deborah Chu) ■ Glasgow Film Festival, various venues, Wed 20 Feb–Sun 3 Mar, check glasgowfilm. org for full programme.

1 Feb–31 Mar 2019 THE LIST 63

TICKETS ON SALE NOW

REVIEWS | FILM

list.co.uk/film

BIOPIC – COMEDY DRAMA

BIOPIC – DRAMA

BIOPIC – WAR

(12A) 130min ●●●●●

(15) 115min ●●●●●

(15) 110min ●●●●●

GREEN BOOK

Based on the true story of the unlikely friendship between African-American virtuoso pianist Don Shirley and his homespun Italian-American driver Tony ‘Lip’, Green Book features two outstanding performances from Mahershala Ali and Viggo Mortensen. There is, however, no escaping the fact that this is another film about bigotry and prejudice told through the experiences of a white man. We watch as, chauffeuring Don on a musical tour of America’s Deep South in 1962, Tony slowly awakens to the personal cost of the racism they encounter wherever they go.

Throughout the abuse, Don remains poised, making his character something of a cipher; it’s Tony who gets angry, Tony who demands change.

The production values are undeniably exquisite and, while the narrative beats are obvious, it’s easy to get swept up in the good-natured worthiness of it all.

And yet, good-natured worthiness is not the bullseye at which Peter Farrelly’s film should be aiming. It is certainly a heartfelt, possibly an accurate portrayal of a wonderful, life-affirming friendship. It absolutely suggests that we are all capable of change. But, as social commentary, it’s far too gentle, broad and acquiescing to be effective. (Nikki Baughan) ■■General release from Fri 1 Feb.

BOY ERASED

A PRIVATE WAR

Actor Joel Edgerton follows his directorial debut The Gift with an austere adaptation of Garrard Conley’s 2016 memoir. Set in Fundamentalist Arkansas, Lucas Hedges plays Jared Eamons, the teenage son of a Baptist preacher who is struggling with his sexuality in a state where to be gay is not only to sin but to heap shame on those around you.

His anxious parents (played by Russell Crowe and Nicole Kidman) turn to gay conversion therapy in an attempt to cast out the ‘demons’ of same-sex attraction. Quivering strings and fractious keys relay the tumult beneath Jared’s calm exterior and the air of authenticity is bolstered by Hedges’ unflashy, credibly conflicted turn; similarly, as a director, Edgerton rarely goes for the emotional jugular. It’s distinguished from the likeminded The Miseducation of Cameron Post by reserving some of its focus for Jared’s parents; and yet, especially given the significant casting coups, they can feel frustratingly peripheral. Well-crafted if a tad under-illuminating, Boy Erased is a simmering study of a disturbing practice. It acts as an impassioned wake-up call to an America which seems to be turning the clock back to a more conservative, intolerant time. (Emma Simmonds) ■■General release from Fri 8 Feb.

Focusing on the courageous war correspondent Marie Colvin – who risked and lost her life bringing atrocious, heart-breaking stories to the world – and based on a Vanity Fair article, Matthew Heineman’s film is a no-holds-barred portrait reminding us of the human cost of war. Beginning in 2001, the film is structured around several assignments, with visceral scenes from war zones cut with Colvin’s returns to London, as she suffers from alcoholism and PTSD. Pike is extremely well cast. There’s an inherently frosty aspect to the actress’s demeanour that feeds into her best performances and here it allows her to present the chain-smoking Colvin’s determination and resourcefulness, alongside an arrogance that makes her both difficult employee and dogged reporter.

Heineman and editor Nick Fenton weave a compelling story structure. The action sequences are frighteningly realistic. The men in Colvin’s life and the actors playing them are foils: Jamie Dornan the loyal, protective photographer; Tom Hollander the foreign editor who admires but also despairs at his diva-like ace; Stanley Tucci the lover who offers a normal life. But it’s Pike’s show, and she’s mesmerising, discomforting and inspiring. (Demetrios Matheou) ■■General release from Fri 15 Feb.

ROMANTIC DRAMA

IF BEALE STREET COULD TALK (15) 119min ●●●●●

Writer-director Barry Jenkins follows his Best Picture Oscar winner Moonlight with a gorgeously crafted heartbreak of a love story. His screen version of James Baldwin’s 1974 novel confirms his reputation as a hopeless romantic and exceptional filmmaker.

‘Tish’ (KiKi Layne) and ‘Fonny’ (Stephan James) are one of the most entrancing couples we’ve seen in a long time. Friends since childhood, they grow to adulthood and the realisation that they are soulmates. Jenkins captures the joy and promise of their love in searching close-ups, tender regards and kisses to build a dream on. This is America, however, and neither Jenkins nor Baldwin are willing to trade in false comfort. When Fonny is arrested on a trumped-up rape charge, their future crumbles. The injustice of his position burns as he attempts to challenge the forces of history and a racist nation that has taken against him.

If Beale Street Could Talk looks fabulous with deep, burnished colours and a bright retro wardrobe that jumps off the screen and makes you want to rush out and buy it. The soundtrack is seductive, the performances terrific and the tears you shed are fully deserved.

Jenkins secures some excellent performances from his ensemble, not least Golden Globe winner Regina King as Tish’s formidable mother. Layne and James are beautiful and beguiling, making us fall in love with them as they fall for each other and ensuring we feel every step of tragedy in their great romance.

The weary irony of the conclusion may lack subtlety for some, while the sense of pace fades a little in the second half, but these are minor flaws. This is a great big lyrical swoon of a film with a rueful anger concealed beneath its soft, tender heart.

(Allan Hunter) ■■General release from Fri 8 Feb. 1 Feb–31 Mar 2019 THE LIST 65

FILM | REVIEWS

MYSTERY DRAMA

BURNING

(15) 148min ●●●●●

BIOPIC – COMEDY

CAN YOU EVER FORGIVE ME? (15) 106min ●●●●●

There’s nothing less appealing than an Oscar bait biopic that sticks to the standard formula.

Director Marielle Heller (The Diary of a Teenage Girl) and screenwriters Nicole Holofcener and Jeff Whitty are well aware of that, turning the story of author and literary forger Lee Israel into a queer buddy comedy as they cherry pick from Israel’s confessional memoir.

The title of this mischievous film quotes one of Israel’s many forged letters – one purporting to be the work of Dorothy Parker, although Israel also emulated Noel Coward, Louise Brooks and Fanny Brice amongst others. Melissa McCarthy plays Israel as a lonely woman who took tremendous pride in her work, nailing the excitement she gets from her cunning scheme.

It’s one of McCarthy's best performances – she slides comfortably into the tweed jackets, patterned sweaters and stubborn temperament of an alcoholic writer faced with severe financial difficulties and an ailing, beloved cat. Richard E Grant seems equally at ease in his role as co-conspirator and party animal Jack Hock, taking his seat next to his bar buddy for another round of shots and misconduct.

Heller uses the New York setting to conjure a cosy ambience when McCarthy and Grant are up to their necks in hijinks, but she blows in an icy breeze when the FBI start tailing them as suspects. The screenplay is intelligent and multi-layered in its approach to the value of the written word and how it declines according to fashion; it displays an aptitude for the kind of humour that derives from the darkest places, and knows too when it’s time to be sincere. As it sweeps you exhilaratingly back to the 1990s, Can You Ever Forgive Me? is deviously funny and deeply moving. (Katherine McLaughlin) ■■General release from Fri 1 Feb.

Lyrical, languid and utterly beguiling, Chang-dong Lee’s Burning demands that the viewer not only succumb to its opacity, but revel in it. The first we see of painfully reserved delivery man Jong-su (the astonishing Ah-in Yoo) is the cigarette smoke curling around the door of his van – a visual marker for what is to come. A chance meeting with old neighbour Hae-mi (Jong-seo Jun) leads to an attraction that’s extinguished when she returns from a trip with the dashing, rich Ben (The Walking Dead’s Steven Yeun). The three circle each other and, when Hae-mi disappears, Jong-su’s suspicions begin to fester.

Despite the incendiary promise of its title, there’s not a lot of fire and brimstone in Burning, based on Haruki Murakami’s short story. It comprises instead many miniscule moments that, in rubbing up against each together, smoulder and, eventually, ignite. Set against South Korea’s rampant youth unemployment, political commentary is secondary to intimacy and immediacy as Lee meanders from comedy to romance to thriller until he reaches an unforgettable climax. It’s a sequence that’s yet another beautiful frustration in a film that, despite its elusiveness, proves a vibrant, visceral experience. (Nikki Baughan) ■■Selected release from Fri 1 Feb.

WAR

FOXTROT

(15) 113min ●●●●● BIOPIC – LEGAL DRAMA

ON THE BASIS OF SEX (12A) 120min ●●●●●

How appropriate that on a wave of films centred on strong female characters one of them should be about iconic US Supreme Court Justice Ruth Bader Ginsburg, fondly known as Notorious RBG and the subject of a recent documentary. A brilliant strategist, RBG made it her mission to challenge gender discriminatory laws. She’s now an 85-year-old superhero, fighting the good fight, and always with style.

Felicity Jones isn’t obvious casting for the diminutive but daunting Jewish immigrant’s daughter from Brooklyn, but relishes the smart dialogue and brings conviction to the inevitable climactic courtroom oration. Her Ruth has a sweet chemistry with Armie Hammer, playing her lawyer husband Marty – so proud and supportive he sets the bar for husbanding admirably high.

The intelligent screenplay was written by Ginsburg’s nephew Daniel Stiepleman, combining legal drama and love story appealingly. Director Mimi Leder is herself a groundbreaker and uses her background as a cinematographer to ensure visual interest, like images of Ruth purposefully mounting imposing steps, from law school to the Supreme Court, for a nicely inspirational, romantic hagiography and an unmistakable call to political engagement. (Angie Errigo) ■■General release from Fri 22 Feb. 66 THE LIST 1 Feb–31 Mar 2019

Following up his blistering debut Lebanon, which expressed the horrors of warfare from the confines of a tank, Israeli director Samuel Maoz returns to similar territory. Although he widens out the action, Foxtrot is no less claustrophobic. It follows a married couple (Lior Ashkenazi and Sarah Adler) who are informed that their son Jonathan (Yonathan Shiray) has been killed ‘in the line of duty’, before flashing back to follow Jonathan in the days leading up to the incident and rejoining his parents in the aftermath.

Reteaming with Lebanon cinematographer Giora Bejach, Maoz again demonstrates he is a master of visual storytelling.

The incredible sequence which introduces Jonathan at his isolated outpost, as he dances the foxtrot under a vivid blue sky, using his rifle as his partner, will surely go down as one of the most memorable of the year. And while Foxtrot plays as something of a comedy of errors, it also makes some biting political points. Conscription means that Israel's youth spend their formative years in military service and their families live in a state of constant worry; the film's off-kilter lines underscore the central themes of absurdity, oppression and innocence lost. (Nikki Baughan) ■■Limited release from Fri 1 Mar.

REVIEWS | FILM

list.co.uk/film

NOIR

DRAMA

FANTASY

(TBC) 139min ●●●●●

(TBC) 96min ●●●●●

(15) 110min ●●●●●

UNDER THE SILVER LAKE David Robert Mitchell turned his hand to teen drama for his debut The Myth of the American Sleepover, before updating the slasher film with It Follows. Here, he takes an ambitious detour with a sprawling, LAset neo-noir that’s fitfully amusing.

Playing Sam, an idle man about to be evicted, Andrew Garfield puts in a performance that is both checked out and tuned in – to the strange vibes of this labyrinthine, Lynchian trip. Sam spends his time spying on women through binoculars, and becomes fixated on Hitchcockian blonde Sarah (Riley Keough) after spotting her swimming; when she disappears, he goes in search of her.

Sam’s investigation unearths cryptic clues and dead ends, with Mitchell making numerous pop culture references, while critiquing a generation who refuse to grow up. Sam is constantly looking for a distraction from his responsibilities and is obsessed with conspiracy theories, like the media utilising symbols that only the wealthy understand.

In Under the Silver Lake, Mitchell acknowledges the ridiculousness of the male gaze but can’t help indulging in it. Nevertheless, the director occasionally digs up gold as his protagonist delves around Hollywood. (Katherine McLaughlin) ■ Selected cinemas and on MUBI from Fri 15 Mar.

THE KINDERGARTEN TEACHER Writer-director Sara Colangelo elicits a disturbing performance from Maggie Gyllenhaal in this New York-set remake of Nadav Lapid’s 2014 Israeli film which asks: at what point does a teacher’s interest in a pupil go too far? The idea could have taken a Fatal Attraction-esque turn and it’s to Colangelo and Gyllenhaal’s credit that the film stays grounded even as its protagonist flies off the rails.

Lisa Spinelli (Gyllenhaal) is the titular educator, a downtrodden woman who takes a poetry class in Manhattan, but her efforts don’t impress her peers or tutor (Gael García Bernal). When one of her 5-yearold students, Jimmy (Parker Sevak), creates poems of his own, Lisa passes them off as her work. But Jimmy’s family come to distrust Lisa and question her interest in him.

Whether Lisa is justified in her increasingly unhinged actions is the issue; the film builds to a brief, almost silent coda that makes the filmmakers’ agenda clear.

The punchline’s power, however, narrows rather than expands the potential meaning; despite sensitive direction and a nervy turn from Gyllenhaal, The Kindergarten Teacher doesn’t do enough to deliver a satisfying pay-off to a well-developed, intriguing situation. (Eddie Harrison) ■ Selected release from Fri 8 Mar.

BORDER

Blending Nordic Noir with a magical realist fable, Border is a very strange film. Based on a tale

by John Ajvide Lindqvist, author of Let the Right One In, it’s the second feature from Iranian-born, Scandinavia-based writer-director Ali Abbasi. It introduces us to the Neanderthal-like Tina (Eva Melander), a customs officer working in a Swedish coastal town. Destined to be forever the outsider, Tina possesses a preternatural sense of smell which allows her to detect a person’s fear or guilt. When she sniffs out a man’s stash of child porn it sets her on the trail of those creating the images. But events take a different turn when Tina meets Vore (Eero Milonoff), who has a similar appearance to her own.

Who is he? Or, more to the point, what is he? And what is Tina’s relationship to his kind?

Digging into Scandi mythology, Border only gets weirder from here on in, with one sex scene where you simply won’t believe your eyes. Kudos should go to Melander and Milonoff for performing through layers of prosthetics. Yet Abbasi stumbles at points; his intriguing curio is hampered by its clumsy pornography ring subplot, which distracts more than it delivers and thus never quite lands emotionally.

(James Mottram) ■ Selected release from Fri 8 Mar.

DRAMA

CAPERNAUM

(15) 126min ●●●●● Capernaum is a rare and thrilling film. Propelled by a seething sense of injustice, it fuses expert storytelling with a striking cinematic sensibility to take the viewer on a gripping, highly emotional journey through life on the streets of Beirut.

Nadine Labaki’s drama has been compared to Slumdog Millionaire but feels a tougher tale. There are the characters and rich sweep of a Dickens novel in its understanding of poverty and the way it grinds down hope and ends innocence. 12-year-old Zain (Zain Al Rafeea) is the Artful Dodger of Beirut. Part of a large, chaotic family, he refuses to let his circumstances define his life. He works selflessly to make things better for those around him. Resourceful, determined, protective of his younger sister – he has a heart of gold and the wary eyes of someone for whom trust must be earned.

When the film begins, Zain is bringing a case against his parents for having brought him into the world. He is also serving a prison sentence for a violent attack. Over the course of the film, we learn how his life amply justifies his case and of the events that prompted his crime.

Purely as a piece of storytelling, Capernaum is captivating, carrying the viewer along with its twists of fate, coincidences, unexpected friendships (including one with illegal Ethiopian immigrant Rahil, played by Yordanos Shiferaw), and awful partings. We really feel that we have come to know Zain and the world he inhabits.

Beautifully photographed by Christopher Aoun, Capernaum needs to be seen on a big screen. It is a film that requires the attention that only comes with surrendering yourself to a cinema performance. The reward is a haunting salute to an indomitable human spirit. (Allan Hunter) ■ Selected release from Fri 22 Feb. 1 Feb–31 Mar 2019 THE LIST 67

FILM | REVIEWS BIOPIC – KITCHEN SINK DRAMA

RAY & LIZ

(15) 108min ●●●●● Nominated for Outstanding British Debut at this year’s BAFTAs, this kitchen sink memoir is the cinematic calling card of Turner Prize-shortlisted photographer Richard Billingham. With grisly fascination and no shortage of humour, he recalls an unhappy childhood spent with a physically imposing, fearsome mother and a scrawny, drunkard father, lived first in a rundown end-of-terrace, then climbing the walls of a council high-rise.

Set in the West Midlands, it recreates both Billingham’s upbringing during the Thatcher years and his father’s rank, ignominious existence in a single room decades later. At first, he eyes his feckless parents (played in their younger years by Justin Salinger and Ella Smith) and their squalid surroundings as if they are grotesque exhibits, before giving us glimpses of frailty and regret.

The film makes its obsession a level of griminess that seems quintessentially British, as stained net curtains flutter over dirty window sills, fag-ends abound and naff wallpaper peels.

Working with ace cinematographer Daniel Landin (Under the Skin), Billingham hones in on the whiskers on his father’s chin, the clenched fist of his bruiser of a mother, a wedge of tattered, unopened mail, the way a budgie hares back and forth on its perch. Black comedy comes courtesy of acts of mischief and rebellion: the reckless hijinks of a cruel lodger, chintzy ornaments dropped from an open window onto passers-by.

Although Billingham takes a backseat in these memories, they manifest his turmoil in a way that’s artful, endlessly compelling and no doubt cathartic. Funny, and brimming with colour, character and eventually compassion, Ray & Liz represents film at its most painstakingly personal. (Emma Simmonds) ■■Selected release from Fri 8 Mar.

