Live Performance Review: Vanishing Point: Wonderland (Edinburgh International Festival (E.I.F.) 2012), Wednesday 29.08.2012 19:30 Royal Lyceum Theatre, Edinburgh 

This was in the loosest possible terms taking its premise base from 'Alice in Wonderland'. There is once you see the central character in a dress that is Alice in style, beyond this, I could see no connection to speak of.

The plot concerned the production and consumption of pornography, and in relation to this; who is victim/abused, perpetrator/abuser? Is any character involved abused? Is everyone involved fulfilling a role for themselves and or others? It being treated roughly ever enjoyable and if so on what basis? How does someone tell if it is enjoyed or not?

It also tackles; How being involved with pornography as maker or viewer seeps into other aspects of your life including affecting your emotional approach to situations. How the viewer can be seen as complicit in regard to how those involved in the making of pornography are treated. How being involved in this as producer or consumer is something that tends to be kept secret within peoples lives and then leads to those people using 'masks' in regard to this in their every day lives. How people you know can have a problem generated by pornography, though the chances are you will not get to know about it.  

I would say the play is well performed, set and let, though it is not a comfortable watch. I noted several people leaving during the performance, and wondered whether they misunderstood what it was about when coming, or if it was just too much. It reached a point where all feels exploitative and not much is known of some characters, though perhaps that is the point and is reflective of what comes to define those involved in both ends of the pornography business. The entire piece felt suitably grim. I did not feel it was overly gratuitous, flesh was shown, though given the context in a minimal way, and given the subject matter it would have been odd if it were not shown. I felt the play presented these issues in a complex and subtle way.

There was some scenes towards the end, where I did not quite understand how they fitted into the rest of what had happened in the narrative presented. In regard to this, I did wonder the play was advertised as 2 Hours, and when getting to the venue, I found out it fitted to just under an hour and a half. I wondered what had been removed and whether this had maybe affected the clarity of the story.

Rating: 08/10.

Live Performance Review: Grimes, Tuesday 28.08.2012 19:00, Liquid Room, Edinburgh

Grimes is the name used by Claire Boucher for all of her creative works. She moved from Vancouver to Montreal in 2006 and since 2010, she has been releasing work as Grimes. This is a lady who's music I have been listening to since March. She is someone I was curious about from how she looked and what I read of interviews with her. I sought out her first album 'Geidi Primes', which is quite experimental though good. Her new album 'Visions' , which is released outside of the north american continent on 4AD, I would regard as some of the best electronica I've ever heard, and the best album of the year to date.

I saw her perform at the tiny Berkeley Suite in Glasgow in early May 2012. The set was slightly curtailed due to technical problems, though I greatly enjoyed what I had seen. There were notices that night about the date at the Liquid Room in Edinburgh, so I got my ticket the following day.

There were two supports neither of which I felt were any good, and I was not able to catch their names either. Grimes was again quite something to watch. To consider that essentially what she is doing is standing at a desk controlling machines to release sounds at certain times and accompanying this with vocals, it is something that could be quite dull to watch; though if it is Grimes doing this, it is anything but dull. She performs with such enthusiasm and concentration, that she makes herself quite captivating. There is defining applause after the song 'Genesis', to which she giggles in an embarrassed way. The set is a good mix of songs from the most recent album, and other tracks she has been involved in.

Sadly there was difficulties with her microphone which was cutting out. The force at which she would attack the equipment to try to sort it out, I found quite endearing. The microphone only got replaced before the last song, it would have been good if this could have been done earlier. Saying this, the microphone problems did not greatly affect my enjoyment, nor did it appear to for others.

As long as she continues to produce music of the quality she is presently, I would happily return to see her again, though hopefully there will not be any glitches in future.

Rating: 08/10. (would have been more, were it not for the glitches).

Live Performance Review: Juilliard Dance: Triple Bill - The Waldstein Sonata, Gnawa & Episode 31 (European Premiere) (Edinburgh International Festival (E.I.F.) 2012), Sunday 26.08.2012 20:00 The Edinburgh Playhouse, Edinburgh 

This was a fabulous programme.
The first two pieces used no set as such, just good lighting, along with sympathetic restrained music to accompany. The dancing was superbly executed with poise, precision and grace. To my untrained eye I was not aware of any flaws, and I felt these to be accomplished works.
The third piece was joyfully urgent and engrossing with more experimental tone to the movements and audio accompaniment. There felt to be vibrancy, humour and a great sense of rhythm to this piece in particular. The dancing still felt to have considerable precision, though this was not one of the prominent senses I had of it.
I cannot think of a single criticism. The last time I was left so impressed by a dance performance was when I saw Grupo Corpo (Brazilian) perform at the Festival Theatre during the E.I.F. in 2010. Bravo!
Rating: 10/10.

Live Performance Review: Leigh Warren + Dancers: Breathe/Impulse (Edinburgh International Festival (E.I.F.) 2012), Saturday 25.08.2012 19:30 Festival Theatre, Edinburgh

I was annoyed and bored with the first half. The staging felt sloppy. There was a musician facing the audience from front and quarter the way across the stage. He was playing Didgeridoo and Acoustic Guitar, though was not very good. He was also only part of the accompaniment for this half as his playing was being mixed in with other sounds. This mix made his presence even more baffling. He could have faced the performers and been closer to the side of the stage, and therefore less of a distraction. Or he did not need to be on stage at all. Either way as it was, he was a distraction from being able to concentrate on the dancing. The music was not particularly sympathetic to the dancing either. The dancing itself in the first half felt lazy. There was moments which were clearly intended to be synchronised which were not.

I was contemplating leaving in the interval, though was distracted by a beautiful French lady who was sat next to me, striking up a conversation with me in the interval. She also was not impressed with the first half. I then landed up staying for the second half.

The second half was better. The music was provided by a string quartet who were placed in with the dance performers. This assisted with not being distracted as with in the first half. The dance itself was easier to follow due to how the performance was staged, though it still felt lazy in a similar way to how it did in the first half.

Rating: 02/10.

Live Performance Review: Royal Shakespeare Company: The Rape of Lucrece (Edinburgh International Festival (E.I.F.) 2012/World Shakespeare Festival 2012), Friday 24.08.2012 21:00 Royal Lyceum Theatre, Edinburgh 

I went to see this, as was curious to see Camille O'Sullivan perform, though had no desire to see her doing her usual cabaret style performance. This poem by Shakespeare was performed via speech and song by Camille, accompanied by Feargal Murray on Piano, whose playing was sympathetic to the performance, never getting in the way.

I felt Camille to be a perfectly capable singer, though I don't agree with the hyperbolic comments that have been written about her singing ability.

Within terms of the performance, I felt Camille moved effortlessly back and forth from song to speech, her overall grasp of and flow with the piece was striking. I also felt that she was able to inhabit both the male and female roles in both a commanding and distinct manner. This was a monologue, where the switching from recited poem to song, I felt helped to ensure (audience member) attention was maintained. I felt that Camille was able to convey the piece making it easy to follow, able to sustain the intensity of the performance and unwaveringly hold the audience for 80 minutes; very impressive. I'm happy with my choice having been to see her perform within this form. I feel mixing up elements of speech and acting with her singing is something she is clearly able to do very well. She may well be suited to continuing to perform in pieces of this nature.

Rating: 08/10.

Film Review: To Kill A Mockingbird (Remastered) (P.G.), (U.S.A. 1962) (Director: Robert Mulligan), Friday 24.08.2012 17:45, The Filmhouse Screen Two, Edinburgh

This is a film I had wanted to see for some time, as I heard more about the story of 'Mockingbird'. As almost everyone who reads this will know the story concerns matters of race and prejudice in the deep south, and how justice can be arrived at in differing ways: some easier to live with than others.

I was very impressed by the acting from all involved, in particular Gregory Peck as the hero Atticus Finch and those performing as the three children. I felt the entire telling of the story was done in a measured way, with nothing feeling to be over-showy. I would say that this is a gentle film, though it is not sugar-coated.

On a trivial note I became aware before seeing the film that it contains the screen debut of Robert Duvall as the Finch families neighbor Boo Radley. This is not a large role and is a mute performance and shows the restraint that marked many of Duvall's performances to come. I was glad to see this film, and would happily watch again.

Rating: 10/10.

Live Performance Review: Alim Qasimov Ensemble (Edinburgh International Festival (E.I.F.) 2012), Thursday 23.08.2012 17:45, Greyfriars Kirk (Unreserved Seating), Edinburgh (Preceded By Alim Qasimov Ensemble: Masterclass (Edinburgh International Festival (E.I.F.) 2012), Wednesday 22.08.2012 14:30, Main Hall, The Hub (Unreserved Seating), Edinburgh) 

This is someone who I had wanted to see perform for some time. I first him in approximately the year 2000, on a recording of a duet with Jeff Buckley singing What Will You Say?. At that point I asked in H.M.V. if they stocked any of his albums, and they did not know who I meant. Then in 2008 I was in H.M.V. I noticed a C.D. of Alim out of the corner of my eye. I know this is not to many peoples tastes, though I enjoy what I hear of him. I feel that if you appreciate Nusrat Fateh Ali Khan as I do, and Jeff did, then you should be able to appreciate Alim.

Alim is Azerbaijani and practices the ancient complex spiritual vocal technique called Mugham. Within this approach, ability relates to being able to be in a state of love and understanding of the spiritual. Experienced practitioners can have a sense that while performing they can have their being transcend to be within the spiritual, and return to this realm once the performance has concluded.

The masterclass was good enough to increase my anticipation of the performance on the Thursday. Having been at Grayfriars Kirk last week for a performance, I expect it will be a great venue for this performance.

Having just got back from the performance, this was one of the most profoundly moving and incredibly beautiful experiences of my life. I had repeated waves of shivers all over. The patterns I see when I close my eyes were wild. What else could I possibly say. As could be clear, it will not be appropriate to give a rating, this was way beyond any such frivolity.

Live Performance Review: Dark Dark Dark, Wednesday 22.08.2012 19:00, Sneaky Pete's, Edinburgh

The venue opened late, though also the performances ended late, so nothing was curtailed. I've never been to Sneaky Pete's before. I't is a tiny and relaxed venue. I find it very endearing when a group you particularly like play places of a size where they are doing there own equipment setup and selling of merchandise.

The Supports:
Caravan Club: Nothing noteworthy except that they have a good drummer. Rating:  02/10.

Kaiho: A seven piece all female combo. Interesting instrumentation including Trumpet, Accordion, Violin and Ukulele. A good balance in the sound overall and the vocals within this. The group were charming and clearly made effort in dress and approach: good banter, and smiles. A further nice touch was that they had hand decorated CDS available for a donation. I made a contribution for a CD, which is not something I would often do for a support act I don't know. The CD is called Lacuna, and has seven songs on it: Call Me, Games, Hot Water, Joshua, Waves, Hummingbird, Read My Mind. I have transferred the CD to my MP3 player and have listened to it several times. The quality of the production and the songwriting is quite striking.  I found Kaiho to be the most impressive support act, I did not already know, since Laura Marling late in 2009, and I would happily see Kaiho again. It would be nice for this group to have a future. Rating: 06/10.

Dark Dark Dark: For the uninitiated, DX3 are an intriguing American group. I used to refer to them as Chamber pop, though was not sure of this, and now I am of the view that it is easier to just refer to as Chamber music. The instrumentation consists of Bass, Banjo, Trumpet, Clarinet, Accordion, Percussion and Keyboards. The last album called 'Wild Go' was a breath of fresh in its distinctiveness, complexity and quality. For me of particular note is their harmonising, the structuring of the songs and within the pieces the structuring of the keyboard parts.