DRAMA

BIOPIC – THRILLER

MYSTERY DRAMA

(15) 106min ●●●●●

(18) 118min ●●●●●

(TBC) 132min ●●●●●

GIRL

Issues of identity lie at the heart of Girl. Belgian director Lukas Dhont’s poised debut focuses on 15-year-old Lara (Victor Polster). Born male, Lara identifies as female and dreams of becoming a ballerina. She is accepted by a prestigious ballet school, embarking upon rigorous training at the very point her body is changing and rebelling against her wishes. The constant repetition, bending, arching and shaping of her sylphlike frame edges the film towards the febrile territory of The Red Shoes and Black Swan. The camerawork becomes noticeably more agitated as Lara pushes herself to the brink of collapse.

Dhont’s approach favours discretion. We don’t know much of Lara’s life prior to the point at which we meet her. We only witness her tangled feelings and growing frustration. The result is a thoughtful film with a star-making performance from cis actor Polster. He has a willowy, fawn-like presence and captures a sense of the turmoil in a young woman eager to experience her desired life and rubbed raw waiting for it to begin. Transgender reviewers have been more critical but, on an emotional level, it is a tough, compassionate drama with a performance that convinces in both body and soul. (Allan Hunter) ■■Selected release from Fri 15 Mar. 68 THE LIST 1 Feb–31 Mar 2019

LORDS OF CHAOS Swedish director Jonas Åkerlund (Spun) is known for his music video collaborations with Madonna and Beyoncé but here he takes the helm of a disturbing story of music and murder. Unfolding in the early 1990s, it follows the formation of an obscure subgenre: Norwegian black metal.

As its centre is Øystein Aarseth – aka ‘Euronymous’ – played by the excellent Rory Culkin, the creative force behind the band Mayhem. After their selfharming vocalist Per Yngve Ohlin (Jack Kilmer) kills himself, Euronymous uses his death for promotional material. Mayhem are on the rise, and when his parents front the cash for Euronymous to open a record store, he and his followers have a base. Things really heat up when he meets Kristian ‘Varg’ Vikernes (Emory Cohen), a fan and fellow musician whose actions are even more extreme. With a penchant for burning churches, something that soon alerts the authorities, Varg becomes an insider in Euronymous’s world, setting up a rivalry that will only end one way.

Some will undoubtedly be disgusted by the violent, nihilistic subject matter but Åkerlund’s dead-eyed direction and Culkin’s compelling performance keep you hooked throughout a strange, often horrifying story. (James Mottram) ■■Selected release from Fri 29 Mar.

EVERYBODY KNOWS The location may have changed but the themes are strikingly familiar in the latest from Oscar-winning Iranian director Asghar Farhadi (A Separation).

Everybody Knows unfolds in the piercing light and dusty backroads north of Madrid but, once again, the focus is on emotional ties prised apart by secrets and lies.

A family wedding returns Laura (Penélope Cruz) to the small town where she was born. Her former boyfriend Paco (Cruz’s real-life husband Javier Bardem) now owns and runs the vineyard that once belonged to Laura’s family. She has returned from Buenos Aires with her teenage daughter Irene (Carla Campra) and young son. The fact that her husband Alejandro (Ricardo Darín) is not with her may be significant. At the height of a boisterous wedding reception, Irene is kidnapped. Although there are thriller elements relating to her ordeal, much more important are the skeletons it rattles in the family closet.

The soap opera-style revelations and character flaws are a little too predictable, the attempts to wrongfoot us a little too strained. The stellar cast and careful craftsmanship mean that Everybody Knows remains perfectly watchable, but it is never as gripping as you might have hoped. (Allan Hunter) ■■General release from Fri 8 Mar.

FILM | HIGHLIGHTS

HIGHLIGHTS | FILM

FILM HIGHLIGHTS Films are Events arelisted listedbybyrelease city, then date. date.

Submit listings for your event at list.co.uk/add

CAN YOU EVER FORGIVE ME? Biopic charting the fame and crime of celebrity biographer Lee Israel. Out Fri 1 Feb. ALL IS TRUE The story of the last days of William Shakespeare. Out Fri 8 Feb. BOY ERASED After the son of a Baptist preacher is outed by his parents, he’s forced to undergo a church-supported gay conversion programme. See review, page 65. Out Fri 8 Feb. INSTANT FAMILY A childless couple bite off more than they can chew when they decide to foster three children. Out Thu 14 Feb. ISN’T IT ROMANTIC Fantasy comedy about a woman who is struggling to find love and who finds herself trapped inside a romantic comedy. Out Fri 15 Feb. THE KID WHO WOULD BE KING Having made one of the best sci-fi films in recent years as his debut film, director Joe Cornish turns his hand to the fantasy genre. Out Fri 15 Feb. A PRIVATE WAR The story of intrepid war correspondent Marie Colvin and her colleagues. See review, page 65. Out Fri 15 Feb. COLD PURSUIT Revenge drama starring Liam Neeson based on a 2014 Norwegian thriller.

Out Fri 22 Feb. ON THE BASIS OF SEX The true story of a struggling attorney and new mother who faces adversity and numerous obstacles in her fight for equal rights. See review, page 66. Out Fri 22 Feb.

Can You Ever Forgive Me?

THE RHYTHM SECTION A woman avenges the people responsible for the plane crash that killed her family. Out Fri 22 Feb.

FIGHTING WITH MY FAMILY Wrestling drama based on the true story of Norwich-born Paige and her ascent to WWE stardom. Out Wed 27 Feb.

FOXTROT Devastating drama about grieving, absurdity and oppression, told by master storyteller Samuel Maoz. See review, page 66. Out Fri 1 Mar.

SOMETIMES ALWAYS NEVER Detective drama about a man trying to reconnect with his missing son. Out Fri 22 Feb.

THE AFTERMATH After WWII a British colonel and his wife are sent to live in Hamburg during the reconstruction. Out Fri 1 Mar.

HANNAH A woman’s grip on reality is shattered when she has to deal with her husband’s imprisonment. Out Fri 1 Mar.

HITLIST

CAPTAIN MARVEL Marvel Studio’s first female-fronted superhero film focuses on the escapades of extraterrestrial hero Carol Danvers. Out Fri 8 Mar.

Captain Marvel

IF BEALE STREET COULD TALK Tish and Fonny are childhood friends who

become soulmates, but their relationship is threatened when Fonny is charged with rape. See review, page 65. Out Fri 8 Feb. THE LEGO MOVIE 2: THE SECOND PART Highly anticipated followup to the 2014 smash hit film. Out Fri 8 Feb.

CAPTIVE STATE Almost a decade after an alien invasion, humanity tries to make sense of the new world. Out Fri 29 Mar. DUMBO Tim Burton’s live-action/ CGI remake of the Disney animation about an elephant who can fly. Out Fri 29 Mar.

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FILM | HIGHLIGHTS

FILM HIGHLIGHTS EVERYBODY KNOWS Laura returns to her small town for a family wedding with her teenage daughter and young son. But then Irene is kidnapped.

See review, page 68. Out Fri 8 Mar. THE KINDERGARTEN TEACHER A teacher discovers that her fiveyear-old student has a remarkable gift for poetry. See review, page 67.

Out Fri 8 Mar. WHAT MEN WANT Remake of What Women Want featuring a female sports agent who develops the ability to hear men’s thoughts. Out Fri 15 Mar.

SORRY ANGEL The love story of a Parisian writer and a young student from Rennes. Out Fri 22 Mar. THE WHITE CROW Ralph Fiennes directs the real-life story of Rudolf Nureyev’s defection to the West. Out Fri 22 Mar. AT ETERNITY’S GATE Biopic about the time Vincent van Gogh spent living in Arles and Auverssur-Oise, France. Out Fri 29 Mar.

GREYHOUND Navy drama based on CS Forester’s The Good Shepherd. Out Fri 22 Mar.

BEING FRANK: THE CHRIS SIEVEY STORY Documentary about eccentric comedian Frank Sidebottom and the man behind the papier-mâché mask.

Out Fri 29 Mar.

THE INFORMER A man gets himself sent back to jail in order to infiltrate the Mob in a maximum security prison. Out Fri 22 Mar.

EATEN BY LIONS Two half-brothers go in search of an estranged father following a family tragedy. Out Fri 29 Mar.

MINDING THE GAP The friendship of three young men that bonded over their family circumstances is threatened by unexpected revelations. Out Fri 22 Mar.

LORD OF CHAOS Horror based on the real-life events following the creation of Norwegian black metal band Mayhem. See review, page 68. Out Fri 29 Mar.

Lord of Chaos

MORE THAN JUST GREAT FILMS

COMING IN FEBRUARY

COM EMA. D N I C E US OA ILMHO LOTHIAN R F .

W Z | 88 WW OUSE GH | EH3 9B H M L I F UR EDINB

The best in new arthouse cinema, including Beautiful Boy, If Beale Street Could Talk & Green Book, classics from The King of Comedy & Blues Brothers edf ilmfestmemories.org.uk memories@edf ilmfest.org.uk to Call Me By Your Name &| Casablanca , a celebration of Robots on film, and much more!

70 THE LIST 1 Feb–31 Mar 2019

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

FIRST STEPS: BEAUTY & THE BEAST Hour-long narrative ballet aimed at little ones storyteller introduces both the narrative and characters at key points throughout.

Unlike the Disney version, in which the Beast’s house is filled with dancing crockery, Bintley’s Prince has been cursed to remain inside his castle alongside all the creatures he previously hunted, leading to some nifty animal masks. His connection with Belle comes about when she steals a rose from his garden and is forced to remain as a punishment. That is until they fall in love, of course, with the curse lifted and all is well. Because a happy ending hits the spot at any age. (Kelly Apter) ■ Edinburgh Festival Theatre, Fri 15 Mar.

PHOTO: ANDY ROSS

As full of elegance and drama as Birmingham Royal Ballet’s Beauty and the Beast is, two hours can feel like an awfully long time when you’re little.

Which is why the company is following up its successful, pared-down version of Coppélia with another ‘First Steps’ performance aimed at 3 to 7-year olds.

This hour-long version of David Bintley’s highly acclaimed adaptation doesn’t compromise on technical prowess, but does cherry-pick the moments from the full-length ballet that younger viewers will engage with most. And, should they have any problem following the plot, a

1 Feb–31 Mar 2019 THE LIST 71

KIDS | PREVIEWS THEATRE

PHOTO: LEWIS WILEMAN

LITTLE GIFT

Platform, Glasgow, Wed 13 Feb; Traverse Theatre, Edinburgh, Fri 15 & Sat 16 Feb It’s not unusual to find a piece of children’s theatre billed as ‘a tale of friendship and hope’. Having built an entire career out of creating such works, Andy Manley knows a good one when he sees it. Best known in Scotland for his plethora of highquality shows for young audiences (including White, Stick by Me and Night Light), Manley’s latest directorial venture is with Rochdale-based children’s theatre company M6. The story of Ted, a lonely man whose life is changed when a new friend enters his world, Little Gift treads the well-loved path of rebirth.

‘Tales of rebirth are fascinating whatever age we are, but this is definitely one of those stories that is particularly pertinent to young audiences,’ says Manley. ‘They’re open to change and new experiences and the transformation that happens to them as a result. Little Gift is for 3 to 6-year-olds, so many of them have new experiences coming up in their life such as going to nursery or school, and the show is able to reflect that change.’

A blend of puppetry (designed by that other stalwart of Scottish children’s theatre, Shona Reppe), live music and song, the show is performed by Guy Hargreaves whose surroundings are represented by a pile of suitcases that move and transform as the show develops. Ted (the puppet) lives in one of the cases, and Hargreaves uses a range of everyday objects, from a zip to a spoon to a comb, to tell his tale.

‘I like objects,’ says Manley, ‘and I’m more interested in honest things that transform, rather than pretend things that are painted or created. It feels playful to me to say “OK, this is a green spoon but let’s pretend it’s a plant”. It's a game that children enjoy and I also think it reflects the changing and transformative themes of the show.’ (Kelly Apter)

PHOTO: ELLIE KURTTZ

STAGE ADAPTATION

COMEDY

Festival Theatre Studio, Edinburgh, Wed 6–Sun 10 Feb

The Tall Ship, Glasgow, Sat 16, Sun 24 Mar; Dram!, Glasgow, Sat 23 Mar

THE SINGING MERMAID

The Singing Mermaid is absolutely about determination and resilience,’ says Samantha Lane, artistic director of London’s Little Angel Theatre and director / co-adapter of Julia Donaldson and Lydia Monks’ storybook for the stage. ‘The mermaid gets swept up in the moment, in the allure of fame and what it can bring, and I think that’s quite a contemporary theme, when we look at all the television shows which offer instant fame. But the reality of that isn’t always what it seems, and she goes on a learning curve which finds her saved by friendship and solidarity.’

First staged over Christmas 2017 at co-producing theatre the Royal & Derngate in Northampton, Donaldson and Monks’ story (the pair are perhaps most famous for What the Ladybird Heard, while Donaldson’s huge library with other artists includes The Gruffalo) tells of a singing mermaid who runs off with the circus to find fame and fortune, but soon finds herself longing for home when she’s kept captive by the nasty circus owner. Little Angel’s version is told through puppetry and song – as composed by co-adapter Barb Jungr – with three performers bringing the story to life using 34 puppets.

‘I’ve got two girls who are nine and seven now,’ says Lane, ‘but when they were younger this book was a clear favourite; we read it an awful lot. I remember thinking as I was reading it to them that it would make a fantastic show, because it has all the excitement and drama that you need. And it tells a wonderful story that little girls and boys can all engage with.’ (David Pollock) 72 THE LIST 1 Feb–31 Mar 2019

STEPHEN HALKETT

In the contemporary world where a job for life is becoming rarer, owning transferrable skills is a boon. For Stephen Halkett, being a secondary school teacher comes in very handy when he takes to the stage and performs comedy for kids.

‘Working in a school every day obviously gives a great insight into what makes young people “tick”,’ says Halkett. ‘I speak to young people, get to know what’s important to them and what makes them laugh. I can actually try out comedy lines in class to see if it connects or not. I regularly use humour in my teaching.’

During March, Halkett will be shaping that research into shows at the Glasgow International Comedy Festival. He’s at the Tall Ship for Stephen Halkett and Friends: Save the Planet! (Sat 16 Mar) in which he and some pals use comedy to rescue the globe, and with Party Time! (Sun 24 Mar) featuring games, dancing and jokes (it’s also on at Dram!, Sat 23 Mar). He’s also entertaining the grown-ups at the festival with Simmer Down! (Dram!, Wed 27 Mar).

‘With adult shows, you go on stage with rehearsed material and simply deliver it.’ says Halkett. ‘But with kids’ shows there’s far more audience interaction and you have to be prepared to go completely off track depending on their responses.

It’s brilliant when you’ve worked the room into a frenzy and have some hyper kids just screaming at you. Adults would be thrown out of a comedy club if they did that!’ (Brian Donaldson) ■ See list.co.uk for Stephen Halkett Q&A

PHOTO: XXXXX

HIGHLIGHTS | KIDS

KIDS HIGHLIGHTS GLASGOW FAMILY MID-TERM BREAK: OPEN STUDIOS St Mungo Museum of Religious Life and Art, Sun 24 & Mon 25 Feb, glasgowlife.org.uk The gallery hosts arts and crafts activities for the whole family over the school holiday.

FAMILY FRIENDLY WEEKEND: THE ANCIENT WORLD St Mungo Museum of Religious Life and Art, Sun 24 & Mon 25 Feb, glasgowlife.org.uk Discover artefacts from ancient Greece, China and Egypt in the museum’s collections, then learn traditional crafting techniques to make something special to take home.

SCIENCE FUN Gallery of Modern Art, Sat 16 Mar, glasgowlife.org.uk Find out what art and science have in common by creating crazy science experiments alongside artistic masterpieces, inspired

by Fischli/Weiss’ film in Gallery 2.

KEITH FARNAN: KIDOCRACY The Stand, Sun 17 Mar, glasgowcomedyfestival.com Keith Farnan dons the robes of Brehon, an ancient Irish know-it-all who leads an island run by kids, at this interactive comedy show for children aged sixplus.

COMEDY WITH BABY Dram!, Glasgow, Sat 23 Mar, glasgowcomedyfestival.com Glaswegian comic Stephen Halkett hosts this comedy show designed to help parents get out of the house and bring along their babies, with pram storage and soft toys available. See preview, page 72.

MEDIEVAL MELEE Glasgow Museums Resource Centre, Sat 23 Mar, glasgowlife.

PHOTO: BRIAN SLATER

HITLIST

THE SINGING MERMAID The Studio at Edinburgh Festival Theatre, Wed 6–Fri 8 Feb, capitaltheatres.com Stage adaptation of Julia Donaldson and Lydia

org.uk Become a medieval warrior for the afternoon and try out armour and swords, build your own trebuchet and fight for victory in role-playing games.

PHOTO: EOIN CAREY

Events are listed by city, then date.

Submit listings for your event at list.co.uk/add

STEPHEN HALKETT: PARTY TIME Dram!, Sat 23 Mar; The Tall Ship, Sun 24 Mar, glasgowcomedyfestival.com Children’s party hosted by comedian Stephen Halkett, with plenty of games, jokes, dancing and prizes to be won.

MINDFULNESS FOR FAMILIES St Mungo Museum of Religious Life and Art, Sat 30 & Sun 31 Mar, glasgowlife.org.uk Simple crafting sessions designed to help families spend quality time together and relieve stress and tension. Suitable for children aged five-plus.

EDINBURGH OPEN STUDIO: MAKE AN IMPRESSION Scottish National Portrait Gallery, Tue 5 Feb, Tue 5 Mar, nationalgalleries.org Messy art-making mornings in the Farmer Studio for children aged one to three.

Bringing a change of clothes is highly recommended.

THE CAT IN THE HAT King’s Theatre, Wed 6–Sat 9 Feb, capitaltheatres.com Stage adaptation of Dr Seuss’ wonderfully anarchic Cat in the Hat, with original music and spectacular circus displays.

MAGIC CARPET National Museum of Scotland, Fri 8 Feb–Fri 29 Mar, nms.ac.uk Storytelling, songs and activities that take place in a different part of the museum each week. Suitable for ages two to four.

EAST ASIA FAMILY ACTIVITY DAY National Museum of Scotland, Sun 10 Feb, nms.ac.uk Afternoon of family-friendly cultural tasters

Four Go WIld in Wellies

based on Chinese, Japanese and Korean traditions, featuring dress-up, calligraphy workshops, performances and more.

CHINESE NEW YEAR AT THE MUSEUM National Museum of Scotland, Thu 14 Feb, nms.ac.uk Celebrate Chinese New Year by learning how to make paper lanterns and hong bao, dressing up in traditional costumes and following the family trail to spot the 12 calendrical animals hiding around the museum.

WALK, TALK, MAKE Scottish National Gallery of Modern Art, Sat 16 Feb, Sat 16 Mar, nationalgalleries.org Explore the grassy grounds of Modern One and Modern Two and the interesting sculptures that are dotted around the expansive lawns. Suitable for ages two to five.

FAMILY ART TOURS Scottish National Gallery of Modern Art, Sat 23 Feb, Sat 30 Mar, nationalgalleries.org Short interactive tours around the gallery’s collections, designed to help boost children’s confidence in engaging with and chatting about art. The tours will be BSL interpreted.

TALES FROM THE MAGIC DRUM Scottish Storytelling Centre, Sat

2 Mar, scottishstorytellingcentre. com Storyteller Dougie Mackay mixes stories with West African drumming in this interactive session for ages four-plus.

OUT OF TOWN ROOM ON THE BROOM Macrobert Arts Centre, Stirling, Tue 12 Feb, macrobertartscentre. org Plenty of songs, laughs and scary fun for children in this adaptation of the bestselling picture book by Julia Donaldson and Axel Scheffler. Suitable for ages three-plus.

FOUR GO WILD IN WELLIES Macrobert Arts Centre, Stirling, Sun 10 Mar, indepen-dance.org.uk Whimsical adventure featuring bobble hats, scarves and tents that have a life of their own and, of course, lots of fun in wellies. For ages three to five.

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

PUPPET ANIMATION FESTIVAL Various venues, Scotland, Sat 30 Mar–Sat 20 Apr, puppetanimationfestival.org UK’s largest and longest established annual performing arts event for children pulls some strings to present a feast of puppet-based entertainment, working with local authorities, organisations and venues throughout Scotland.

Monks’ story about the mermaid who is kidnapped by a wicked circus master.

See preview, page 72.

puppetry and original music. See preview, page 72. Also touring, see list. co.uk/kids for details.

their productions of The Elves and the Shoemaker, The Tortoise and the Hare and Three Little Pigs.

LITTLE GIFT Platform, Glasgow, Wed 13 Feb; Traverse Theatre, Edinburgh, Fri 15 & Sat 16 Feb; m6theatre.co.uk Children’s show about an old soul who gets a surprise visitor, told through

NORTHERN BALLET Various venues, Vue Cinemas and Cineworld, Sat 16, Sat 23 Feb, Sat 2, Sun 24 Mar, northernballet.com Screening of Northern Ballet’s interactive children’s ballets, featuring

FIRST STEPS: BEAUTY AND THE BEAST Edinburgh Festival Theatre, Fri 15 Mar, capitaltheatres.com Birmingham Royal Ballet performs excerpts from its production of Beauty and the Beast, told alongside

storytelling and technical magic. See preview, page 71.

JAMES CAMPBELL: THE HILARIOUSLY FUNNY WORLD OF . . .

Eastwood Park Theatre, Glasgow, Sat 30 Mar, glasgowcomedyfestival. com Stand-up comedy show for kids by the author of the Boyface series. Suitable for children over the age of six.

1 Feb–31 Mar 2019 THE LIST 73

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

BIG JOANIE London-based trio bring their feminist punk-pop to Glasgow

PHOTO: ELLIE SMITH

‘My mum is called Joan,’ says Stephanie Phillips, guitarist, vocalist and founder of London-based feminist punk-pop trio Big Joanie. ‘I like the name, and I chose to use Big Joanie because in Caribbean culture, we talk about kids acting “big”, as though they’re trying to be grownup. My mum has always been a really positive representation of a strong, confident woman to me.’

Is it her nickname for her mother? ‘Oh no, she didn’t get it at all,’ says Phillips (centre).

‘She thought I meant like, physically big! No, I wouldn’t call her that.’ The trio – Phillips, bassist Estella Adeyeri and drummer Chardine TaylorStone – have been making music since 2013 (although Adeyeri is a later addition), but it was last year’s album Sistahs on Thurston Moore’s Ecstatic Peace! label which really broke them.

‘I heard X-Ray Spex when I was about 14,’ says Phillips, a freelance journalist who is currently writing a book about Solange Knowles.

‘I didn’t understand all of the lyrics, but it was so aggressive and intense that I realised it was something I shouldn’t let my parents hear. I was also influenced by riot grrrl . . . Bikini Kill, Bratmobile, all those early 90s feminist punk bands. They taught me a lot about how to bring politics into art, and bands like SleaterKinney and the Breeders showed me a lot about songwriting.

‘The punk scene as I’ve known it was always very feminist and female-centred, but it was very white,’ she continues. ‘There was no way of spreading that consciousness, no thought about other marginalised bodies or people. That’s why I felt like I needed to create something, because I needed somewhere I could be my full self, which isn’t something black women really have in this society. That’s the idea of the band – what can you create in a space free of things like misogyny and white supremacy?’ (David Pollock) ■ Hug & Pint, Glasgow, Fri 22 Feb.

1 Feb–31 Mar 2019 THE LIST 75

MUSIC | NILS FRAHM

out of the shadows With a world tour in progress, Berlin-based composer Nils Frahm talks to Arusa Qureshi about his most impressive musical statement yet

N

ils Frahm has always been drawn to the empty spaces that reverberate around us, forever finding the perfect cascading pattern or textural anomaly to paint the silence. From his 2011 album Felt, which involved him placing material over the hammers of a piano to mute the sound, to 2012’s Screws, which he recorded with nine fingers as a result of a broken thumb, the Berlin-based composer has always succeeded in attaching concepts to blank spaces with a profound sense of ingenuity. For two years, he worked towards producing the kind of record that would achieve a balance between space and symphony, depicting his own imagination and internal musical dialogue without restriction. The result, last year’s full-length release All Melody, is a product of time and patience and total immersion on Frahm’s part in the idea of letting things linger.

‘I was managing to run away from making a real album for many years,’ Frahm explains over a phone call from his Funkhaus studio in Berlin. ‘I was all over the place and basically entangled in all these one-off projects and it was all getting a little bit too much. I felt like the best way to get away was to just tell everybody that I wanted time off to make a big album. And that won me two years of time by myself so I could make music as I was making before anybody knew me, which was basically like being in solitude, having no stress and just experimenting.’

All Melody is a triumph in its overall ambition, with each contrasting idea and mesmerising build working together in a way that seems effortless. It’s a record that was undeniably worth the wait, both for Frahm and for his audience who have followed each of his projects, mixes and residencies with great admiration. But with so much time to ruminate over each sound and loop, it was a demanding process, as Frahm explains.

76 THE LIST 1 Feb–31 Mar 2019

‘The most difficult part about it was that we were ending up with so many different ideas and it was a bit overwhelming,’ he says. ‘I had a couple of friends who were helping me go through certain ways of sequencing the material so it was really helpful to not completely decide that alone. It was nice to rely on people who have watched all of this for ten years or more who would then totally read my mind and help me untangle all that stuff.’

The untangling may have been arduous, but the outcome was exceptional for many. One such reason for this was Frahm’s move to the Funkhaus studio where he is currently based, with the studio and mixing desk itself, which was created from scratch, becoming a key element of the album.

‘In my case it’s quite important how the set-up looks and how the tools are arranged, even the order of the keyboards,’ says Frahm.

‘Before I had a studio, I just had a small room at home. And then I had a shitty rehearsal room with a lot of hardcore rock’n’roll bands just next to me. So I was a little bit trapped in these circumstances and the studio now is obscenely grand and large. It made the whole production of All Melody what it is. It’s all in one place now, it’s all one factory and it’s really helping the whole thing to be more professional than it ever was before.’

Frahm is able to look back at 2018 with a great deal of pride at having achieved what he set out to do: create an album that made a statement, with ambitious concepts and organic noises interwoven with unconventional instrumentation. So having completed a comprehensive cycle of shows to support All Melody and played to audiences around the world, does Frahm consider making changes to the material that he already knows inside out?

‘Oh of course, I’m always wondering what could be changed because the most frustrating thing in life is not thinking about what

NILS FRAHM | MUSIC

list.co.uk/music

PHOTO: ALEXANDER SCHNEIDER

is nice or what ideas are good but what ideas you didn’t have. It’s like in the casino when you’ve won three times, you might as well risk a little bit more. Every time I do make a little change and if the change is nice, it will stay and basically, the whole thing becomes a mutant over time. And I don’t even remember exactly how I played the thing 100 shows ago to be honest but I think, in a way, this keeps it exciting.’

Frahm’s upcoming world tour takes him from Berlin all the way to Chicago in the space of just a few months. ‘The live team have quite a different set-up,’ he says when asked about his live arrangements compared to the studio. ‘Everything can be a little bit on the edge in terms of functionality in the studio; it doesn’t matter if something crackles or something drops out because you can do it again. But in a live situation, you need to find a workflow where everything is as stable and reliable as possible. So it involves two completely different teams and it’s nice for me to go back and forth between both worlds because I can learn a lot in the studio for my live shows and vice versa.’

The next few months may be packed for Frahm but this ambition is nothing new for the celebrated composer and producer. And naturally, he’s already considering his next step. ‘We have a lot of live recordings from the last tour and we also just filmed the last couple of shows here in Berlin. So I think that really makes me feel determined to work on some good mixes of live material. If the mood is right and we are lucky then there might be this live album in the future but, fortunately, I don’t stress myself on finishing something which doesn’t want to be finished. But if the material tells me it’s ready, it will be there.’

Nils Frahm, SEC, Glasgow, Mon 18 Feb; Usher Hall, Edinburgh, Tue 19 Feb. 1 Feb–31 Mar 2019 THE LIST 77

1979-2019 40 Years of Music Memories www.thequeenshall.net | Tickets & Info: 0131 668 2019 Clerk Street, Edinburgh EH8 9JG

FEBRUARY AND MARCH 2019 LISTINGS AT THE QUEEN’S HALL, EDINBURGH FEBRUARY Sat 2, 7.30pm

Classic Rock Show Sun 3, 3pm

Scottish Chamber Orchestra Chamber Sunday Tue 5, 7.30pm

Dunedin Consort: Apollo and Daphne Thu 7, 8pm

Thrill: Jazz from Brussels Sat 9, 7.30pm

Jimeoin

Mon 11, 7.45pm

Paul Lewis, piano Tue 12, 7.30pm

Scottish Ensemble Sat 16, 11am

Winterplay: Children’s Music & Movement Workshop Sat 16, 3pm

Winterplay: The Seasons in Music & Words Sat 16, 7.30pm

Winterplay: Evening Concert of Piano Trios Sun 17, 7.30pm

Paul McKenna: The 3 Things That Will Change Your Destiny Today Thu 21, 7.30pm

Scottish Chamber Orchestra: Sir James MacMillan’s 60th Birthday Fri 22, 7.30pm

Mairi Campbell & the Pendulum Band / Hannah Read Sat 23, 7.30pm

Dolly Alderton: Everything I Know About Love Live Thu 28, 7.30pm

Sun 3, 3pm

Edinburgh Quartet Mon 4, 7.30pm

Homecoming 2: The Return of Mackay’s Memoirs Thu 7, 7.30pm

Scottish Chamber Orchestra: Brilliance of the Baroque Fri 8, 6.30pm

Resonate 2019: Studio to Stage Sat 9, 7.30pm

Barry Steele & Friends: The Roy Orbison Story Sun 10, doors 6.30pm

Midge Ure

Thu 14, 7.30pm

Naturally 7

Fri 15, 7pm

Resonate 2019: Traditional Night Sat 16, 7.30pm

Shakin’ Stevens Sun 17, 6pm

Edinburgh Competition Festival Finale Mon 18, 7pm

Resonate 2019: Strings Night Thu 21, 7.30pm

Scottish Chamber Orchestra: Ravel Le Tombeau de Couperin Fri 22, 7pm

Resonate 2019: Orchestral Night Sun 24, 3pm

Scottish Chamber Orchestra Chamber Sunday Mon 25, 7.45pm

Benjamin Appl with Julius Drake

Scottish Chamber Orchestra: Mozart Piano Concerto No 19

Tue 26, doors 7pm

MARCH

Thu 28, 7.30pm

Fri 1, doors 7pm

Fri 29, doors 7pm

Collabro

Sat 2, 7.30pm

Edinburgh Highland Reel & Strathspey Society

Joanne Shaw Taylor Scottish Chamber Orchestra: Three Serenades UFO: Last Orders – 50th Anniversary Tour Sat 30, 8pm

The BBC Big Band with Claire Martin OBE: Big Band Divas

BIOW PHOTO: GRZEGORZ GOŁĘ

list.co.uk/music

SKI

THE DEVIL’S ADVOCATE With their challenging, intelligent, aggressive music, Polish metal band Behemoth have courted their fair share of controversy. Frontman Nergal tells Henry Northmore he’s not here to make our lives easy

BEHEMOTH | MUSIC

‘I

t’s extreme metal, it’s radical, I also hope it’s very sincere,’ explains Nergal.

As the frontman of Behemoth, he has been behind some of the darkest most intense music in the genre. Since their inception in 1991, they helped establish the Polish underground metal scene and their music has become more captivating and multi-dimensional as their career has progressed, moving from death metal to questioning societal norms, religion and mainstream culture.

‘I always want to challenge the listener,’ says Nergal. ‘I didn’t become a musician to make your life easy. I became an artist to make your life more difficult. Extreme music is very demanding, it can have melodies and hooks but overall it’s an aggressive piece of art.’

Speaking to Nergal, you instantly get the impression he’s fiercely intelligent. He makes music that makes a statement, not just sonically but lyrically. New album I Loved You At Your Darkest is a challenging but surprisingly accessible record. Dense guitars, thundering blast beats and Nergal’s growling guttural vocal style build to symphonic peaks as Gregorian chants and child choirs add layers of almost operatic spectral maleficence. ‘I’m happy that it confused a lot of people, so that’s a success to me,’ he says.

‘Anyone who has been with us from day one, or for the last five or six records, knows that we never try to repeat ourselves, we always try to redefine ourselves and deliver something fresh and I truly believe this record sounds very refreshed.’

A recurring theme throughout Behemoth’s work has been religion and the Christian church, as emphasised on tracks like ‘God = Dog’, ‘If Crucifixion Was Not Enough’ or 2014’s album The Satanist. But this isn’t just blasphemy for shock value. ‘On a daily basis we are dealing with a modern way of slavery. Any basic religion is a weapon in the hands of people who just want to control others in a spiritual way,’ argues Nergal.

‘They create ideals, dogmas and decalogues that put limitations on people’s brains. I grew up in that tradition but had my own enlightenment and felt obliged to speak up and share with the world my observations.’

In 2010 Nergal was diagnosed with a particularly virulent form of leukaemia and this experience has informed his approach to music and life. ‘I just don’t want to take prisoners any more, I don’t want to compromise, I just want to be myself. The main thing that came out of this near-death experience was that this is the only life I have, I’m not wasting my time being who I’m not, I want to use it well and make a statement.’

Perhaps unsurprisingly, a band like Behemoth have attracted controversy throughout their career. Nergal even went on trial in Poland for tearing up a bible on stage in 2007. A recent comment – ‘I bet there’s Adolf Hitler in each one of you’ – made for a worrying soundbite repeated across the internet. However, as with so many quotes, it made more sense in context with Nergal (perhaps inelegantly) trying to make a point about how light and shade exists within every one of us.

‘That is what this world is all about, we don’t go deep and investigate, we just take a piece [of an interview] and throw it in your face with a label: racist, fascist, misogynist, homophobe.

Go and dig deeper, because if you know me or have followed the band, you’ll know I’m a superliberal person, I’m far more left-wing than right. I have no skeletons in my closet.’

Behemoth with support from Wolves in The Throne Room and At The Gates play QMU, Glasgow, Mon 10 Feb. 1 Feb–31 Mar 2019 THE LIST 79

MUSIC | REVIEWS SPACE ROCK

HOLY HOLY

Old Fruitmarket, Glasgow, Sun 10 Feb There will never be another David Bowie. His impact on music, art and fashion helped shape modern pop culture. A chameleon who transformed before our eyes, he left behind a body of work that will resonate through the decades. As a member of The Spiders From Mars, drummer Mick ‘Woody’ Woodmansey played with Bowie through one of the most creative periods of his career. In 2014 Woodmansey teamed up with frequent collaborator Tony Visconti (who produced 14 of Bowie’s albums) on bass and Glenn Gregory (Heaven 17) on vocals for Holy Holy, a celebration of Bowie and Ziggy Stardust.

The trio will perform The Man Who Sold the World (1970), The Rise and Fall of Ziggy Stardust and the Spiders from Mars (1972), and a selection of hits from the era. ‘The Man Who Sold the World was the first big Bowie step into rock’n’roll and I think he did an amazing job of making that transition,’ explains Woodmansey. ‘We then streamlined it for Hunky Dory and Ziggy. We definitely approached it from the idea of: what would rock’n’roll sound like in the future?

This was without losing the roots of rock’n’roll but projecting forwards to make it sound streamlined and more space age, which is probably why it still sounds like it could have been made last week.’