They have a new album out on the 1st of October 2012, called 'Who Needs Who'. The group member who was playing Banjo and Clarinet, Marshall LaCount, was telling me that in his view the new album is in a similar vain to 'Wild Go' though more focused and with better songwriting. (I've subsequently read in 'UNCUT' that the album is inspired by the breakup between Marshall and Nona (Keyboards/Vocals) prior to a year of touring).

This is a group I was expecting to have to travel to England to see due to there regrettable level of obscurity north of the border. The unexpectedness of this happening contributed to my excitement when I saw the advert for the concert. I had a ticket for ballet last night, which I gave up to go to this gig. I did not regret giving up my ticket for the ballet.

The performance was very good and the songs transferred well to being performed live. Of note, Nona Marie Invie who was playing the keyboards and singing, aside from performing very well, appeared to have a complete lack of pretension and was humble in her chat. The percussionist was very accomplished in his playing throughout all of the pieces, servicing the overall sound and never trying to be noticed above the other performers. The set consisted of songs from 'Wild Go', songs of greater obscurity and I assume new pieces. There was not a single song which lessened the enjoyment. The tiny venue was packed and appeared to be greatly enjoying the performance. With the new album on the horizon, hopefully it won't be too long before they are back. It would be nice to think that in terms of success, that Dark Dark Dark are on the verge of greatness.

Rating: 09/10.

Live Performance Review: John Williams, John Etheridge (Edinburgh International Festival (E.I.F.) 2012), Wednesday 22.08.2012 11:00 The Queen's Hall, Edinburgh 

I had been to two performances in the E.I.F.'s Queen's Hall Series last year and greatly enjoyed them. So the opportunity to see these two great guitarists performing as part of the series during this festival was very attractive.

The performance was largely very good, and covered pieces originating from various parts of Africa and South America, along side the likes of a piece by Charles Mingus.

There was one piece I did not like, which was also their longest piece. This was called Ludwig's Horse, and was specifically written for the two performers. It is the second part of the piece that did not sit easily. This was the only issue in the performance apart from there being very occasional sound problems when Etheridge was using an electric guitar.

Needless to say the quality of the performance was impressive, a charming start to the day.

Rating: 09/10.  

Film Review: Take This Waltz (15) (USA 2011) (Director: Sarah Polley), Tuesday 21.08.2012, 15:40, The Cameo Cinema, Screen One, Edinburgh

This film concerns a couple who have been married for a few years, when the wife (Michelle Williams) becomes drawn to the new male neighbor. The plot concerns the messiness of conflicting feelings and the wife's struggle to honor her adoring husband. I would not class this as rom-com, as there is not much humour or attempts at it. The drama gets to a point of feeling cluttered as to the scenes that moved to, and to loose focus in regard to telling a story, though perhaps this is a reflection of the wife's inner tussle. The ever dependable Michelle Williams was great in the role of the wife. Seth Rogan as the husband managed to not annoy, it is known he is not great, though he has attained being perfectly serviceable. The ending is left in a way that is unclear...make your own ending, which I like.

I have big issue though with a section of the film, about two thirds in, where Michelle Williams character is clearly being portrayed in 'experimental phase', and what is shown I found in the context of the film to be unsubtle and gratuitous; experimental with added on fake politically correct equal opportunities. It is a shame as this ruined an otherwise good film.

Rating: 06/10.

Live Performance Review: Tony Benn: Will and Testament  (Edinburgh Festival Fringe), Tuesday 21.08.2012 12:00, The Music Hall, Assembly Rooms (Unreserved Seating), Edinburgh 

I was quite curious about Tony Benn due to the esteem he appears to be held in by by others whom I have time for. The 'show' began with the screening of a 1/2 Hour extract from a documentary being made about him. The documentary being called 'Will and Testament', which we are informed it is hoped will be released by late this year or early next. The documentary does look as though it may be worth seeing.

This was followed by a Q&A session hosted by Mark Thomas. Mark was assisting to gather questions together into cluster to put to Tony. What I was surprised at was that Tony did not answer the questions put to him, though did the classic politician thing of being slippery, using the question raised to announce what he wished to be heard to say on the topic. This suggests listening only to the degree of being able to identify where he could impart particular responses without their appearing out of place. I also felt that there was a bit to much of referring back to answers that he gave in the film, or repeating what we have already heard in the film, which suggests to me someone who is either struggling or disinterested.

I was not impressed and expected a greater sense of honesty in responses and for these responses to appear more convincingly to be in response to the questions raised. It felt to be a performance, with all inferences that carries. Though I must also state that I would have been disinterested, if I was being spoken with, with the degree of sycophancy that was being displayed by several of the question askers.

Rating: 05/10.

Live Performance Review: Teatro Playa: Villa + Discurso (Performed In Spanish with English Supertitles) (Edinburgh International Festival (E.I.F.) 2012), Monday 20.08.2012 19:30 Main Hall, The Hub, Edinburgh 

I had booked some 'Theatre' performances to go to during the festival this year. This may sound like an odd statement, though I generally avoid theatre, I know I have an apprehension of it, though find it difficult to explain why. So I thought I would make an active effort to get over this.

Perhaps it was not bright to start with a show with Supertitles. The speed of speech and therefore the pace that the titles were moving was difficult to keep up with at times. The company, actors and two pieces come from Chile; the pieces concern the country's political past & the product and memory of these times.

It was a very intense performance with no let up. Of what I could follow, I enjoyed. I feel too new to 'theatre' to consider giving a rating without considering it too crass.