Now in his late 60s, sadly Woodmansey is the last surviving member of The Spiders From Mars, but he overflows with stories about his life and working alongside a rock icon. ‘He would say anything, do anything, wear anything that fitted the message he was trying to put across. He didn’t just have a musician or a writer’s viewpoint: he took us to the theatre and showed us lighting, took us to the ballet and showed us choreography. So we were all on the same page when it came to putting the show together. The man was a bit of a genius.’ (Henry Northmore)

INDIE

VALERAS

Broadcast, Glasgow, Sat 23 Feb; Sneaky Pete’s, Edinburgh, Sun 24 Feb Having met in 2013 through Reading Rock Academy, a School of Rock-type charity music programme, Valeras have grown immensely in both sound and experience since. Formerly known as Area 52, the five-piece have had a storming year following the release of their debut EP Knives & Flowers and subsequent singles ‘Louder’ and ‘Painkiller’. The band’s latest release ‘Intentions’ is a heady mix of audacious guitar riffs, powerful vocals and melodies that latch on without giving way.

Lead vocalist and bassist Rose Yagmur believes this is down to their overall progression since the EP release. ‘We were really excited about releasing Knives & Flowers because we had just changed names. People were very supportive of our new name and new sound, and it was pretty much like starting all over again. We were really lucky to still have that support.’

As the main songwriters in the band, Yagmur and George Parnell (lead guitar) aren’t inspired by solely one genre, which certainly shows in elements of Valeras’ music, whether it be a Latininfluenced guitar line or vocals with a more typically pop structure. ‘As well as getting older, I think we’ve just brought a new sound to it all,’ Yagmur continues. ‘I think deep down there are still some connections to our early music. The roots are still the same but we definitely have new influences.’

Beyond their upcoming tour, Valeras certainly have exciting plans for 2019. ‘We’ve definitely been working on some stuff. I don’t know about an album as such, right now we’re just focusing on taking it as it comes. I think that’s the best way to make the most of it.’ (Arusa Qureshi) INDIE

WILLIE J HEALEY

Sneaky Pete’s Edinburgh, Thu 21 Feb; McChuills, Glasgow, Fri 22 Feb When Lauren Laverne, trusted doyen of new music, holds an artist in high regard, you should probably pay attention. Willie J Healey appeared on Laverne’s show in 2017 following the release of his debut album People and Their Dogs, and has since become a regular on 6Music playlists. Over the past year, the Oxfordshire singer-songwriter has been busy touring with the likes of Slaves and releasing more music in the form of his follow-up EP 666 Kill. Healey completed the EP himself using a home studio, writing and recording the tracks in record time.

‘I saw it as an opportunity to learn because I knew quite early on that my situation with my record label would change,’ he explains. ‘I thought that if I learned all this now, I could still record regardless of whether I have a label or not. I’m glad I did it because instead of paying for studio time, I paid for equipment which I still have now.’

‘666 Kill is a lo-fi and melancholic EP that takes a step away from the playful nature of People and Their Dogs, taking a more gothic theme throughout. ‘I didn’t think about it too much and that’s maybe why I’m happy with it because I just went for it and suddenly it was finished.’

Healey's tour to support the EP includes a date at Sneaky Pete’s and headlining the Yala! Records club night at McChuills. Fans can also expect to hear more new music later this year, with Healey noting that he’s ‘75% through album two. I think it’s quite different. It’s probably a bit like if you put the album and the EP together. It’s like a middle ground between those two.’ (Arusa Qureshi) 80 THE LIST 1 Feb–31 Mar 2019

HANDEL

APOLLO & DAPHNE John Butt Director Matthew Brook Apollo Rowan Pierce Daphne

5 February - The Queen’s Hall, Edinburgh 7 February - University Chapel, Glasgow 7.30pm | Tickets £5-£22 | www.dunedin-consort.org.uk/apollo

MUSIC | RECORDS

ALBUM OF THE ISSUE

FOLK ELECTRONIC

ANGEL-HO

Death Becomes Her (Hyperdub) ●●●●●

Emerging from the murky, fractured, underworldly electronic music of her last release Red Devil, South African producer Angel-Ho presents her ‘debut album proper'. Featuring her singing and rapping for the first time, the artist known as one of the founders of artist collective NON Worldwide has used this reincarnation to further push the limits of what pop and electronic music can be, both sonically and semantically.

Death Becomes Her is a personal, experimental and unapologetic album, proving Angel-Ho’s abilities as an inventive lyricist as well as collaborator. With everyone from Kanye West to Björk cited as influences, the album maintains the splintered sampling and haphazard drum noise of previous releases, flipped on their head by lyrics about sex, glamour and struggle in an album of ‘emancipation and trans identity’.

Constantly riding the tension between chaos and order, hypervisceral beats on tracks ‘Business’ and ‘Pose’ sit next to abrasive high tempos on ‘Muse to You’ and ‘Drama’, interspersed with reverb-laden instrumentals. A few tracks on the album are unashamedly club bangers: lead single ‘Like a Girl’ echoes kwaito music, South Africa’s answer to grime, and the mellower ‘$’ is a slice of neo-pop R&B that Destiny’s Child would be proud of. In its most surreal moments, jarring references can be heard to Lumidee and, even more unexpectedly, the Bee Gees. As intense as it is infectious, this expression of new identity asserts Angel-Ho as a strong and fundamental voice in the electronic music world. ‘Get some popcorn and watch me perform,’ she raps. It would be an absolute pleasure. (Kate Walker) ■■Out Fri 1 Mar.

ANDREW WASYLYK

The Paralian (Athens of the North) ●●●●● Somewhere in between his work with the Hazey Janes and Idlewild, Andrew Mitchell (alias Andrew Wasylyk) has composed an outstanding body of work that excavates, explores and reflects upon the landscape of his native Dundee.

Themes for Buildings and Spaces (2017) was a terrific instrumental trip across the city’s architecture, industry and ghosts, and this hugely welcome follow-up traces the coast from Dundee to Arbroath, rooting itself in a historic house and arts haven called Hospitalfield.

At the dawn of 2018, Wasylyk embarked on an extended musical residency there, with a view to composing music for their grand piano and recentlyrestored 19th-century Erard Grecian harp. Taking its cues from the building’s history, memories and surrounding environment, The Paralian brings this five-month residency to life, and builds on Wasylyk’s original harp lullabies and elemental piano narratives with Fender Rhodes, flugelhorn, euphonium, drones, string trio and vintage synths. It’s a stunning meditation on a fascinating building, and an extraordinary outlook that echoes the area’s skies and nature, its time and tides.

Wasylyk’s touch is quietly thrilling and dramatic, but never overblown. ‘Welter in the Haar’ is lush and string-infused yet minimalist, and he holds back on a vocal contribution until late in the album. It’s worth the wait. ‘Adrift Below a Constellation’ is a shimmering highlight: a coastal prog-rock fever dream that walks the fine line between epic and intimate, and underscores Wasylyk’s knack for conjuring the ebb, flow and magic of the world around us.

From the seagulls, cliff-side field recordings and ambient swathes of ‘Through the Field Beyond the Trees Lies the Ocean’, to Sharron Griffiths’ balmy harp mantra on ‘Greendrive #2’, Wasylyk’s love letter to these seasons and shorelines is as bright and vital as a lighthouse, and as timeless as the sea that surrounds it.

(Nicola Meighan) ■■Out Fri 1 Feb.

INDUSTRIAL SYNTH

COUNTRY

Careful (Nude Club) ●●●●●

Bobbie Gentry’s The Delta Sweete Revisited (Bella Union) ●●●●●

BOY HARSHER

Jae Matthews and Augustus Muller’s experimentations with sound, emotion and atmosphere as Massachusetts duo Boy Harsher have led them to the creation of a sonic landscape that’s evocative yet minimal in both structure and conception.

On the one hand, there’s the clear feel of a nostalgic 80s fever dream with each slick synth refrain and drone of bass; on the other, an apocalyptic future is laden with an inescapable sense of anxiety.

Careful is a record that charts trauma and loss, all the while illustrating the impulse to escape at every turn. Opener ‘Keep Driving’ exemplifies this with its nightmarish synth slides and ominous build-up, which leads perfectly to the moody electronics and sultry vocals of ‘Face the Fire’. Matthews’ distinctive whispers and hazy melodies wash over the layers of staccato rhythms and unearthly synthesizers that flood the album, as on ‘Fate’ and the woozy techno of ‘Come Closer’.

Tracks like ‘Crush’ and ‘Careful’ create an atmospheric tension with a mesh of noise that creeps throughout. Likewise, the stabbing pulse of ‘Tears’ reverberates with an ambience that refuses to let up, encircling the brooding vocals with a consistent sense of movement. Elsewhere, ‘Lost’ has a more deep and laidback groove compared to the rest of the album, heightened by its melodic synth and vocal riff, while the beat loops and funky new wave feel of ‘The Look You Gave (Jerry)’ feels more akin to the score of a retro workout video.

Careful is an exercise in minimalist experimentalism, with its techno and drone undertones delivering an eeriness that ricochets between each grinding synth line and vocal incantation.

The industrial instrumentation and 80s dark wave could soundtrack the most sinister of dance floors or underground haunts with ease, as the harshness of each track’s tone and structure delivers something hauntingly robotic and, at the same time, wholly visceral.

(Arusa Qureshi) ■■Out Fri 1 Feb. 82 THE LIST 1 Feb–31 Mar 2019

MERCURY REV

Four years after their last record The Light in You and a whole 28 years since their first, psychedelic and explicitly psych-country indie rockers Mercury Rev have torn up the script and tried something entirely different. Singer Jonathan Donahue – he of the creaking, lovelorn vocal style that’s baked into the bones of this group’s sound – has taken a back seat alongside guitarist Grasshopper, leaving the vocal parts open for a procession of guest singers.

They’re here to pay tribute to the second album by Mississippi singer and songwriter Bobbie Gentry, The Delta Sweete, which was released 51 years ago and was a pioneering record; both in terms of Gentry’s position in the 60s’ industry as a woman who controlled her own material as composer and producer, and as an early foray into the sense of otherworldly Southern mystique which eventually birthed Mercury Rev. Every one of the vocalists appearing here is female, and each of them owes a varying level of debt to Gentry for their sound and style.

In Vashti Bunyan – who sings a gorgeous version of ‘Penduli Pendulum’, washed in lullaby piano, strings and harmonica, alongside Florida’s Kaela Sinclair – there is one artist whose career stretches back to the time that Delta Sweete was released, while Lucinda Williams got into music just as Gentry was getting out in the late 70s; her take on ‘Ode to Billie Joe’ is hollering and righteous.

Elsewhere, there are contemporary voices and others which have gone widely unheard for too long. Hope Sandoval (sometime of Mazzy Star) has a rich twang on ‘Big Boss Man’; Laetitia Sadier’s ‘Mornin’ Glory’ reverberates warmly amid old Hollywood strings; Marissa Nadler’s ‘Refractions’ is a swooning fantasia, featuring some trademark Mercury Rev sci-fi effects; and Beth Orton’s majestic ‘Courtyard’ begs the question, why is she not the major star her talent deserves? It’s an enchanting, affirmative, beautiful record, and credit to the backing band for playing facilitators and not scene-stealers. (David Pollock) ■■Out 8 Feb.

RECORDS | MUSIC

list.co.uk/music INDIE FOLK

BEIRUT

Gallipoli (4AD) ●●●●● If you weren’t to know any better about Zach Condon’s band, you might imagine a slew of death metal, carnage and chaos.

What other conclusion could you arrive at on seeing their name (referencing a once notorious Middle East warzone) and putting two and two together with the new album title (the scene of a military disaster in 1915)? The initiated will, of course, be more attuned to the fact that what lies ahead is more likely to be a delightful squashing of delicate vocals, pleasing soundscapes which veer between jaunty and haunting, and, above all, a collision of ear-consoling brass. None of this is to say that there’s never been an element of mayhem in the Beirut world, given that a lost-in-translation comment from Condon once resulted in a violent stage invasion and endless touring left him dreaming of an escape route.

It’s fair to say that Gallipoli is the sound of a man and a band that seems much more at ease with themselves. The horn-based fanfares are all present and correct as is an extra emphasis on keys, both merging to glorious effect on the title track.

Inevitably the uke is brandished with joyful potency on ‘Varieties of Exile’, while there’s a brief mood shift atop the sparse instrumental of ‘On Mainau Island’.

‘I Giardini’ brings it back home with a seductively simple pop beat and melody, before closer ‘Fin’ unveils a distinctly Gallic feel. There are shades and hues of King Creosote, Air, Divine Comedy and the Smiths cropping up at various moments on Gallipoli, but in the final analysis, Zach Condon has made the niche of heightened brassy emotion all his own. (Brian Donaldson) ■■Out Fri 1 Feb. INDIE

DEERHUNTER

Why Hasn’t Everything Already Disappeared? (4AD) ●●●●● Georgia art-rockers Deerhunter return with their eighth studio LP. The band rose to prominence in the mid-2000s, on a wave of critical acclaim they shared with similarly-minded neo-psychedelia groups of the era. On this album, frontman Bradford Cox is joined by long-time bandmates Moses Archuleta and Lockett Pundt, alongside bassist Josh Mackay and new member Javier Morales.

A progression from the shimmering polish of 2015’s Fading Frontier, the new collection is imbued with the experimental pop sounds found on earlier work. Album opener ‘Death in Midsummer’ features a looping harpsichord accompanied by clear and crisp vocals from Cox, and builds to a guitar solo that’s more akin to the big-screen psychedelia of Tame Impala than anything from Deerhunter’s past. Much of the album follows this blueprint, with hugely enjoyable psych pop taking precedence over an evolution of the group’s sound. The sixth track, ‘Détournement’, steers the album into more interesting territory, with its cascading synth lines, highly effected vocals and erratic drums. The final track, ‘Nocturne’ pushes the band to new levels and evolves into one of their finest songs.

At its best, this album recalls Bowie’s Low, with its distinct two-halves structure, wilful experimentation and glistening Eno-esque production. At its worst, it presents the listener with a series of highly listenable psych pop songs. This is another great Deerhunter album that shows they have no shortage of ideas. (Sean Greenhorn) ■■Out now.

plus special guests

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25TH ANNIVERSARY TOUR PLUS SPECIAL GUEST

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THEA GILMORE

ALTERNATIVE ROCK

PEDRO THE LION

Phoenix (Polyvinyl Records) ●●●●● David Bazan put a stop to recording and touring as Pedro The Lion in 2005, the relentless turnover of band members and changes to the songwriter’s creative process having burned him out. The moniker’s rebirth for Phoenix isn’t earth-shattering news (Bazan has had always been the group’s de facto leader, chief songwriter and artistic director) but it’s a natural move for an album about returning.

Bazan’s strength as a songwriter is his earnestness, his heart-on-sleeve honesty. On ‘Yellow Bike’ he sings of a ‘desert Christmas morning, 1981’, and the thrill of seeing the titular two-wheeler. It’s a wonderful song, the subject mined for an extended meditation on companionship and longing to break free and be independent. Erik Walters’ delicate guitar shimmers throughout, and when Sean Lane’s bass drum echoes Bazan’s ‘my heart thumping in my chest’, it shows a band working as one, adding more to a piece that already felt cinematic.

When Bazan taps into that childlike state, there’s a lot to enjoy about Phoenix, even if across a 45-minute running time, the Pedro trio rarely deviate from slow-tomid paced rockers. With the exceptions of a stripped-back ballad (‘Piano Bench’) and a couple of ambient pieces (‘Sunrise’ and ‘All Seeing Eye’), there’s little by way of tonal variation. The weariness suits ‘Model Homes’, but feels tiresome on the likes of ‘Circle K’. Phoenix is heavy company, but doesn’t pretend to be anything else. (Craig Angus) ■■Out now.

WED 15 MAY

SAT 11 MAY EDINBURGH LIQUID ROOM

GLASGOW ORAN MOR

DICK VALENTINE

JACK LUKEMAN plus special guests

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regularmusicuk 1 Feb–31 Mar 2019 THE LIST 83

MUSIC | GOING UNDERGROUND

GOING UNDERGROUND Stewart Smith digs out some of the best underground, DIY and self-released music currently coming out of the Scottish music scene

CUCINA POVERA

LUKI

ZOOM ●●●●●

Wisps ●●●●●

How to follow a debut as beautiful and fullyformed as Hilja? On ZOOM, Cucina Povera, aka Maria Rossi, shrugs off the weight of expectation by releasing ‘a verité collection of situational recordings’. Far from being a stop-gap set of audio sketches, ZOOM is closer to Rossi’s live sets, using little more than her voice, a loop pedal, and room acoustics. Everyday objects such as Coke bottles form loops and percussive textures, while a lone synth conjures minimalist stabs and overtone heavy organ sounds. Rossi’s hypnotic melodies and layered vocals evoke everything from Finnish folk songs and medieval chorales to the modern composition of Stockhausen and Meredith Monk. The longer tracks give Rossi the chance to stretch out. ‘Zoom 06’ is particularly striking, as a hymnal melody and staccato phrases gradually emerge from a babble of vocal loops.

This intriguing song collection from Lucy Duncan, aka Luki, inhabits an uncanny realm, where the English mysticism of Kate Bush and Angela Carter meets jazz and world cinema.

Duncan’s witchy soprano, elegant piano and synth create a sense of time and place out of joint, as if Delia Derbyshire and Brian Eno had set up shop in an Edwardian parlour. The inspired song selection ranges from English ballads like ‘Sweet Suffolk Owl’ and ‘The Lover’s Ghost’ to American Songbook classics like Kurt Weill & Langston Hughes’ ‘Lonely House’, and the Italian waltz of Nino Rota’s ‘Gelsomina’. The highlight is ‘Tianyá ge (The Wandering Song)’ a beautiful song from the 1937 Chinese film Street Angel, sung exquisitely by Duncan.

QUINIE Buckie Prins ●●●●●

Buckie Prins sees Quinie, aka Josie Vallely, digging deeper into Scottish Traveller song traditions, excavating an imaginary Old Weird Scotland in the process. While Quinie’s eponymous debut was largely a cappella, here she is accompanied by Ailbhe Nic Oireachtaigh on viola, Oliver Pitt on guitar and Neil McDermott on fiddle. Vallely makes the most of the Green Door studio’s famed reverb on opening track ‘Wagtail’, singing the melody over her own layered vocals, bouzouki and viola. Her voice is stronger than ever, with a presence and control that only intensifies the emotional impact of her stark, flinty tone. The arrangements incorporate snippets of traditional fiddle tunes, Loren Connors-like guitar atmospherics, chordal drone and dissonance. The sonics occasionally distract from the bleak beauty of the tunes, but more often than not, Vallely and her collaborators strike the right balance, renewing the source material for the 21st century.

84 THE LIST 1 Feb–31 Mar 2019

PUBLIC SERVICE I’m Gonna Kill That Man ●●●●●

Brought to you by Glasgow’s Anxious Music collective, Public Service’s first EP is a glorious blast of gothic punk snarl. The crystalline hooks recall Siouixie & The Banshees, but there’s a punk dynamism to the music that takes this way beyond goth pastiche. Most striking of all are Katy Coterall’s vocals, which are as inventive as they are expressive. ‘O/Sabine’ bursts out of the crypt in a concatenation of corybantic howls and slashing guitar. The rhythm section kicks in and we’re galloping through an apocalyptic cityscape. ‘O/Desire’ and ‘Panic/Healing’ are equally powerful: a deliriously exciting debut.

TONY BEVAN & NEIL DAVIDSON Pitch ●●●●●

Recorded at the Old Hairdressers in October 2017, Pitch is the second vinyl document of Tony Bevan’s regular improvised music session, Help Me I’m Melting. Guitarist Neil Davidson has been one of the saxophonist’s key collaborators over the past couple of years, and the duo language they develop here is both lyrical and

prickly. Davidson complements and subverts Bevan’s modal jazz excursions with spindly dulcimer tones and clanging abstractions, while his nagging two-note figures and dissonant plunks provoke everything from Evan Parkerlike spirals to staccato pecks and raspy braying.

FLO & SPICEY Flo & Spicey’s Tea Set ●●●●●

As the singer of Glasgow lo-fi faves Gummy Stumps, ‘Spicey’ Colin Stewart came across like the lovechild of Alex Harvey and Captain Beefheart. On Tea Set, a collaboration with Diana Jonsson, aka Flo, he sublimates his gruff surrealist rants into a delightfully skewed collage of space-age pop and Mondo Trasho aesthetics.

Creepy nursery rhyme vocals reminiscent of Lubos Fiser’s Valerie soundtrack, fuzz bass, and rinky dink organ are thrown into ‘Kitchen Sunk’, while the sardonic ‘Wah Wah’ lays samples of crying infants over doom-laden Shangri Las pop.

There’s a lurid streak of kink through tracks like ‘Sex Excerp’, with its sleazy Tom Waits polka and B52s organ. Pervy pop fun, like the Residents and Broadcast jamming in John Waters’ sitting room.

GRAHAM COSTELLO’S STRATA Obelisk ●●●●●

On STRATA’s second album composer-drummer Graham Costello assembles a crack squad of young Scottish jazz talent to create a muscular contemporary sound that draws on rock, noise and minimalism. Fergus McCreadie’s piano is a dominant voice, with his Phillip Glasson-steroids cycles powering many of the compositions. The horns deliver punchy riffs and reflective melodies, with Harry Weir’s tenor occasionally breaking loose into overblowing and multiphonics. STRATA haven’t quite transcended their influences – I’m guessing Donny McCaslin, EST, and Troyka – but this dynamic performance breathes fresh air into the Scottish jazz scene.

1 Feb–31 Mar 2019 THE LIST 85

MUSIC | HIGHLIGHTS

MUSIC HIGHLIGHTS PHOTO: ISRAEL RAMOS

Events are listed by city, then date.

Submit listings for your event at list.co.uk/add

GLASGOW CELTIC CONNECTIONS Various venues, Glasgow, until Sun 3 Feb, celticconnections.com Glasgow’s annual folk, roots, indie, world and traditional music festival celebrating the links between Celtic music and cultures across the globe.

The final days of 2019’s fest include performances from John Grant, Alasdair White, Karine Polwart, the Dead South and Aidan Moffat & RM Hubbert.

ART BRUT Stereo, Glasgow, Thu 21 Feb, stereocafebar.com The return of the quirky indie rock band. Also Sneaky Pete’s, Edinburgh, Wed 20 Feb, sneakypetes.co.uk

COLOURS 24TH BIRTHDAY SWG3, Sat 2 Feb, swg3.tv Scottish club promoters Colours host a big birthday bash across the SWG3 complex, featuring Headhunterz, Eddie Halliwell, Blasterjaxx, Hannah Laing and more.

WILLIE J HEALEY McChuills, Fri 22 Feb, facebook. com/McChuillsBar Dreamy indie-pop from the Oxford-based musician.

See preview, page 80. Also Sneaky Pete’s, Edinburgh, Thu 21 Feb, sneakypetes.co.uk

FREE LOVE AND BOSSY LOVE Stereo, Sat 2 Feb, stereocafebar. com Double bill of duos, featuring dance pop outfit and SAY award nominees Free Love (formerly known as Happy Meals), and Glasgow R&B pair Bossy Love.

FATBOY SLIM SSE Hydro, Wed 27 Feb, thessehydro.com The ever-reliable Norman Cook spins some banging big beats, with support from Eats Everything and Cousn.

Anderson .Paak

WHITE LIES Queen Margaret Union, Tue 5 Feb, qmunion.org.uk Dark and moody indie trio touring ahead of the release of their latest album Five. Also Liquid Room, Edinburgh, Mon 11 Feb, liquidroom.com

glasgowconcerthalls.com An all-star line-up, including Tony Visconti and Woody Woodmansey, perfom David Bowie’s The Rise and Fall of Ziggy Stardust. See preview, page 80.

BEHEMOTH Queen Margaret Union, Mon 11 Feb, qmunion.org.uk Blackened death metal. Blistering support comes from Wolves in the Throne Room and At the Gates. See feature, page 79.

. . . AND YOU WILL KNOW US BY THE TRAIL OF DEAD Glasgow School of Art, Thu 7 Feb, theartschool.co.uk Dark destructive American rockers celebrate 20 years of their seminal album Madonna.

SLASH SEC, Sun 17 Feb, sec.co.uk Guns N’ Roses axe-man Slash brings his

HOLY HOLY Old Fruitmarket, Sun 10 Feb,

PHOTO: ALEXANDER SCHNEIDER

HITLIST

86 THE LIST 1 Feb–31 Mar 2019

THE STRUTS Garage, Tue 19 Feb, garageglasgow.co.uk Strutting rock’n’rollers from Derby, indebted to their heroes the Stones.

STEELY DAN SSE Hydro, Wed 20 Feb, thessehydro.com American jazz-rock legends founded by Walter Becker and Donald Fagen in 1972, and whose 2000 album Two Against Nature bagged four Grammies, including Album of the Year.

Steve Winwood supports.

HAYLEY KIYOKO SWG3, Fri 1 Feb, swg3.tv American popstar best known for hit singles ‘Curious’ and ‘What I Need’.

Nils Frahm

symphony orchestra.

solo albums to life with help from Myles Kennedy on vocals.

POST MALONE SSE Hydro, Sun 17 Feb, thessehydro.com Innovative rapper and singer-songwriter whose second album Beerbongs & Bentleys debuted at number one across international charts.

HANSON: STRING THEORY Glasgow Royal Concert Hall, Sun 17 Feb, glasgowconcerthalls.com Now all grown up, the ‘MMMBop’ chart topping brothers play the hits as well as some new material alongside a

OZZY OSBOURNE SSE Hydro, Glasgow, Thu 7 Feb, thessehydro.com Final world tour from the Prince of Darkness as the heavy metal master dips into his 50 year career with Black Sabbath and as a bat-biting solo artist. An immense double bill with support from the mighty Judas Priest.

Glasgow, Mon 18 Feb, sec.co.uk; Usher Hall, Edinburgh, Tue 19 Feb, usherhall.co.uk Contemporary composer and pianist performs from new EP ‘Encores 2’, a companion to his acclaimed seventh album All Melody. See feature, page 76.

NILS FRAHM SEC Clyde Auditorium,

ANDERSON .PAAK O2 Academy,

GUSGUS SWG3, Wed 27 Feb, swg3.tv Icelandic electronic band that began life as a film and acting collective.

THE COMET IS COMING Stereo, Thu 28 Feb, stereocafebar. com Mercury-nominated Londonbased outfit presents its fusion of jazz, funk and electronica.

BRIX EXTRACTED Broadcast, Fri 1 Mar, broadcastglasgow.com Five-piece outfit consisting of ex-members of the Fall play classic material and

Glasgow Mon 18 Mar, academymusicgroup. com Californian hip hop and R&B artist goes on tour in support of his latest album Oxnard.

THE INTERNET SWG3, Glasgow, Fri 22 Mar, swg3.tv Los Angeles and Atlanta-centred outfit bring their hip hop and neo soul show to the UK’s stages.

ZUTONS Barrowland, Glasgow, Thu 28 Mar, barrowlandballroom.co.uk Quirky Liverpudlian indie band return, performing their debut album Who Killed . . .The Zutons in its entirety.

Zutons

HIGHLIGHTS | MUSIC

MUSIC MUSIC HIGHLIGHTS HIGHLIGHTS CONTINUED original Eventsgarage are listed rock.by Also city,Mash then date.

House, Submit Edinburgh, listings for your Thu 28 event Feb,at themashhouse.co.uk; list.co.uk/add Beat Generator Live, Dundee, Sat 2 Mar, beatgenerator.co.uk TWILIGHT SAD Barrowland, Sat 2 Mar, barrowlandballroom.co.uk Soaring melancholic sounds from the indie rock band.

THOMAS LEER The Old Hairdresser’s, Sat 2 Mar, theoldhairdressers.com Influential Scottish musician best known for being half of the 1980s electropop band Act and his work with fellow pioneer Robert Rental.

TWENTY ONE PILOTS SSE Hydro, Mon 4 Mar, thessehydro.com Alt-pop and indie duo from Ohio who nabbed a Grammy in 2017 for their single ‘Stressed Out’.

GRETA VAN FLEET O2 Academy, Thu 7 Mar, academymusicgroup.com Hard rocking American quartet who owe a

heavy debt to Led Zeppelin.

SNAPPED ANKLES Mono, Glasgow, Mon 11 Mar, monocafebar.com Punkatronica art wave dropout trio made up of Peter Ashtray, Giorgio Zampirolo and Mikey Chestnut. Also Sneaky Pete’s, Edinburgh, Sun 10 Mar, sneakypetes.co.uk KT TUNSTALL Barrowland, Sat 9 Mar, barrowlandballroom.co.uk The Scottish singersongwriter with a Brit, Ivor Novello and Scottish Style Award under her musical belt returns to the stage with her new album WAX. Also Alhambra Theatre, Dunfermline, Thu 7 Mar, alhambradunfermline.com TANGERINE DREAM BAaD, Fri 15 Mar, baadglasgow. com Pioneering electronic band whose 2017 album Quantum Gate was released to critical acclaim.

STIFF LITTLE FINGERS Barrowland, Sat 16 & 17 Mar,

barrowland-ballroom.co.uk Ireland’s favourite delinquent punk sons celebrate with their annual St Patrick Day celebrations in Glasgow.

With support from Eddie and the Hot Rods. Also The Lemon Tree, Aberdeen, Wed 20 Mar, aberdeenperformingarts.com NICKI MINAJ SSE Hydro, Sun 17 Mar, thessehydro.com Rap and hip hop icon heads out on tour in support of her new album Queen, with support from Juice Wrld.

SLEEPER Garage, Thu 21 Mar, garageglasgow.co.uk 90s Britpop band, fronted by Louise Wener, back on the road again. Also Liquid Room, Edinburgh, Sat 23 Mar, liquidroom. com SHARON VAN ETTEN St Luke’s, Sun 24 Mar, stlukesglasgow.com The Brooklyn singer/guitarist tours her latest album Remind Me Tomorrow.

SLOWTHAI SWG3, Tue 26 Mar, swg3.tv Northampton rapper also known as Tyron Frampton.

TINY RUINS The Hug and Pint, Fri 29 Mar, thehugandpint.com New Zealand trio performing bluesy folk pop.

THE XCERTS SWG3, Sat 30 Mar, swg3.tv Aberdeen alt.rock outfit made in the Idlewild-slash-Biffy mould go on tour in support of their new album Hold On To Your Heart. Also Beat Generator Live, Dundee, Fri 29 Mar, beatgenerator.co.uk UFO O2 Academy, Sun 31 Mar, academymusicgroup.com Veteran heavy rock and metal quartet celebrate their 50th anniversday and their final tour with vocalist Phil Mogg.

Also Queen’s Hall, Edinburgh, Fri 29 Mar, thequeenshall.net; The Ironworks, Inverness, Sat 30 Mar, ironworksvenue.com

EDINBURGH CANCER BATS La Belle Angele, Fri 1 Feb, labelleangele.com Hardcore punk band from Toronto, Ontario.

THE VASELINES Summerhall, Fri 1 Feb, summerhall. co.uk Much loved-Scottish lo-fi grungers Eugene Kelly and Frances McKee who influenced the likes of Kurt Cobain.

AN EVENING WITH BRIAN FALLON: SONGS FROM THE HYMNAL Usher Hall, Wed 6 Feb, usherhall. co.uk Singer and guitarist of the Gaslight Anthem heads out on a special acoustic tour.

DON BROCO Usher Hall, Thu 7 Feb, usherhall. co.uk Alt.rock quartet from Bedford, with support from Neck Deep and Issues

HITLIST

Sleeper

LEE SCRATCH PERRY Summerhall, Thu 21 Mar, summerhall.co.uk The godfather of dub, Lee ‘Scratch’ Perry supplies a night of eccentric reggae sounds.

KING OF GHOSTS AND AROUND INDIA WITH A MOVIE CAMERA Usher Hall, Sat 30 Mar, usherhall. co.uk A screening of Satyajit Ray’s cult film Goopy Gyne Bagha Byne is set to a reimagined live score by sarod player Soumik Datta and the City of London Sinfonia.

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MUSIC | CLASSICAL

L A C I ASS

CL

ORCHESTRAL

SYMPHONY ORCHESTRA OF INDIA Usher Hall, Edinburgh, Sun 24 Feb

Classical music in India usually brings to mind traditions such as Carnatic or Hindustani music, but there is a growing interest in Western classical music, with the first and only fully professional orchestra, the Symphony Orchestra of India, founded in 2006.

The orchestra makes its UK debut with a six-concert tour in February. One of the main driving forces behind it is violinist/ conductor Marat Bisengaliev. ‘We are all so excited about it, especially our Indian players,’ says Bisengaliev. It was when Khushroo Suntook, chairman of the National Centre for the Performing Arts in Mumbai, heard Bisengaliev’s West Kazakhstan Philharmonic Orchestra in London, that he thought he would invite them over to the centre, with the success of the visit paving the way for a new orchestra formed of Kazakh and Indian musicians.

‘We were in an old-style café’ says Bisengaliev, ‘when over a cup of tea we thought, why don’t we start something amazing, the first professional orchestra in India. It’s ridiculous to think that back then there wasn’t one. I listened to over 100 musicians all over India, mainly self-taught, and discovered some incredible talent.’

Always insistent that the quality of music-making would never be compromised, Bisengaliev invited other international musicians to stay full-time in India and brought them together with the Indian instrumentalists on ‘a sort of orchestral crash course.’ At first only a few met his stringent audition standards, but there are now ten fully employed Indian musicians in the orchestra and others are recruited as needed from a growing pool of local talent, supported by the orchestra’s music school for up to 50 Indian children. Apart from the quality of the music, Bisengaliev’s top priority is that the players have good working relationships. ‘It’s a happy orchestra, and that’s one of its most important qualities.’ (Carol Main)

CLASSICAL HIGHLIGHTS HITLIST SCOTTISH OPERA: ANTHROPOCENE King’s Theatre, Edinburgh, Sat 2 Feb, capitaltheatres. com Brand new opera from composer Stuart MacRae and writer Louise Welsh inspired by the Anthropocene age, the geological era marking the destructive impact humans have made on the planet. A scientific research trip to Greenland makes a surprising find.

88 THE LIST 1 Feb–31Mar 2019

SCO: SIR JAMES MACMILLAN 60TH BIRTHDAY CONCERT City Halls, Fri 22 Feb, sco.org. uk The composer conducts a celebratory concert of his muchperformed percussion concerto Veni Veni Emmanuel, commissioned by the SCO in 1992 for Evelyn Glennie as soloist and now with Colin Currie in the starring role, along with Seven Last Words from the Cross, for which the orchestra is joined by the SCO Chorus. Also Queen’s Hall, Edinburgh, Thu 21 Feb. RSNO: CARMINA BURANA Glasgow Royal Concert Hall, Sat 9 Mar, glasgowconcerthalls. com/glasgow-royal-concert-hall The texts may have been written by medieval monks but they were only human after all and the RSNO are champing at the bit to do justice to Carmina Burana’s sex, drink and roasted swans. It’s music that’s great fun, colourful and will be quite a contrast to the Beethoven concerto which precedes it, performed by soloist Can Cakmur, winner of the 2017 Scottish International Piano Competition. Also Usher Hall, Edinburgh, Fri 8 Mar.