Film Review: A Simple Life (P.G.), (Hong Kong 2011) (Cantonese, English & Mandarin with English Subtitles) (Director: Ann Hui), Monday 20.08.2012 14:30, The Filmhouse Screen Two, Edinburgh

This is a tale of a lady known as Ah Tao (Played by Deannie Yip) who has served a family for 60 years, when she experiences a stroke. It is at that point she states a wish to retire and move in to a care home. The family she had served ensures this is taken care of. There is only one member of the served family left, who is called Roger (Played by Andy Lau) the rest having moved to the U.S.A. The film is a study of the relationship between these two as it enters this new phase where the servant becomes served.

The acting by and between the lead two performers is quite remarkable. It has a very naturalistic feel, almost as if this could be a documentary with no voice over leading the way. I would say that there is no drama as such in the film. The pleasure I found was upon noticing the subtleties of the relating between the lead two, and how these expressions evolve as the relationship does. Although I was very impressed, I also had a sense of there being something missing/lacking, somehow falling short. It is very difficult to put my finger on why this feels to have been an exceptional film in many respects, though not quite without fault. Unsure as to what else to say. I would recommend.

Rating: 09/10.

Live Performance Review: Ballet Preljocaj: And Then, One Thousand Years Of Peace (Edinburgh International Festival (E.I.F.) 2012), Sunday 19.08.2012 19:30 The Edinburgh Playhouse, Edinburgh 

This work got off to a good start, the soundtrack was thunderous from the off with jarring industrial ambient sounds (accompanied by lighting that was agresive in the rapidity of its movement). The modernist aural aspect did occasionally collapse to allow for strains of Beethoven. The abstract soundscape, created by D.J. Laurent Garnier was consistently of a high standard and I very much enjoyed throughout the performance. The lighting was also a strong aspect, which along with the sound created much of the environment for the piece.

The dance appeared to go through periods of showing destruction, to peace and then build up to conflict again. I felt there were far too many periods within the piece and it made the performance feel choppy and fragmented. There were times also when the dance (and also at times the lighting) was discordant with the patterns of movement suggested by the sound. Discord itself though may be the point of the performance, and I simply don't get it.

The dancing was very good, with a high degree of graceful movements and  synchronicity being displayed. Preljocaj has said that the piece is not to be read in a literal way and elements have been left purposefully interpretive. Despite this clearly being the case, I felt it difficult to know how to feel at the end of the show, with the stage being covered in unfurled drenched flags of various nations and a couple of lambs being played with on top of this. The ending did feel pretentious.

Rating: 07/10.    

Film Review: The Imposter (15), (U.K. 2012) (English & Occasional Spanish with English Subtitles) (Director: Bart Layton), Sunday 19.08.2012 15:00,  The Cameo Cinema Screen One, Edinburgh

This is the documentary about the case where a child Nicholas Barclay went missing from Texas and there and a bit years later, a child found in a public phone box in Spain claims to be the child. The 'child' is reunited with family though is physically glaringly different. Therefore why is the person pretending to be the child and why is the family taking the child in, when the differences are so great that there are immediate questions.

The film felt frustrating. It was quite apparent that the imposter has mental health issues; has such a record with Interpol of pretending to be others that the French call him 'the chameleon'. Though it did not clarify why he was doing what he was doing, what from his claimed past was true, or what he had experienced in his past that had lead to pretend to be others (the imposter is interviewed and speaks straight to camera in the film). Even odder is the fact that the film gets nowhere in trying to clarify why the family took him in, to a degree that a relative is informed it is not Nicholas, and they still maintain the pretense. In that regard the questions posed at the beginning of the film get no clarification before the end of the film.

The film felt labored and heavy-handed. The way the film was structured and edited also felt confusing. Having the actual perpetrator within reenactments of situations, and within these have him speaking the voiceover you hear, gave the impression that he was being allowed to revel in the retelling of the criminal act that he engaged in. It was an unsatisfying watch and I was expecting greater depth then what was shown. Disappointing...

Rating: 05/10.

Live Performance Review: Jon Richardson - Funny Magnet  (Edinburgh Festival Fringe), Friday 17.08.2012 22:30, Main Hall, Assembly Hall (Unreserved Seating), Edinburgh 

I had checked online for his tour dates, and it had appeared as though 'Funny Magnet' was not coming to Edinburgh. Then lo and behold, I see in the metro on Thursday the 16th that it had been announced that he was doing four nights, so on route to the performance I was going to, I go to the Fringe box-office and get a ticket for the following evening.

This is the second time of seeing Jon perform, having seen him during the festival a couple of years ago, in a room at the Pleasance that was about a tenth of the size of this room, if not less. I was also pleased to see that for the biggest room in the Assembly Hall, it looked jam packed, and given what appeared to be limited advertising, this impressed me.

I enjoy comedy that is concerned with the anxiety provoked and time wasted by being extraordinarily petty about small matters in day to day living. This is an area where he is admirably exposing of his own neurosis, for the entertainment of the audience. I feel he has become more revealing, though this I also feel has become attained alongside becoming more self-aware regarding the things he gets 'stuck' on in daily living. I find him particularly enjoyable as a lot of the peccadilloes he raises, I have sympathy in regard to.

His explanation of the trails of sharing living space with others is acutely observed. This is delivered in a way that you are left with no uncertainty that he sees himself as a dick for getting stuck on the things he does, while also knowing that for his ease of functioning he is right for getting stuck on these things, leaving the dichotomy of behaviour  = dick + right, therefore trapped/frustrated = funny. He ends on an anecdote about observing a commuter eat his packed lunch, which is a surprising though funny end to the show.

He informed at the end that he usually uses George Formby music played as people leave. There is a play in Edinburgh at present called 'Formby', which he had been to see, and he asked the person who plays George in the play if he would mind coming along to do a tune. So we were treated to Ewan Wardrop as George Formby serenade us with 'Blackpool Rock', which was a delightful end to the show.

I enjoyed him when I saw him a couple of years ago, though I do feel he has improved. I am glad I spotted the small bit of info in the metro and that I did not land up missing the show.

Rating: 09/10.

Live Performance Review: Homayun Sakhi Trio (Edinburgh International Festival (E.I.F.) 2012), Friday 17.08.2012 17:45, Greyfriars Kirk (Unreserved Seating), Edinburgh (Preceded By Homayun Sakhi Trio: Masterclass (Edinburgh International Festival (E.I.F.) 2012), Thursday 16.08.2012 14:30, Main Hall, The Hub (Unreserved Seating), Edinburgh 

This is a performance I took a punt on knowing nothing of the music beforehand. The Trio is centred around Homayun Sakhi playing the Rubab, and he is accompanied by Salar Nadar on Tabla and Abbos Kosimov on Doyra. The Rubab is a traditional Afghan string instrument that dates back over two thousand years. It is the Rubab that was taken to the Indian region and became adapted slightly to create the Sarod as practiced by Amjad Ali Khan.

I felt that the masterclass felt unnecessarily staged, with there being someone present who was involved in organising it to ask the musicians clearly prearranged questions. The Tabla player had lived in California as long as he could remember, and he could have dealt with the this aspect and lead the explanations, this may have helped in it feeling less stilted. I also felt it could have been more informative, though having said this, the explanation given as to the similarities and differences between the Rubab and Sarod, felt quite satisfying. The introductory pieces played during the masterclass did though wet the appetite for the concert the following day.

I had never been to a concert in Grayfriars Kirk before. It is a splendid venue for this sort of concert. The sun was streaming through the window and dancing just in front of the musicians. The performance itself was flawlessly sublime; all three musicians and how they melded together were exceptional. I closed my eyes for most of the performance to steep myself in the extraordinary sound. When I close my eyes I always see colourful patterns. With this music being performed it was a very pleasant mix of reds, greens, bright yellows and bright whites. The patterns change/move with changes in the music, and the movement of the patterns was occurring at a pleasing low frequency. It felt to be both a privilege and a pleasure to bear witness to this event. I'm very happy with the punt I took, and it served as a great reminder (not that I needed it) of why I love music and particularly live music so much.

Rating (without hesitation): 10/10.    

Live Performance Review: Rodrigo Y Gabriela (Edinburgh Festival Fringe), Thursday 16.08.2012 19:00, H.M.V. Picturehouse Edinburgh, Edinburgh 

I thought the easiest way to do this was to print a copy of the email I sent to D.F. Concerts (admin@dfconcerts.co.uk), requesting a refund, this way I don't waste any more of my time than needs be. Here is the email:

Hello,

I've spoken with Frances Bell in DF Concerts this morning and she informed me to write.

I spoke with the manager of the venue, Rory Callaghan, last night and he gave a note of your number and informed me, and others who were very disapointed to contract yourselves regarding a refund.

There is a bit of history to this, so bear with me.

I was meant to see them in Glasgow at the Academy in February, though had an ear infection, which meant I would not have been able to hear properly so did not go.
I subsequently heard that the sound at the gig was awful, the backing band whenever playing drowning out the lead musicians, so did not feel to agreeved at missing it. (The Scotsman gave this conert one star)

When I saw the adverts in the metro for the concert last night, there was no mention of Cuban backing musicians (which was clearrly identified as part of the show for the february concert), so I thought this meant they were back to performing as a duo, and thought I would give it a try.

Needless to say that at the concert, it was set up for a full band, and lo and behold it was, and the same isssue about sound mixing/levels was there again. I could only last just under 1/2 an hour before I realised I was waisting my time. I waited this length in the hope that larger chunks may be performed by R&G, though it did not happen. The very average bass player was given a lengthy solo, which just added to how bad the whole experience was. I fully understand why The Scotsman gave it such a bad review.

I wish a refund, and I feel this is justified on two fronts. 1) I feel it was mis-sold, when adverts for previous leg were clear about this set up, and this time they were not. 2) The sound was appaling.

I would appresiate a response as soon as possible please, with the hope that you will be asking for details to make a refund to me.
----------------------
The response by email at 16:50 on Wednesday 29.08.2012, was as follows:

Dear XXXXX

I am writing in response to your email below with regards to the Rodrigo
y Gabriela concert at the HMV Picture House on 16 August.

Whilst we appreciate that in the past Rodrigo y Gabriela have performed
as a duo, their current album is in collaboration with the Cuban
musicians who performed at this concert, therefore we feel it was not
unreasonable to expect them to be performing in this format.

We do feel that this enhanced the experience rather than detracted from
it and there were parts of the performance where Rodrigo y Gabriela
performed without the band.  As such we do not feel a refund is due in
this case.

Best regards, 
Lynne Ross

-------------------------
I feel the above response was insulting, as I don't think anyone who has paid to see particular musicians, and then cannot hear those musicians over the lesser skilled backing musicians for most of the time, would consider it to be an enhanced performance.

Anyway, I do always feel it is worth trying, if dissatisfied, as detailed above, and still feel this way, even if potentially only get a response of no depth as above.
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To add insult to injury, the support was dreadful as well.

Rating: 0/10. (Because they should learn from previous damming reviews, though appear to not take note of what is reasoned criticism.)

Live Performance Review: Rhod Gilbert: The Man With The Flaming Battenberg Tattoo (Edinburgh Festival Fringe), Wednesday 15.08.2012 19:40, The Auditorium, Edinburgh International Conference Centre (Unreserved Seating), Edinburgh 

I saw Rhod two years ago doing the 'And The Cat That Looked Like...' show, which I greatly enjoyed, though did not feel it quite compared to 'And The Award Winning Mince Pie', which regrettably I only managed to see on DVD. This felt like a return to the previous high standard of absurdest hilarity. It is good to hear from Rhod that he has got to a point of being able to recognise his centrality to the creating of his anger/confrontations, and that he now feels that he is making progress and able to laugh at things that would make him boil in the past. The show goes through a period of him having anger management and major life happenings occurring, that contributed towards his being able to now acknowledge his own pettiness.