EDINBURGH PAUL LEWIS Queen’s Hall, Edinburgh, Mon 11 Feb, thequeenshall.net Rare chance to hear the brilliant pianist Paul Lewis, who returns to Edinburgh to conclude his Haydn-BeethovenBrahms cycle. The equivalent recital in London received 5-star reviews and if you want to hear more of him, he is back for Beethoven’s Piano Concerto No 2 with the Scottish Chamber Orchestra on 14 & 15 Mar. WINTERPLAY Queen’s Hall, Sat 16 Feb, thequeenshall.net A festive day of four events culminating with a full-length concert of three of the greatest piano trios in the repertoire, namely Beethoven’s Op 70 No 1 – Ghost – along with Elegy by Suk and Schubert’s E flat trio. Beforehand, a workshop for children in the morning, an PHOTO: KAUPO KIKKOS

RSNO: SØNDERGÅRD AND BENEDETTI Glasgow Royal Concert Hall, Sat 9 Feb, glasgowconcerthalls.com Not long back from touring together in China, the RSNO, their music director Thomas Søndergård and violinist Nicola Benedetti come together again to perform the Scottish premiere of Marsalis’ Concerto in D. Also Caird Hall, Dundee, Thu 7 Feb; Usher Hall, Edinburgh Fri 8 Feb.

GLASGOW

Paul Lewis

afternoon of Tchaikovsky’s piano pieces The Seasons, interspersed with paired readings, and a talk by music historian Robert Philip. All the brainchild of pianist Susan Tomes.

GARLETON SINGERS: ALEXANDER’S FEAST St Cuthbert’s Church, Sat 23 Mar East Lothian choir make a visit to Edinburgh for a city-centre performance of Handel’s glorious oratorio, Alexander’s Feast, with special additions of guest soloists and small orchestra. With a libretto originally written to celebrate St Cecilia, the patron saint of music, it tells the story of the great banquet hosted by Alexander the Great and his Greek lover Thais.

METROPOLITAN OPERA LIVE: LA FILLE DU RÉGIMENT Various venues & locations, Sat 2 Mar Live from the Met and, with a bit of luck, at a cinema near you, Rossini’s sparkling opera, full of wit and invention, is studded with stars for its vocal pyrotechnics. Tenor Javier Camarena and soprano Pretty Yende lead the team, including Camarena rising to the challenge of no fewer than nine high Cs in the aria ‘Ah! Mes Amis’.

THEATRE

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

BEAUTY AND THE BEAST Birmingham Royal Ballet returns with its classic narrative ballet We all know that ballet dancers work hard on stage, but some roles place greater demands than others. With most of the performers in David Bintley’s Beauty and the Beast wearing animal masks, a whole kaleidoscope of emotions has to be conveyed via the body rather than the face.

Created for Birmingham Royal Ballet in 2003, and last seen in Edinburgh in 2008, Bintley’s take on the 18th-century fairytale has a dark and mysterious edge, slowly building to love and light. Bintley worked alongside designer (and former Citizens Theatre director) Philip Prowse on the production, a man whom Bintley calls ‘a genius’. Unusually, the animal costumes and masks were fitted early in the rehearsal process. This not only allowed the dancers time to bed in their newfound body shapes but also to find new ways to communicate.

‘It all has to come from the body language,’ says Bintley. ‘And it has to come from inside as well; you need to feel a smile or a sense of sadness coming to your face, even if nobody can see it inside the mask.’ (Kelly Apter) ■ Edinburgh Festival Theatre, Wed 13–Sat 16 Mar.

1 Feb–31 Mar 2019 THE LIST 89

THEATRE | PREVIEWS VENUE SEASON

ASSEMBLY ROXY Although the Roxy has been a familiar venue during the Fringe season, it’s currently being reinvented by Assembly as a year-round space with a distinctive approach to performance. Luke Holbrook, currently programming Assembly Roxy, is very clear that it’s aiming to become a strong presence in the capital. ‘We’re working to present a programme with consistency so that audiences know we’re here and that there’s always something to see,’ he says. ‘In a short space of time, a consistent programme has emerged due to the demand from artists in Edinburgh for spaces at our scale.’

The season has a double strategy, Holbrook continues. ‘The Roxy is beginning to emerge as a venue where the work of some of the most innovative and diverse Scottish companies and artists can be found alongside some of the UK’s boldest touring companies.’ From Tragic Carpet’s site-specific and intimate study of Rendition, through Kith’s exploration of identity and migration, to the latest piece from London-based but globally alert Tamasha, the season combines familiar touring companies and emerging, and established, local performers.

‘To have a venue with three very different spaces that can showcase that work in Edinburgh year-round is incredibly exciting,’ Holbrook adds. ‘Edinburgh has such a vibrant theatre scene, but space for artists is precarious. As rich as the theatre, dance and comedy scene is in Edinburgh, a diversity of spaces is crucial to making a diverse range of work. Ultimately the beneficiaries of that breadth of choice will be the audience.’ (Gareth K Vile)

PHOTO: DAVEY POREMBA

PHOTO: GERAINT LEWIS

ADAPTATION

CONTEMPORARY DRAMA

CONTEMPORARY DRAMA

Royal Lyceum Theatre, Edinburgh, until Sat 16 Feb; Perth Theatre, Thu 7–Sun 10 Mar

Tron Theatre, Glasgow, Thu 14–Sat 16 Mar; Traverse Theatre, Edinburgh, Thu 28 Mar

Assembly Roxy, Edinburgh, Wed 20–Sat 23 Feb; Tron Theatre, Glasgow, Wed 20–Fri 22 Mar

TOUCHING THE VOID

A real-life tale of pioneers venturing to achieve a technical feat never before completed, Touching the Void’s transition to the theatre chimes with the adventurous spirit of its subject. It tells the story of Joe Simpson and Simon Yates’ attempt to scale the west face of the Siula Grande, in the Peruvian Andes (put to paper by Simpson in 1988 before the BAFTA-winning 2003 film adaptation) and their subsequent death-defying descent, during which loyalty and self-preservation end up in a life or death conflict.

‘It’s a tale that has reached beyond just the climbing world and become mythological,’ says the Royal Lyceum Theatre’s artistic director David Greig. ‘We had no idea how to do climbing on stage; we just knew it would take a thrilling theatricality to realise this book. It’s an existential thriller that will have audiences clinging onto the edge of their seats.’

Between Greig’s scripting skills, and the sensitivity of his co-producer, Bristol Old Vic's artistic director Tom Morris, to a spectacular yet rich dramaturgy, Touching the Void aims to be more than just an adaptation of a popular film. It’s a startling expression of theatre’s potential to create a sense of danger and immediacy. (Philip Wilson) 90 THE LIST 1 Feb–31 Mar 2019

(CAN THIS BE) HOME

At the time of writing, the outcome of Brexit is still in doubt, making Brite Theater’s (Can This Be) Home perhaps the most timely production of the next three months. Artistic director Kolbrún Björt Sigfúsdóttir is aware of the show’s immediacy. ‘We started making this show the summer before the vote, because it scared us,’ she explains. ‘So we made a show about what it’s like being new to a country and why you stay, as well as the benefits for UK citizens being able to travel freely. It was a plea. Then when the results were in, we knew the show had to change.’

The company has adapted the show in light of subsequent events; this version is the fourth iteration yet each one has dealt with the uncertainty of the status of migrants and reaches out to ‘offer more viewpoints than our personal ones’. It's a dynamic and thoughtful questioning of what has become a divisive debate about the UK’s sense of identity, inclusion and the importance of political engagement.

By the time it reaches Scotland, the outcom of Brexit may be more clear. ‘Dealing with that in a public space will be an experience. If you come and feel like we are wrong, that would be great too. At least you've listened for an hour to a point of view that’s not your own.’ (Gareth K Vile)

TENSILE STRENGTH

‘I saw a piece of theatre a few years ago that I thought would be a really cathartic show for me,’ recalls Tensile Strength’s creator Holly Gallagher. ‘It was about taking on too much and how that affects people. And in the end, I left feeling like it didn’t hit the mark for me at all. So I decided to make something about stress and how life can get to feeling like it’s all a bit too much for us sometimes.’

If Gallagher’s inspiration came from disappointment at the failure of theatre to get it right, Tensile Strength addresses the worry that could be seen as a defining contemporary anxiety. ‘I am a big believer in making work about the world we live in,’ she explains. ‘So I went into making Tensile Strength asking two things: do people feel the same way as I do? And if so, why are we all so stressed?’

She’s been supported by veteran creators Third Angel, who have never been intimidated by exploring huge issues through imaginative formats, and mentored by Scotland’s dynamic playwright Kieran Hurley. ‘I mostly hope that people will leave the theatre feeling like they’re not alone,’ she concludes.

‘One of the most rewarding audience responses I’ve had was when someone said they felt “normal” after seeing the show.’ (Gareth K Vile)

“Triumphant” The Guardian

24 JANUARY – 16 FEBRUARY 2019

Based on the book by Joe Simpson Adapted by David Greig

“A stirring testament to human fortitude and the power of theatre” The Telegraph

“A masterful use of stagecraft as well as mind-play” The Times

TICKETS 0131 248 4848 | lyceum.org.uk

A Royal Lyceum Theatre Edinburgh, Bristol Old Vic, Royal & Derngate, Northampton and Fuel co-production Royal Lyceum Theatre Company Ltd is a Registered Company No. SC062065, and Scottish Charity Registered No. SC010509

Photography by Mark Douet

1 Feb–31 Mar 2019 THE LIST 91

THEATRE | PREVIEWS SEASON PREVIEW PHOTO: LESLIE BLACK

92 THE LIST 1 Feb–31 Mar 2019

A PLAY, A PIE AND A PINT

Òran Mór, Glasgow, from Mon 11 Feb In these politically fraught times, A Play, A Pie and A Pint brings the feel-good factor back to the (lunch) table with homegrown plays which are often humourous, full of pathos and feature big musical numbers. Created and curated by the late David MacLennan in 2004, PPP (as it has become affectionately known by its loyal audience) has spread out worldwide to become a theatrical institution.

This time around, the team is doing something different for the spring and summer run by reviving 15 old favourites. The new season also features the 500th PPP show, a landmark that will be celebrated in grand style with the return of Morag Fullarton’s cheeky Hollywood homage Casablanca: The Gin Joint, starring Gavin Mitchell as a wonderfully deadpan Rick Blaine.

Liz Lochhead’s Scots reworking of Molière’s classic comedy Tartuffe is back; Spuds (pictured) by Andy McGregor offers a distinctly Glaswegian satire in the form of a chip shop musical; Douglas Maxwell flips the ‘Pygmalion’ paradigm with his play A Respectable Widow Takes to Vulgarity; and a Fife legend is back on the oche as Jocky Wilson Said returns. Another Scots star, droll comic Chic Murray, is lovingly portrayed

by Dave Anderson in A Funny Place for a Window by Stuart Hepburn.

For those who are after shows featuring more glamorous icons, Annie Caulfield’s Dusty Won’t Play looks at the time the principled Ms Springfield refused to play a segregated area in the 1960s. Meanwhile, the irrepressible Joyce Falconer squeezes into her white rhinestone encrusted jumpsuit and karate chops her way to our hearts in Morna Young’s glorious Doric comedy Aye Elvis. With such successful productions in the offing, it’s definitely worth an afternoon trip out.

(Lorna Irvine)

PREVIEWS | THEATRE

list.co.uk/theatre

PHOTO: MIHAELA BODLOVIC

MUSICAL PLAY

THE DARK CARNIVAL

Tramway, Glasgow, Tue 19 Feb–Sat 2 Mar; Traverse Theatre, Edinburgh, Wed 6–Sat 9 Mar; Dundee Rep, Wed 13–Sat 16 Mar Never ones for creating an empty spectacle, Vanishing Point always bring us inventive, thought-provoking theatre which wrestles with big ideas. Artistic director Matthew Lenton faces complex, often taboo issues with an unflinching gaze, and has previously tackled the ageing process, isolation, terminal illness and violent pornography addiction in critically acclaimed plays such as Tomorrow, Tabula Rasa and Wonderland.

Their new show The Dark Carnival is a rollicking cabaret-infused piece which looks at a land populated by the recently deceased.

Through lusty songs, it asks what happens to these drifting souls, defined in Vanishing Point’s publicity material as ‘newcomers to the afterlife who discover that death is not actually the end’ and ‘who form their own necropolitan community where every night is party night’.

It’s a strikingly ambitious collaboration, with music from A New International’s Biff Smith, featuring 16 performers and musicians onstage, including Smith himself and Ramesh Meyyappan who is well-known for creating provocative theatre that incorporates physical theatre with magic.

Taking over the famous space at Tramway while the Citizens Theatre undergoes its transformation, this new production fuses spoken word, vivid imagery, and rolling, whisky-drinking songs, which are described as ‘somewhere in between Leonard Cohen and The Muppets’. All of the numbers touch upon universal themes like sex, spirits, love, life and death. It’s sure to appeal to theatre audiences seeking something which will move them, as well as those who simply want an entertaining evening out. It’s a carnival like no other, both carnal and cadaverous. (Lorna Irvine)

PHOTO: HELEN MURRAY

PHOTO: CAMILLA GREENWELL

CONTEMPORARY DRAMA

PLAY

Tron Theatre, Glasgow, Thu 14–Sat 16 Mar; Traverse Theatre, Edinburgh, Thu 11–Sat 13 Apr

Tron Theatre, Glasgow, Tue 5 March; Assembly Roxy, Edinburgh, Thu 7– Sat 9 Mar

DRESSED.

Based on Lydia Higginson’s experience of being stripped at gunpoint, and her subsequent project to recreate her wardrobe, dressed. is a rare fusion of the theatrical and the material. The play brings together ThisEgg’s distinctive dramaturgy, the skills of a seamstress and a timely, feminist, political intention.

For Josie Dale-Jones, the company’s founder who frequently works with diverse collaborators, this unique merging of skills allows the performance to escape the predictable. ‘Putting a sewing machine on stage is big, it’s heavy, it’s loud, it’s very intimate and it is theatrical,’ she notes. ‘It is also kind of dangerous.’

While work on the production was in progress, Dale-Jones recognised its clear connection to the rise of #MeToo: ‘We wanted to be part of the conversation. It suddenly felt like our show could be more relevant than ever. It’s such a shame that the catalyst for all this has come from something negative, but a space seemed to have been created for women to express themselves. We were determined to be heard and it felt like the world was open to listening.’

Following a successful run at the 2018 Fringe, the return of dressed. is a reminder that serious political commentary can be matched by an experimental and adventurous approach to theatre-making. ThisEgg draw on powerful storytelling techniques to convey stories that are personal, grounded in real-life experience but also tackling wider social concerns. (Gareth K Vile)

APPROACHING EMPTY

Following on from his award-winning Snookered, playwright Ishy Din’s latest script is set in a taxi-cab office and follows the challenges of Mansha and his newly purchased business. ‘Approaching Empty is the second of a trilogy looking at the immigrant experience,’ Din explains. ‘It is about men that came to this country as young teenagers, so have a very clear idea of what they left behind but have spent the majority of their lives here.’ Working with Tamasha – a company dedicated to presenting stories usually unheard on the stage – Din’s play comes from his own experiences and knowledge of the taxi business: ‘That almost dictated that I should explore this world.’

Din’s vision of theatre, shared by Tamasha, is of a vibrant and engaged event: ‘it is the collective experience of witnessing performance that leads to discussion. It is important that we elicit some form of response from those that are experiencing it.’

Taking advantage of the confined space of the office, Approaching Empty delves into the contemporary experience of men in the post-industrial age, where manual labour is no longer plentiful. It explores the ambitions and problems of an older generation of Asian men that, as Din concludes, ‘not only comments on the human condition but also shines a light on the politics of the day.’ (Gareth K Vile) 1 Feb–31 Mar 2019 THE LIST 93

DANCE | PREVIEWS

ADAPTATION

MATTHEW BOURNE’S SWAN LAKE

King’s Theatre, Glasgow, Tue 5–Sat 9 Mar. Reviewed at Edinburgh Festival Theatre ●●●●● It’s 23 years since Matthew Bourne first unveiled his take on the most famous ballet of all time. He’s gone on to sprinkle choreographic magic onto a host of other popular works, yet his name remains inextricably linked with Swan Lake.

So when the posters for this revival proclaim ‘The Legend Returns’, it’s hard to disagree – this show really is legendary. Even in today’s increasingly tolerant society, a show that ostensibly puts a love story between two men centre stage, and receives a standing ovation, has to be applauded in more ways than one.

Ground-breaking aside, Bourne knows how to cater for all-comers. For lovers of the Ivanov / Petipa classic, enough remains to sweep you away: Tchaikovsky’s tear-jerking score, and aspects of the original choreography cleverly woven into the lakeside scenes. While those looking for a more mainstream night out can bask in two hours of well-dressed, witty entertainment.

As we journey from palace to ballroom, and nightclub to park, Bourne keeps his characters three-dimensional. When we see the prince dragged along to yet another dull opening by his ice-cold mother, we feel his loneliness. And when he falls in love with the Swan only to have his heart broken, we feel his pain in waves. The show may have evolved since 1995 but one thing has never changed: the phenomenal power of an entirely male corps de ballet of swans.

Just breathtaking. (Kelly Apter) 94 THE LIST 1 Feb–31 Mar 2019

PHOTO: HUGO GLENDINNING

E C N DA

WORLD PREMIERE

BALLETBOYZ: THEM / US

Edinburgh Festival Theatre, Sat 23 Feb The first day of rehearsals is a challenge for every choreographer, standing in front of a roomful of expectant eyes watching your every move. For the past 18 years, BalletBoyz’ artistic directors William Trevitt and Michael Nunn have invited numerous dancemakers in to do just that; only this time, they’ve tried something a bit different. Instead of an outsider crafting the work, Them has been created by the company’s own dancers.

‘We, the artistic directors, have had an overview but essentially the dancers devised the material based on tasks they were given or ideas they had themselves,’ explains Trevitt.

‘They’ve been really challenged by it. It’s easy to take for granted the effort and skill it takes to be a choreographer, but if you’re the person at the front of the room who has to get everyone onside, it takes a lot of self-belief.’