The 'device' of the anger management diary helped his being able to appear to have cause to recount incidents such as his encounter with the 'travel chef' on the early morning Cardiff to London train. The communication he was having to engage with was quite believable, though inanely absurd to the degree of feeling like classic farce. This, as with most of the show I did find to be highly chucklesome. It was a highly enjoyable show, though did not feel to have much to last in the brain long after, unlike a couple of flawless comedy shows I saw very recently. Just shy of perfect, though I will now give consideration to carrying a potato with me on my travels.

Rating: 09/10.

Live Performance Review: Josie Long: Romance and Adventure (Edinburgh Festival Fringe), Tuesday 14.08.2012 18:00, Pleasance One, Pleasance Courtyard (Unreserved Seating), Edinburgh 

This is the third time I've seen Josie, having seen her during the Edinburgh Festival Period during the past two years, and in my view she is getting better and better. When I first saw her, although I enjoyed the show, it was essentially whimsical, where as now there is a passion and focus. She proclaims her passion to be Social Justice, and I would say that there is a good degree of actual political awareness within the show. In a strange and differing though informed way, Josie is becoming as political as my hero Mark Thomas.

There was a good balance between personal and political and it never felt to be hectoring or didactic. She came over as erudite, eloquent and informed about literature, as she does regarding politics (though she has got an English literature degree). At the same time she can also still be zany, daft and silly - still doing the excellent homemade programmes handed out free.

Towards the end she explicitly makes the point of the importance, while challenging the status quo (both popular beat combo and sociopolitical situation - my joke), to remain silly and ensure we have fun. Not to allow a sense of guilt about enjoying things that have been given status. The economically privileged are not the only ones allowed to enjoy 'fine' things without guilt. Enjoyment of life and the things we are able to experience should not be inextricably linked to monitory value.

I came away this time with my face sore from laughing and smiling so much. Josie is such an positive, humanely intelligent and enthusiastic presence that I can't help but find her to be both endearing and enchanting. May as well admit it, I'm pretty taken by her. I will keep going year in year out, as long as she keeps up the fine standard she has attained. On a more superficial aside, she may think her 'look' is 'Norwegian Boy', though I think she is one hot lady.

Rating: 10/10.

Live Performance Review: Deborah Colker Dance Company: Tatyana (Edinburgh International Festival (E.I.F.) 2012), Monday 13.08.2012 19:30 The Edinburgh Playhouse, Edinburgh 

I have been going to dance performances for the past few years, and have found myself generally greatly enjoying what I have seen. It is one of these strange things where I usually have no idea what is going on as far as plot is concerned, so concentrate on the dancers movement balanced against the sound lighting and set design.

The idea of enjoying things which you know you don't fully or properly understand is an intriguing thing, and for me akin to the best of David Lynch's films where I find it not possible to describe what has actually happened. It also occurs to me, and I dread to think that I have come to think like this, that enjoying what you don't understand is something that happens with development (or that ghastly term 'maturing'). Given that I struggle to understand what is going on, trying to write about it may be an odd thing. I'm going to six performances in this years E.I.F. Dance programme, so wonder where I may find the words and ability to be able to put my thoughts about them down in this blog. With going to so many performances and trying to keep costs down, I decided to get a cheep seat, A3 in the balcony, and was glad that by leaning forward in my seat, that the restriction in view did not feel compromising.

I had read the notes in the E.I.F. brochure before going, so understood that the story revolved around characters competing for affections, and the layered behaviour that can be displayed as part of this.

In the first half I felt able to identify this within the performance, though the modernist abstract tree structure that was being performed around, I felt to be a distraction.

For the second half the tree structure was removed, and the performance made good use of lighting and thin screens that could easily be seen through, creating differing chambers for the performers. With the distraction of the tree structure being removed it felt to be easier to concentrate on the dancing; which to my amateur eye displayed synchronicity grace and sensuality. The second half felt more hypnotic, in terms of the patterns of lighting, dance and sound. The sound was also intriguing, in that it balanced 'classical' music with ambient noise and sampled speech. This felt both contemporary and respectful of the source without jarring. I felt I enjoyed the first half, though the second half was what made it noteworthy.

Rating: 07/10.

Film Review: Ai Weiwei: Never Sorry (15), (U.S.A. 2012) (English & Mandarin With English Subtitles)  (Director: Alison Klayman), Sunday 12.08.2012 18:20,  The Cameo Cinema Screen Three, Edinburgh

Ai Weiwei was someone who I knew little about before seeing the film, and what I did know fitted within the realm of 'modern art' that I find difficult; that where you feel you should make allowances as it is art and maybe you just don't get it, though that term allowances says it all, as to how you actually view it. Having watched the film I have a lot more time for him as a person, though still feel skeptical about the so-called art.

What I found most interesting about the film is how it showed the Chinese Government to be beyond heavy handed in regard to any expression that goes against or questions in any form, their form of rule. To tritely state the obvious, Freedom of expression is a joke in China. Going into the film there was obviously no delusions in regard to the Chinese Government and their disregard for human rights, though it is always good to get reminders of these issues, particularly by focusing on someone who is prepared to continually challenge this situation in a light way without making light of the situation. The film also highlights the power of the internet, as the Chinese government may try to limit what the Chinese people hear of Ai Weiwei, though due to accessing the internet people are choosing to bypass this censorship. The level of support and admiration shown by Chinese people within the film for Ai Weiwei, hopefully suggest that it may be a matter of time before those governing China have to adapt.

The film itself though was not entirely balanced, though that is not surprising or even important. The film focuses on a period in his life that included preparation for the conceptual installation at the Tate Modern in London which consisted of millions of hand-painted ceramic sunflower seeds. From the limited amount I knew of Ai Weiwei beforehand, I was aware that this piece had to be closed down early due to toxic fumes from the paint used being detected; a mistake which I remember thinking at the time, felt sloppy and should have been able to have been thought about beforehand and prevented. The high-profile reception of the piece was shown heavily though no mention of it having to be closed early.

Despite slight criticism, the film generally felt interesting and enjoyable and I'm glad I went to see it. It's always nice to see people behaving badly, though in a dignified way.

Rating 08/10.  

Film Review: Jo Nesbo's Jackpot (15) (Norway 2011) (Norwegian With English Subtitles) (Director: Magnus Martens), Sunday 12.08.2012 14:00 The Cameo Cinema Screen One, Edinburgh

I had already twice enjoyed viewing 'Headhunters' this year, which was also based on text by Jo Nesbo. I also find myself tending to enjoy Scandinavian Cinema, so although I was aware this had not been as well received as 'Headhunters', I decided to give it a shot.

(SPOILERS ALERT)

The film begins near the end of the story, with the central character being in a situation leading to him having to recount the tale so far... The central character works as a foreman to a group of employees who are being given a chance after release from Jail. There is a betting venture jointly entered into, and what do you know, crooks cannot be trusted. Winnings are gained, and then parties involved are trying to fuck each other over.

The twist as to where the winnings go to I found easy to spot on first viewing, and surprise surprise the creepy ex-cop/landlord/neighbor and the mysterious figure who cannot be made out on CCTV are one and the same. The clear switch of funds could be due to poor story, or editing/directing, and the character of the neighbor struck me as bad acting.

The film is not as tight as 'Headhunters' which did contain twists that did not spoil themselves, it is also not as well performed or slick. 'Headhunters' also contained more dimensions and complexity to it's characters, which caused it to be easier to care. Despite it's faults, the film was enjoyable for a one-off Sunday afternoon view, and did have a few laugh-out loud moments.

Rating: 05/10.    

Live Performance Review: Josh Widdicome: The Further Adventures of...Extra Show (Edinburgh Festival Fringe), Saturday 11.08.2012 21:40, Pleasance Dome, Ace Dome (Unreserved Seating) Edinburgh

I had managed to get a free ticket for this, as someone was not able to use theirs. I would not have bought a ticket to see him, though was quite happy to check him out. There were several out-loud chuckles from myself and the time past easily. Although enjoyable, there are quite a number of comedians I can easily think of where I laugh a lot more; so in terms of comedy it was good, not great. The show appeared to be based around observations of things that he finds to be absurd, though in a low level niggling way; 'A.T.M.s Asking if you are thinking of having coco pops that day'. He appeared to bothered in a low-level way by many things, though it did not appear as though anything got his dander up. So it felt like a low level version of Rhod Gilbert or Jon Richardson, both of whom I've seen perform before, and laughed at a lot more.

Rating: 05/10.

Film Review: Stalker (P.G.) (U.S.S.R. 1979) (Russian with English Subtitles) (Director: Andrei Tarkovsky), Wednesday 08.08.2012 20:10 The Filmhouse Screen Two, Edinburgh

The is the Russian Classic, about 'The Zone' where your greatest desires can come true, which I had heard several critics mention and was intrigued to see. The film is slow in pace and long (2H 41Min), though on first viewing did not feel to drag. The lack of drag may be due to the mysterious nature of how the story is told.

The film uses environments of industrial grime and decline and shoots them in way that caused me as a viewer to view them anew and see beauty in these scenes which previously may not have been apparent. The central idea of there being a place where your greatest desires can be caused to come to be, and how this is approached within the film, for me speaks of the idea, that what we take from our environment in terms of remembered experience and whether we view these in a negative or positive light, is dependent upon the framing we approach our experiencing with. In simple terms do we allow ourselves to see the beauty or not; glass half empty/half full. This does not inform the whole story, there is more to it, though this is the nub.

The film was not what I was expecting, though I found it very enjoyable, yet unsure why. It is a film that I feel is very difficult to properly explain why I feel it is good. It is probably best to say, that if you are prepared to spend close to 3 Hours watching a film in Russian, then give it a go.

Rating: 09/10.

Live Performance Review: Mark Thomas: Bravo Figaro! (Edinburgh Festival Fringe) Sunday 05.08.2012 13:30 Traverse Theatre, Traverse One (Unreserved Seating), Edinburgh 

If my memory serves me correctly this is now the ninth time I have seen Mark Thomas perform, first back in the summer of 1996. When the festival programmes for Edinburgh get released each year, Mark is always one of the first I look for, this year I did not see him and thought he must being taking the year off from the Edinburgh Festivals. A couple of weeks back, I noticed him listed under theatre, rather than the expected comedy sections.

He is by some distance my favorite comedian, who I also view as being so much more than that. This was the most personal performance I have seen by him. It is centred around the character of his father, who sounds to have been a firebrand, though who is now severely physically debilitated due to a progressive condition he has.

Of particular note to me, was that the performance spoke of the father's love of opera, and how Mark gave him a gift that was centred on this love. He recounted how his father through concentration managed to battle  with his debilitating physical condition to engage with this gift.

There is something I find very emotionally moving about tales to do with the affecting power of music, and how it can allow people moments of clarity during physically or emotionally difficult/compromised times.

I have found myself emotionally moved by Mark's performances in the past, though this was something more. By the end I had not mealy shed a tear, though was in tears; that in my mind should not happen in response to a 'comedy' performance. I have never seen him do a compromised performance, and he still does not disappoint. It feels difficult to wax lyrical about his performances as to me his brilliance has been obvious for so many years. This was not the most politically revolatory, which I often expect of Mark, though was a uniquely affecting performance.

Rating: 10/10.

Live Performance Review: Nina Conti: Dolly Mixtures (Preview Performance: Edinburgh Festival Fringe), Friday 03.08.2012 20:30, Pleasance Dome, King Dome (Unreserved Seating), Edinburgh

I had been curious about seeing Nina Conti for some years, then she was on Q.I. and then fronted two fascinating documentaries on BBC4 earlier this year; then when I saw the Festival Fringe Programme, she was one of the first I looked up.