Working with just the title, and fragments of music from composer Charlotte Harding’s new score, the dancers explored notions of ‘them’ and ‘us’ and blossomed just as Trevitt and Nunn knew they would. ‘We’d seen how creative the dancers are in rehearsals,’ says Trevitt. ‘And we always felt confident telling any choreographer that comes in here that they can rely on the dancers, because they have so many ideas, so much experience and are eager to contribute; so we just thought, let’s take it a step further and see what happens.’

Them will form a companion piece to Us, a 2017 duet by world-renowned choreographer Christopher Wheeldon, which he has extended for this tour to include six dancers.

‘Christopher’s duet felt like he had dropped us in the middle of a story,’ says Trevitt. ‘We wanted to know how did they get to that point? So that’s what we asked of him; to create what led up to it.’ (Kelly Apter)

CONTEMPORARY

JASMIN VARDIMON’S MEDUSA Edinburgh Festival Theatre, Thu 21 Feb

Ask most people to describe the Greek myth of Medusa, and chances are eyes that turn you to stone and a serious case of snake hair will be their response. Lost to all but those who study further, is the reason for her antisocial behaviour: being raped by Poseidon in Athena’s temple, with the latter turning Medusa’s hair and face into weapons.

‘There are lots of interpretations,’ says choreographer Jasmin Vardimon, whose new work takes its inspiration from the myth. ‘Was Athena punishing her out of jealousy, or was it to protect Medusa so it wouldn’t happen again?’ Either way, Poseidon walked away scot-free: something Vardimon was keen to address. ‘One of the intriguing things is that this section of the story is almost forgotten. And in the #MeToo era, I felt it was the right time to re-imagine it, because victims being accused or punished is something that still happens.’

Seeing posters of Hillary Clinton depicted as Medusa during the 2016 US presidential election spurred Vardimon on. ‘I found that the myth of Medusa has been used throughout history to silence strong women,’ she says.

‘And they’re always presented as monsters, rather than victims. I wasn’t interested in just re-telling the story. It’s a poetic reflection on the myth but with wider social and environmental connotations.’ (Kelly Apter)

HIGHLIGHTS | THEATRE

THEATRE HIGHLIGHTS GLASGOW STRICTLY COME DANCING: THE LIVE TOUR SSE Hydro, Fri 1–Sun 3 Feb, strictlycomedancinglive.com Dance extravaganza bringing the Strictly spectacle from screen to stage, with audiences deciding which couple will win the coveted Glitterball Trophy at the end of each show.

BABY FACE Tron Theatre, Thu 7–Sat 9 Feb, tron. co.uk A grown woman attempts to be your baby in this provocative show about the infantilisation of women by Katy Dye. RAMBERT: LIFE IS A DREAM Theatre Royal, Thu 14 Feb—Sat 16 Feb, rambert.org.uk New show from Olivier Award winner Kim Brandstrup, featuring lyrical dancing alongside a live orchestral score by Witold Lutosławski.

THE DARK CARNIVAL Tramway, Tue 19 Feb–Sat 2 Mar, tramway.org Music and theatre spectacle created by Vanishing Point and A New International about newcomers to the afterlife who discover that death is not the end. See preview, page 93. Also touring, see list.co.uk/ theatre for more details.

BRENDAN COLE: SHOW MAN Glasgow Royal Concert Hall, Wed 27 Feb, glasgowconcerthalls.com First-ever winner of Strictly Come Dancing leads a cast of singers and dancers in a show of ballroom and Latin passion. Also touring, see list.co.uk/ dance for details.

PLAN B Tramway, Thu 7 Mar, tramway.org Double bill of dance works, featuring Neil Joseph Price’s solo work Tantalus and A Pair of Genes, a duet about how our genetic make-up contributes to our sense of identity.

ULSTER AMERICAN Traverse Theatre,

ANTON AND ERIN: DANCE THOSE MAGICAL MUSICALS Glasgow Royal Concert Hall, Sun 24 Mar, glasgowconcerthalls.com Ballroom meets musical theatre as the pair dance to iconic numbers from The Phantom of the Opera, Wicked and more. Also touring, see list.co.uk/ dance for details.

EDINBURGH TOUCHING THE VOID Royal Lyceum Theatre, Fri 1–Sat 16 Feb, lyceum.org.uk Play based on mountaineer Joe Simpson’s memoir, which charts his struggle for survival on the dangerous Siula Grande in the Andes.

See preview, page 90. Also touring, see list.co.uk/theatre for more details.

SALT Traverse Theatre, Thu 7 Feb, traverse.co.uk Fiona Oliver-Larkin explores domestic violence through the use of everyday objects as tools of both freedom and oppression.

CLOWN CABARET SPECIAL EDITION Traverse Theatre, Sat 9 Feb, traverse.co.uk Performance of contemporary clowning and physical comedy from Scotland’s finest clowns.

See feature, page 38. Part of manipulate.

ART King’s Theatre, Mon 11–Sat 16 Feb, capitaltheatres.com New adaptation of the late 90s hit about three friends who fall out over a modernist painting, starring Nigel Havers, Denis Lawson and Stephen Tompkinson. Also touring, see list.co.uk/theatre for more details.

TENSILE STRENGTH Assembly Roxy, Wed 20–Sat 23 Feb,

Edinburgh, Wed 20 Feb– Sat 2 Mar, traverse.co.uk, traverse.co.uk David Ireland’s play about abuses of power and the silencing of women’s voices, which follows a violent incident between an actor, director and playwright.

BALLETBOYZ: THEM/ US Edinburgh Festival

Baby Face

assemblyfestival.com Play about the state of the world and the unhealthy levels of stress that many experience.

See preview, page 90.

JASMIN VARDIMON: MEDUSA Edinburgh Festival Theatre, Thu 21 Feb, capitaltheatres.com Dance work exploring the gendered significance of the myth and symbol of Medusa in contemporary life. See preview, page 94.

BIRMINGHAM ROYAL BALLET: BEAUTY AND THE BEAST Edinburgh Festival Theatre, Wed 13–Sat 16 Mar, capitaltheatres.com Birmingham Royal Ballet stage this rendition of the tale as old as time. See preview, page 89.

REMEMBERING THE MOVIES Edinburgh Festival Theatre, Sun

Theatre, Sat 23 Feb, capitaltheatres.com Double bill by the all-male dance company. Them is the company dancers’ choreographic debut, while Us by Tony Award-winner Christopher Wheeldon features a score by Keaton Henson. See preview, page 94.

MATTHEW BOURNE’S

31 Mar, capitaltheatres.com Strictly dancers Aljaž Škorjanec and Janette Manrara pay tribute to classic movies with a series of dance routines inspired by famous films.

OUT OF TOWN ALL MY SONS Dundee Rep, Tue 19 Feb–Sat 9 Mar, dundeerep.co.uk Jemima Levick adapts Arthur Miller’s play about the American Dream and a very troubled family.

BALLET WEST: THE NUTCRACKER Macrobert Arts Centre, Stirling, Sat 2 & Sun 3 Feb, balletwest.co.uk Ballet West performs the story of Clara and her magical Nutcracker doll, set to Tchaikovsky’s classic score. Also touring, see list.co.uk/dance for details.

SWAN LAKE King’s Theatre, Glasgow, Tue 5–Sat 9 Mar, newadventures.net Acclaimed choreographer Matthew Bourne’s unmissable take on the most famous ballet in the classical canon. See review, page 94.

TAMING OF THE SHREW Tron Theatre, Glasgow,

Wed 20–Fri 22 Mar, tron. co.uk Jo Clifford takes on the Bard’s controversial comedy by turning it on its head and imagining a world where women hold the power.

PHOTO: JOHAN PERSSON

HITLIST

DR CARNESKY’S INCREDIBLE BLEEDING WOMAN CCA, Glasgow, Wed 13 Feb, cca-glasgow.com Cabaret about menstrual rituals and matriarchy, featuring a mash-up of feminist thought and 1970s horror tropes.

DRESSED. Tron Theatre, Thu 14–Sat 16 Mar, tron.co.uk True story about a woman who sets out to redress herself and wear only clothes she has made by hand after she is stripped at gunpoint.

See preview, page 93.

PHOTO: DANIEL HUGHES

Events are listed by city, then date.

Submit listings for your event at list.co.uk/add

Swan Lake

1 Feb–31 Mar 2019 THE LIST 95

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

THE UMBRELLA ACADEMY A tasty new gothic superhero drama for Netflix In 1986, 43 women unexpectedly give birth at the exact same time (a particularly unexpected turn of events given that none of them were pregnant). Eccentric billionaire Sir Reginald Hargreeves (Colm Feore) gathers together seven of these mysterious children. We cut to today and our team have splintered. Brought back together by the death of their adoptive father, a once glorious squad of superpowered child prodigies is now a dysfunctional tangle of adult neuroses. Welcome to the dark, gothic world of The Umbrella Academy.

Starring the likes of Tom Hopper (as a softly spoken hulking brute living on the moon) and Ellen Page (as a concert violinist), it also features Mary J Blige and Cameron Britton as a pair of ultra-violent assassins in cutesy animal masks. The Umbrella Academy (adapted from the comic by Brazilian artist Gabriel Bá and My Chemical Romance’s Gerard Way) is effectively a murder mystery wrapped in an apocalyptic drama with a wild plot which takes in time travel, a talking chimp and the end of the world.

Music is brilliantly utilised throughout, particularly when some characters are dancing to Tiffany, and during a bloody fight scene choreographed to They Might Be Giants’ ‘Istanbul (Not Constantinople)’. The Umbrella Academy offers something new and unique in an already crowded genre. (Henry Northmore) ■ Netflix from Fri 15 Feb. Episodes watched: seven of ten ●●●●● See list.co.uk for a longer review.

96 THE LIST 1 Feb–31 Mar 2019

PREVIEWS | TELEVISION

list.co.uk/tv

HIGHLIGHTS THIS TIME WITH ALAN PARTRIDGE BBC Two, Feb (date tbc) Steve Coogan's comic creation returns to the BBC as a lastminute replacement host on This Time (think The One Show) blundering into topics of the day (including #MeToo) accompanied by Sidekick Simon (Tim Key).

DIVORCE – SEASON 3 Sky Atlantic, Feb (date tbc) Probably the most serious of the many comedies in Sharon Horgan's bulging sitcom repertoire, following a couple (Sarah Jessica Parker and Thomas Haden Church) through a complicated split.

DISASTER RELIEF Channel 4’s brilliantly cringe-inducing comedy is back for a fourth and final series. Brian Donaldson hears from Rob Delaney and Sharon Horgan about endings, love and neck braces

P

reviously on Catastrophe: Rob has driven while over-the-limit and crashed his car. He’s now set to wander about for the best part of six episodes in a neck brace.

Meanwhile, Sharon has gained a promotion due to a colleague’s suicide and mourns a parent.

But are we really at the end of the road for one of the best-loved Channel 4 comedies of recent times?

For co-creator and co-star Sharon Horgan, it’s a bittersweet moment. ‘I think I’d be sadder if we kept going and ran out of ideas,’ she admits.

‘I’d feel worse seeing them onscreen not being at their tip-top best. But it was emotional filming the last scene, and I found myself getting a bit maudlin. But at the same time, I don’t think it’s going to hit me for half a year and I suddenly realise there’s a really big thing missing from my life that made me happy.'

There’s no doubt Horgan (who has penned the successful likes of BBC Three’s Pulling and HBO’s Divorce) will find plenty other writing and acting opportunities before she knows it, while Delaney has a number of irons in fires while keeping the door very much open to working with Horgan again. ‘We have nothing in the hopper at the moment, but I have undying respect for her creativity, and we’ve had an amazing time doing this. I’ll be doing some stand-up and I’ve acted in a bunch of other people’s movies that will be coming out in the next year or so. And I’m going to be doing some more writing too.’

Presumably whatever he writes won’t involve putting himself in a neck brace for any length

of time. 'Oh, I hated that, it was awful!’ he admits. ‘Sometimes I’d be in it for the whole day. And then suddenly you get used to it and start depending on it. By the end of the day, my neck would feel weak. So if you’re going to write your own sitcom, don’t put a neck brace scene in for yourself. Or, at least, don’t put 37 neck brace scenes in for yourself.’

When Horgan says she can’t quite remember who first suggested that Delaney should wear a neck brace in some episodes, it immediately feels like it was her idea. ‘These things come out of conversations, and a lot of it comes out of our weird hive-brain. We wanted to have it on for a few episodes, so there’s a physical reminder of the bad thing he’s done. But also, you could have some fun with it, and it’s hard to take someone seriously when they’re wearing a contraption like that.’

As the show reaches its final act, and the characters try to keep their worst instincts at arms’ length, can they possibly wind up happy at the end of all this Catastrophe?

‘They’ve both been boxed about by life a bit,’ states Horgan. ‘There’s less idealism there from Rob, and more resignation from Sharon. And certainly over the course of this series, shit does happen to them. But I really hope that by the time people get to episode six – which is one of the worst ones in terms of what we do to them – I really hope that when we see them at the end, people feel that they came through it all and still love each other.’

BITE CLUB Alibi, Feb (date tbc) The reviews from Australia haven't been fantastic but this has the potential for trashy brilliance as a group of shark attack survivors are targeted by a serial killer.

THE SIMPSONS – SEASON 30 Sky One, Fri 1 Feb, 8pm The yellow family return for their 30th season. Admittedly no longer at its creative peak, but you can always rely on The Simpsons for a few chuckles and some wonderfully inventive sight gags. Doublebilled with the return of US sitcom Modern Family which starts its tenth season at 8.30pm.

AFRICA WITH ADE ADEPITAN BBC Two, Sun 3 Feb, 9pm Insightful travelogue exploring modern Africa with journalist and athlete Ade Adepitan.

DAS BOOT Sky Atlantic, Wed 6 Feb, 9pm A sequel to the claustrophobic WWII epic about life onboard a German submarine.

THE WALKING DEAD – SEASON 9 Fox, Mon 11 Feb, 9pm TWD seems to be back on track after a cruddy season 8 as we time jump several years into the future as season 9 returns.

THE UMBRELLA ACADEMY Netflix, Fri 15 Feb Offbeat superhero noir created by My Chemical Romance frontman Gerard Way. See review, page 96.

LAST WEEK TONIGHT WITH JOHN OLIVER Sky Atlantic, Mon 18 Feb The funniest, sharpest political commentary on TV. AMERICAN GODS – SEASON 2 Amazon Prime, Mon 11 Mar Garish, violent fantasy about ancient gods living in modern America, from the mind of Neil Gaiman.

TURN UP CHARLIE Netflix, Fri 15 Mar The always watchable Idris Elba takes the lead as a hard-living DJ who ends up working as a nanny.

Catastrophe, Channel 4, Tuesdays, 10pm 1 Feb–31 Mar 2019 THE LIST 97

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98 THE LIST 1 Feb–31 Mar 2019

MEET THE KING WHO BUILT THE PALACE OF HOLYROODHOUSE

23 NOVEMBER 2018 – 2 JUNE 2019 www.rct.uk 0303 123 7306

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

ANDY WARHOL AND EDUARDO PAOLOZZI: I WANT TO BE A MACHINE Joint exhibition proves more than just a trawl through the greatest hits

PHOTO: © 2018 THE ANDY WARHOL FOUNDATION FOR THE VISUAL ARTS, INC. / LICENSED BY DACS, LONDON. 2018

Between them, the pop artists Warhol and Paolozzi have to be two of the most widely exhibited artists in the city of Edinburgh, and the need for a retrospective for either doesn’t feel urgently pressing. Yet it remains pleasing to see Paolozzi’s work in the city of his birth no matter what, and it’s in the smart curation of this exhibition that it really becomes something more than a trawl through the greatest hits. Both were not just transatlantic contemporaries working in the field of pop art, but they each had similar fascinations which drew upon their take on art as a potential product of mechanical mass consumption.

With the upstairs galleries divided into two halves, each contains a mini-retrospective of the respective artist, with an impressive amount of their works on display and a particular focus on these mechanistic qualities they bore.

Warhol, who declared that he wanted to be a machine himself in 1963, in relation to the anonymous and mass-productive capabilities of screenprinting, is represented by a room of earlier work which demonstrates his commercial jobs – including record sleeve design and book cover creation – alongside his more traditional, Truman Capote-influenced first exhibition and experiments with abstract stencilling. The second room is where the Warhol as we know him exists, with his famously multiplescreenprinted image of Marilyn Monroe’s face.

With Paolozzi, meanwhile, we also have a room of his early drawings, taking the form of almost mathematical diagrams, collages snipped from magazine adverts, and bronze sculptures; while next door his larger bronzes and ephemera such as drawings to accompany his 1971 film Mr. Machine – itself a reference to a childhood game of the same name – reintroduce him as a futurist of his day. There is a wealth of creative history to bite into here, and yet it only scratches the surface of both artists’ era-defining output. (David Pollock) ■ Scottish National Gallery of Modern Art Two, Edinburgh, until Sun 2 Jun. ●●●●●

1 Feb–31 Mar 2019 THE LIST 99

VISUAL ART | PREVIEWS & REVIEWS PHOTO: FILM STILL FROM MARGARET TAIT, TAILPIECE, 1976. COURTESY OF THE MARGARET TAIT ESTATE AND LUX SCOTLAND.

FILM

STALKING THE IMAGE: MARGARET TAIT AND HER LEGACY GoMA, Glasgow, until Sun 5 May ●●●●●

Part of a series of events organised across Scotland to mark the centenary of Margaret Tait’s birth, this is a rare chance to see a selection of work by the pioneering Orkney-born filmmaker, alongside material from her archive. In the main ground floor gallery at GoMA, a showreel of nine of Tait’s films (varying in length from two to 32 minutes) is shown next to a programme of films by contemporary artists who have received the Margaret Tait Award launched in her memory in 2010, including Rachel Maclean and Charlotte Prodger.