I've been to preview performance before, there are two benefits; it's cheaper & can be edgier as less rehearsed.

I enjoyed the performance overall, although had to agree with a friend who was present, with the view that it could have done with less puppets and for it to have therefore had more focus - it was a bit bitty. Aside from 'Monk' the depressed monkey, who she is probably best known for, the puppet I enjoyed most was a pit-bull called Killer (odd for one who, to put it mildly generally does not like dogs). I was sat in the front row, as is my want, and was as usual, colorfully dressed, which Killer took offence to and was threatening to attack me before being tucked away. I was highly amused by this. The previous puppet 'Nina's daughter' - based on her younger self, had also asked if I was her mother's stalker - what to expect if you sit in the front row.

It had been due to the documentaries earlier in the year, that I had an awareness of the psychological aspects of what is going on within the act. Some of the characters do appear to have a function of 'coping method' while also being funny and therefore a source of income.

She had also honestly said at the start of the show that with some newer puppets, they had not performed in front of an audience before, and was not clear as to who some of them really are yet, this is at times revealed to her through doing the performing. There does appear to be a questing honesty to her performing which also due to its 'work in progress' nature also contains in the details of the performance an inherent edge/danger of 'does anyone including her, know where this may go'. She is someone I find quite intriguing. Here is the rub, I don't know whether I find her more funny than I do find her psychologically quite fascinating. Either way presently I feel that I may be interested in seeing her again - probably on a 'Preview' night, and whether this is driven by finding her funny or withing to observe out of intrigue is neither here nor there.

Rating: 07/10.

Film Review: The Fairy (12A) (France/Belgium 2011) (French with English Subtitles)(Directors: Dominique Abel, Fiona Gordon, Bruno Romy), Sunday 29.07.2012 16:10, The Filmhouse Screen Two, Edinburgh

This is one I went to see due to my response to the trailer, which is not something I am often guilty of. The film has little dialogue, and in my mind fits within a frame of classic french absurdest whimsy; although the film itself is not a classic. It is not bad, and certainly has times of burst-out-loud-laughing funny. It was a nice way to spend time on a Sunday afternoon though as with a lot of whimsy, it dissipates quickly.
Not bad, Not great.

Rating 05/10.

Film Review: Searching For Sugar Man (12A) (Sweden/U.K. 2012) (Director: Malik Bendjelloul), Thursday 26.07.2012 18:30, The Cameo Cinema Screen Three, Edinburgh & Saturday 28.07.2012 18:30, The Cameo Cinema Screen One, Edinburgh

This is a documentary and one of my most anticipated films of the year. Without giving too much of this remarkable story away, it concerns a gentleman called Rodriguez who in 1970 & 1971 recorded the albums Cold Fact & Coming From Reality (After The Fact). Despite high end production and comparisons to the likes of Dylan, he sank without a trace and returned to other means to make ends meet. Somehow, still not entirely clear, the first album became known in South Africa where it has become one of the biggest albums of all time and is credited as an inspiration to young white South Afrikaans in taking an anti-apartheid stance.

If my memory serves me correctly the Cold Fact album was only commercially released in the U.K. in 2009.    I'm consciously aware of having known it since 1998, due to a South-African flatmate in the first year of university (although another friend did subsequently inform me that he played it to me a couple of years earlier, though apparently I was too obsessed by Dylan at the time to be able to properly hear/appreciate it). I was able to order Cold Fact in the import section of H.M.V. in Oxford Street, London in the summer of 1999.

I have considered Cold Fact to be one of my favorite albums, and one of the best I've heard for quite a number of years. Coming From Reality, which in the age of the internet took me four further years to track down, appears flawed in comparison, although does have some good songs. There is a lot of mystique around this man. It was believed that he had killed himself on stage. The film is based upon what happened when two white South Afrikaans got together to try to find out how he did actually die. I will not say any more about the films content, suffice to say it has a killer soundtrack, and is a charming and uplifting film. For what is an extraordinary story, it is told without bombast, in a manner that appears befitting of the subject. I would recommend the film to anyone with an interest in contemporary music and/or social change.

In an age of ever increasing banality within music, a long overdue focus is being shone on someone of true talent. As one of my favorites, where for years if I mentioned him to someone I was almost guaranteed that the person I was speaking with would have no idea as to who I was on about, I could not be happier that he is receiving the recognition.

There has been one other documentary film I have seen at the cinema this year that I have been very impressed with and that was 'Magic Trip' (10/10). Yesterday eve I was thinking is this one better, and is it even possible to judge such a thing. I came to the conclusion that although Magic Trip is very interesting, this is a more coherent and uplifting film.

In terms of music documentaries, I would put this alongside 'Buena Vista Social Club' (10/10), 'Don't Look Back' (08/10), 'Under Great White Northern Lights' (08/10) & 'The Devil and Daniel Johnston' (09/10). Though Searching For Sugar Man is more than a music documentary.

It has taken my a bit over a week to get round to writing this. That is at least in part due to the fact that although I very much enjoyed the film, I was aware that I already knew quite a lot of the story (though it still held surprises) and was also aware that as the Cold Fact album means so much to me, that that fact cannot help but flavor how I receive the film. So when it comes to giving a rating, I thought well I could consider it an X, though that could be due to my building up years of bias, and for someone who has no knowledge of him, they could view it very differently.

Anyhow I got passed this silliness, as the only way I can view the film is as a fan.    

Rating: 10/10.
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5 Flawless Films so far this year: 
2 Documentaries: Magic Trip + Searching For Sugar Man
1 French Feature: Goodbye First Love 
1 Turkish Feature: Once Upon A Time In Anatolia 
1 Blockbuster: The Dark Knight Rises