While there are some practical challenges – such as noise bleed between the two screens and the difficulty of working out where one is in the rolling programmes – Tait’s work is absorbing. Working experimentally, and always outside of the mainstream, she turned down opportunities with major filmmakers in order to pursue her own singular vision (‘stalking the image’ is a phrase she borrowed from Lorca and used to describe her practice).

While her work is diverse, and includes experiments such as colourful hand-painted animation, it is the longer films such as ‘Where I Am Is Here’ (1963) and ‘Place of Work’ (1976) which linger most powerfully.

Episodic and fragmented in its gaze, the camera follows her eye, picking out details and gradually building up a nuanced picture. The lingering focus on everyday things and refusal of conventional narrative reminds us why her work is so popular with many artists today.

(Susan Mansfield)

PHOTOGRAPHY

ROBERT BLOMFIELD: EDINBURGH STREET PHOTOGRAPHY City Art Centre, Edinburgh, until Sun 17 Mar ●●●●●

Robert Blomfield’s retrospective show is an unusual and welcome look at a body of work which was formerly largely unknown. It offers a sense of Edinburgh-but-not-Edinburgh; a view upon the city which at once feels familiar, yet shows landmarks and sights which are now gone.

Blomfield's images are all presented in stark monochrome, and there's a sense of a simpler and most likely harder time about them, yet they're no poverty safari. The artist practised street photography in Edinburgh, Glasgow and London between the 1950s and the 1970s, and it's true that slum conditions were hard to avoid in every British city in those days (a particular kind of post-war decrepitude, that is, as opposed to the poverty of austerity which we find now). Yet these photographs capture a panoply of Edinburgh street life and work.

Blomfield manages to find just the right framing to pass wry or humorous comment upon what's occurring. From university lecture theatres to Leith pub doors, this show is not only a document of the city's past, but a well-observed and timeless study of people which is a joy to spend time with.

(David Pollock) 100 THE LIST 1 Feb–31Mar 2019

EXHIBITION

CHARLES II: ART AND POWER

Queen's Gallery, Edinburgh until Sun 2 Jun ●●●●● When Charles II was restored to power in 1660, following the demise of Oliver Cromwell, the new king made up for his nine years in the wilderness between reigns by becoming a good-time boy and amassing a huge collection of art.

In Antonio Verrio's magnificently overblown and not a little camp 'The Sea Triumph of Charles II', the king looks every inch the pop star monarch, while Sir Peter Lely's ten-portrait series, The Windsor Beauties, shows off Charles' assorted rosy-cheeked mistresses, plus his presumably indulgent wife, Catherine of Braganza, lined up in paintings that resemble a restoration version of Hello! magazine. Beyond the self-deification, propaganda and pure glamour-chasing pleasure, the presence of no less than three paintings of biblical beheadings in this exhibition also suggests a fondness for grand gestures of a decapitatory kind.

Charles II wasn't the first member of the establishment to try and use an artistic veneer as a political tool to beautify the nation(s) and lend the set-up they front some credibility, and he's certainly not the last. As with all of them, and as this exhibition shows, legacy is everything, and, if handled right, will still be paying dividends long after the old order has fallen. (Neil Cooper)

W

PHOTO: KäTHE KOLLWITZ, THREE STUDIES OF A WOMAN IN MOURNING, 1905 © THE HUNTERIAN, UNIVERSITY OF GLASGOW

P R E V IE

EXPRESSIONISM

THE GERMAN REVOLUTION: EXPRESSIONIST PRINTS

Hunterian Art Gallery, Glasgow, Fri 1 Mar–Sun 25 Aug The Hunterian Art Gallery’s exhibition will focus on the period of anarchy and violence that broke out at the end of the First World War, in Berlin and other big cities, continuing until the establishment of the Weimar Republic in August 1919. This fascinating chapter of history is told through the revolutionary printmaking that emerged, and which has been steadfastly acquired by the Hunterian since the 1950s making it one of the most significant holdings of Expressionist works in the UK. Seventy-five works will be exhibited, including prints

by Oskar Kokoschka, Max Beckmann and George Grosz, and two recently acquired works by Käthe Kollwitz: ‘Three Studies of a Woman in Mourning’ (1905) and ‘Mother with a Child in Her Arms’ (1909).

Hunterian curator Peter Black calls the era ‘the great period of the woodcut’, which was led by the Norwegian artist Edvard Munch who inspired many to take up the medium. Munch’s woodcut ‘In the Man’s Brain’ (1897) will be shown among German works, as well as pieces by Picasso, Gauguin and Goya, demonstrating the influence of other European artists on those working in Germany at the time. (Rachael Cloughton)

HIGHLIGHTS | VISUAL ART

VISUAL ART HIGHLIGHTS GLASGOW LOTTE GERTZ: MIGRATING EYE CCA, Thu 28 Feb–Sat 9 Mar, ccaglasgow.com New work from the artist, produced during and since a residency at Cove Park in 2018.

THE GERMAN REVOLUTION: EXPRESSIONIST PRINTS Hunterian Museum & Art Gallery, Fri 1 Mar–Sun 25 Aug, gla.ac.uk/ hunterian Prints from important German artists working between 1918 and 1919, including Schiele, Klinger, Kokoschka, Munch, Dix, Schmidt-Rottluff, Nolde, Beckmann and Käthe Kollwitz.

EDINBURGH

concerned with memory, recollection, forgetting and renewal.

NOW: MONSTER CHETWYND, HENRY COOMBES, MOYNA FLANNIGAN, BETYE SAAR, WAEL SHAWKY Scottish National Gallery of Modern Art One, until Sun 28 Apr, nationalgalleries.org/ visit/scottish-national-gallerymodern-art The latest in a series of contemporary art exhibitions foregrounds the Turner-nominated Monster Chetwynd, known for her exuberant and theatrical performances.

ROBOTS National Museum of Scotland, Edinburgh, until Sun 5 May, nms. ac.uk/national-museum-ofscotland New exhibition developed by the Science Museum that looks at our 500-year quest to make robots human.

See preview, page 53.

EMMA HART: BANGER The Fruitmarket Gallery, until Sun 3 Feb, fruitmarket.co.uk New work in ceramics from the Londonbased artist, exploring her interest in the car and urban landscape as well as presenting the major recent work Mamma Mia!.

SOMETIMES I DISAPPEAR Ingleby Gallery, Sat 2 Feb–Sat 13 Apr, inglebygallery.com Work by women artists who work with selfportraiture conventions but whose work avoids or confronts the viewer’s gaze.

Featuring Cindy Sherman, Francesca Woodman, Oana Stanciu and Zanele Muholi.

BP PORTRAIT AWARD 2018 Scottish National Portrait Gallery, until Sun 10 Mar, nationalgalleries.org/visit/ scottish-national-portrait-gallery Annual portrait painting competition.

ORLA KIELY: A LIFE IN PATTERN Dovecot Studios, Thu 7 Feb–Wed 26 Jun, dovecotstudios.com Exhibition of the works of designer Orla Kiely, whose flat style and colourful palette have become very popular.

ANOTHER COUNTRY City Art Centre, until Sun 17 Mar, edinburghmuseums.org. uk/venue/city-art-centre Work by eleven artists all born or living in Scotland but from different ethnic and cultural backgrounds, examining themes of immigration and national identity.

ARTISTS BOOKMARKET The Fruitmarket Gallery, Sat 9 & Sun 10 Feb, fruitmarket.co.uk Stalls laden with artists’ books, in this market organised jointly with Stills.

SYLWIA KOWALCZYK: LETHE Summerhall, until Sun 17 Mar, summerhall.co.uk Photography

HITLIST

ROBERT BLOMFIELD: EDINBURGH STREET PHOTOGRAPHY City Art Centre, Edinburgh, until Sun 17 Mar, edinburghmuseums. org.uk/venue/city-artcentre Exhibition of the work of street photographer Robert Blomfield. See review, page 100.

RUTH BARKER &

PHOTO: IMAGE COURTESY OF ORLA KIELY

Events are listed by city, then date.

Submit listings for your event at list.co.uk/add

BORDERLINES Talbot Rice Gallery, Sat 23 Feb– Sat 4 May, ed.ac.uk/talbot-rice Group exhibition about the concept of borders, with work from Lara Almarcegui, Rossella Biscotti, Lonnie van Brummelen & Siebren de Haan,

HANNAH LEIGHTONBOYCE Glasgow Women’s Library, until Sat 23 Mar, womenslibrary.org.uk New work developed as part of research residencies undertaken by the artists over 2017/2018.

STALKING THE IMAGE: MARGARET TAIT AND HER LEGACY

Orla Kiely: A Life in Pattern

Willie Doherty, Nuria Güell, Ruth E Lyons, Amalia Pica, Khvay Samnang, Santiago Sierra, Mona Vatamanu and Florin Tudor.

OUT OF TOWN PHIL COLLINS: CEREMONY Duncan of Jordanstone College of Art and Design, Dundee, until Sat 16 Feb, dundee.ac.uk/ cooper-gallery Exhibition reflecting on the work and life of Friedrich Engels, using a decommissioned Eastern European statue of Engels from Eastern Europe to explore themes of the representation of revolution, authority and capitalism.

Gallery of Modern Art, Glasgow, until Sun 5 May, glasgowlife.org. uk An exhibition looking at the legacy of the innovative Orcadian artist and filmmaker, placing it alongside the works of contemporary artists and filmmakers. See review, page 100.

ANDY WARHOL AND EDUARDO PAOLOZZI:

LORNA MACINTYRE: PIECES OF YOU ARE HERE Dundee Contemporary Arts, until Sun 24 Feb, dca.org.uk The artist’s first solo exhibition in a major UK institution, featuring new work specially commissioned for the gallery.

DAVID AUSTEN: UNDERWORLD Dundee Contemporary Arts, Sat 23 Mar–Sun 9 Jun, dca.org. uk David Austen presents the full breadth of his work for the first time in Scotland. The exhibition aims to create a mythical space and journey with works in a range of media from oil paintings to cinematic projections.

I WANT TO BE A MACHINE Scottish National Gallery of Modern Art Two, Edinburgh, until Sun 2 Jun, nationalgalleries.org/visit/ scottish-national-gallerymodern-art More than just a trawl through the greatest hits, pop art works by Warhol and Paolozzi show how they used found and captured images. See review, page 99.

CHARLES II: ART AND POWER The Queen’s Gallery, Edinburgh, until Sun 2 Jun, rct.uk Charles II liked a good time, and that included having himself painted. This exhibition shows the extent of his patronage of the arts and the resurgence of statesponsored art that happened under the Restoration. See review, page 100.

1 Feb–31 Mar 2019 THE LIST 101

ADVERTISING FEATURE Shop Gallery Exhibition Museum

Art and about

Colourful exhibitions, groundbreaking museums and eclectic shops – with so much art to explore in Scotland, why stay at home? Read on to find out more about the creative hot spots across Edinburgh, Glasgow, Aberdeen and Dundee this spring

EDINBURGH ART SHOP 129 Lauriston Place, Edinburgh EH3 9JN edinburghartshop.co.uk, T: @edartshop I: @edinburghartshop

1 Riverside Esplanade, Dundee DD1 4EZ vam.ac.uk/dundee, @VADundee

Edinburgh Art Shop provides a huge variety of art & craft supplies for all, from technical drawing to oil painting.

A friendly and knowledgeable team offers great discounts for students and

V&A Dundee is the first-ever dedicated design museum in Scotland. Provocative, ingenious and simply breathtaking, design creativity is here, waiting to be discovered.

From major exhibitions, sumptuous collection displays, new commissions, talks, events, workshops and conferences – welcome to the wonderful world of design.

Admission free

THE FRUITMARKET GALLERY

LOOK AGAIN ART WEEKENDER

45 Market Street, Edinburgh EH1 1DF fruitmarket.co.uk, T: @fruitmarket I: @fruitmarketgallery

Various venues, Aberdeen lookagainfestival.co.uk, @LookAgainFest

The Fruitmarket Gallery programmes exhibitions with the best Scottish and international artists and enriches these with a wide variety of cultural and educational events, creating a welcoming space for people to think with art in ways that are meaningful to them.

Admission free

Look Again Art Weekender takes place again in Aberdeen this June, with 16 new commissions across the city including works from artists Morag Myerscough and John Walter. Look out for Polish Taxis, Artists’ Tuck shops, new art from Macedonia and the giant head of Archibald Simpson. We’re looking at Aberdeen with fresh eyes.

JUPITER ARTLAND

GALLERY OF MODERN ART

Bonnington House Steadings, Wilkieston, Edinburgh EH27 8BY jupiterartland.org, @JupiterArtland

Royal Exchange Square, Glasgow G1 3AH, glasgowlife.org.uk, @GlasgowGoMA

Jupiter Artland is an award-winning contemporary sculpture park just outside Edinburgh. Highlights of its 2019 programme include the opening of a swimming pool by Joana Vasconcelos and a retrospective of New York choreographer Trisha Brown. Jupiter is also home to Jupiter Rising, a two-day festival of art, performance and music every August.

Open 18 May to 29 Sep

GoMA is a world class art museum and a place for people to gather, to learn and to share ideas. We display, borrow and collect artworks from around the world.

Located in the centre of Glasgow, GoMA contains four galleries, a café, a shop and a library.

Admission free

ANDY WARHOL AND EDUARDO PAOLOZZI: I WANT TO BE A MACHINE Scottish National Gallery of Modern Art (Modern Two), 75 Belford Road, Edinburgh EH4 3DR nationalgalleries.org, @NatGalleriesSco This amazing exhibition tells the story of how Andy Warhol and Eduardo Paolozzi simultaneously discovered the art of screenprinting and helped invent pop art as we know it.

Admission free Image © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. Licensed by DACS, London.

102 THE LIST | 1 Feb–31 Mar 2019

V&A DUNDEE

ABERDEEN ART GALLERY Schoolhill, Aberdeen, AB10 1FQ aagm.co.uk, @AbdnArtMuseums When it re-opens in autumn 2019 following a major redevelopment Aberdeen Art Gallery, home to a nationally recognised collection, will be the city’s most inspiring, welcoming and accessible public building – re-imagined, re-born, ready to be re-discovered!

Admission free

a week of installation, artists’ moving image, workshops, performance, dance and live music at The Fruitmarket Gallery

open out 18–24 February 2019

Aniela Piasecka • Marco Giordano Spilt Milk • Fresh Fruit • Miro Spinelli Stephanie Black-Daniels • Henry McPherson Vinícius Pinto Rosa • Farah Saleh Kobi Onyame • Heir of The Cursed

45 market street, edinburgh fruitmarket.co.uk

#openout

“A glimpse into another world” The List Book now.

Members go free. vam.ac.uk/dundee

Last chance to see, exhibition sets sail 24 February 2019.

1 Feb–31 Mar 2019 THE LIST 103

BACK PAGE PHOTO: IDIL SUKAN

FIRST&LAST NISH KUMAR The acclaimed stand-up, host of The Mash Report and Question Time alumnus takes on our Q&A in which he discusses Salman Rushdie, Superman, social faux pas and skinny jeans First record you ever bought

What’s the Story by Oasis and The Great Escape by Blur. I was very much neutral in the central schism of Britpop.

Last extravagant purchase you made

A guitar. I don’t need it due to the thwarting of my ambitions to be the Jimi Hendrix of Croydon, so it must be classed as a luxury purchase.

First film you saw that really moved you

Magnolia.

Last lie you told

That the first film that ever moved me was Magnolia when it was really The Lion King.

First crush

Last crime you committed

Free cricket tickets. No regrets.

Those skinny jeans were a crime against fashion.

First time you realised you were famous

First book you read for a second time

When a man shouted ‘oi Romesh!’ in a pub at me.

Haroun and the Sea of Stories by Salman Rushdie.

Last time someone criticised your work

Last song you’d have played at your funeral

I was on Question Time the other week. Feel free to search my name on Twitter.

‘To Love Somebody’ by Nina Simone.

Last book you read

First person you’d thank in an award acceptance speech

Middle England by Jonathan Coe.

First three words your friends would use to describe you

First great piece of advice you were given

‘He’s very loud’.

My parents. They’d be furious if I didn’t thank them first.

‘Don’t be a cunt’.

Last time you made an impulse buy and regretted it

Last thing you think of before you go to sleep

Last time you were starstruck

A pair of subsequently unworn skinny jeans.

Oh, probably just some social faux pas I committed about ten years ago.

Just did Travel Man with Richard Ayoade. I’m a huge Darkplace fan.

He was every bit as funny and as charming as one could hope.

First thing you’d do if you ran the country

Fire myself.

First concert you ever attended

Bob Dylan at the London Arena (now a conference centre) in 2002.

Last person you fantasised about

My grandmother’s fish curry.

Most of my fantasies involve Brexit being stopped by The Avengers.

First song you’ll sing at karaoke

First word you spoke

‘Young Americans’ by David Bowie.

No idea but it was probably something amazing.

Last meal on earth

104 THE LIST 1 Feb–31 Mar 2019

First thing you think of when you wake up in the morning

Let’s do this!

Nish Kumar: It’s in Your Nature to Destroy Yourselves, Alhambra, Dunfermline, Fri 8 Feb; Pavilion Theatre, Glasgow, Sat 9 Feb; Royal Lyceum Theatre, Edinburgh, Sun 10 Feb. See more of this Q&A at list.co.uk.

NEXT ISSUE 1 APR PHOTO: JAMES GOURLAY

Teri Hatcher in The New Adventures of Superman.

Last time you exploited your position to get something

We may have featured Professor Brian Cox in this issue, but that doesn’t mean your interest in science has to stop. Happily, April is the month that the Edinburgh International Science Festival explodes into action with the theme of Frontiers, inspired by the 1969 Moon landings. Plus, we interview Bill Bailey, keep tabs on Scottish Ballet as the company begins its own 50th anniversary celebrations, and have our tastebuds teased with another Eating & Drinking Guide making its own dramatic landing.

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22/01/2019 14:08