“Funny Girl the Musical” comes to the Edinburgh Playhouse: Sheridan Smith is a shining superstar in this fabulous 5 star show
It is extraordinary how the storyline of many Musicals is about the fine art of show business. “ A Star is Born,” the hit movie about an aspiring actress, Esther Blodgett who arrives in Hollywood to make her name; “42nd Street” tells the story of Peggy Sawyer, a talented young performer with gets her big break on Broadway; “Cabaret” where Sally Bowles tries her luck in a Berlin nightclub; “A Chorus Line” dramatising the tough audition for 17 hopefuls to be cast in a Musical …. the list is endless.
“Funny Girl” is based on the true life of Broadway star, Fanny Brice (1891-1951), who was born Fania Borach, daughter of Jewish Hungarian immigrants, from the lower East side, New York City. When she was just 13 years old, she won a talent contest at Keeney’s Theatre, soon leading to a long, successful career on the Vaudeville stage.
The premiere of “Funny Girl” opened on Broadway in March 1964 with Barbra Streisand as Fanny, a dazzling performance which won her an Oscar as best actress in the film version. After phenomenal 5 star reviews for the recent revival of the Musical in London, Sheridan Smith brings her equally dazzling performance as Fanny in this touring production at the Edinburgh Playhouse.
The action begins is 1927, in Fanny’s dressing room at the New Amsterdam Theater, New York. Sitting in front of a brightly lit mirror, she reminisces on her long journey to stardom. We travel in flashback to her childhood home, where her mother observes the young Fanny, in pigtails, baggy sweater and knickerbocker pants, day-dreaming a life in showbusiness. But Mrs Brice believes this is out of her reach. “Fanny, when people buy a ticket for the theatre, especially the male element, they want something to look at, …. if a girl isn’t pretty, like a Miss Atlantic City, all she gets is pity and a pat.”
But undeterred, she has a passion for life in the spotlight: “That’s where I live, on stage,” says the young wannabee, “I’m the greatest star, I am by far, but no one knows it.”
At an audition for a show, compared to the prettty, slender, size zero chorus dancers, Fanny is smaller, plumper and ungainly, as she attempts to join in a slick ensemble number. Sheridan is simply marvellous, with flailing arms and clumsy footwork, her dance steps are out of time and kilter. But she has a cookie, quick witted talent as a bright, bubbly comedienne.
“Being a funny person does an awful lot of things to you. You feel that you mustn’t get serious with people. They don’t expect it from you. You’re a clown.” Fanny Brice.
The narrative follows her struggle on and off stage, trying to be treated seriously as an all round Burlesque – Music Hall performer at Keeney’s Theatre, Brooklyn, then moving on to be leading lady at the Ziegfeld Follies on Broadway. Her unconventionality as a natural entertainer warms her to Producers and audiences alike.
She also attracts the dashing Nick Arnstein, a successful (or so it seems) gambler dealing in cards, dice and the horses, brilliantly portrayed by Darius Campbell as a sophisticated, suave, smooth operator. In an hilarious seduction scene, Fanny tries to escape his clutches on the velvet “casting couch”, but quickly falls for his charm, reflected in a deliciously romantic duet “You Are Woman, I Am Man.”
The entire company is excellent with some delightful cameo character roles (e.g. Mr Ziegfeld, Mrs Brice and her card sharp friends, Mrs Meeker and Mrs Strakosh),. Slickly directed and crisply choreographed, the fast paced scene-changes are neatly done, from restaurant to railway station, with luggage, tables, sofas and stage props magically sliding on and off, with a wardrobe of glamorous costumes shifting through time from c.1910 to the late twenties.
From the opening bars of the Overture, the melodious score flows along with several well known numbers such as ‘People” and the stunning torch song, ‘Don’t Rain on My Parade’. While Fanny’s story is dramatised as a light and frothy comic caper, the heartfelt songs bring a truthful poignancy, unveiling the mask of a clown to show her private feelings through a lifetime of memories.
Centre stage is the brightly shining Sheridan Smith, who acts, dances, sings, and makes us laugh out loud. This very Funny Girl is utterly flawless, an incomparable actress, comedienne and musical superstar; Sheridan Smith is the new Judy Garland of our age.
Funny Girl, Edinburgh Playhouse, 18 – 22 April, 2017
“The Man & the Monarch” – Sir Edwin Henry Landseer unveiled @ Waldorf Astoria, Edinburgh – The Caledonian
Sir Edwin Landseer (1802-1873) is synonymous with the powerful depiction of animals, from Queen Victoria’s hounds and horses to lions and polar bears. However, more than any other animal, the Highland Red Deer is most associated with his art, notably ‘The Monarch of the Glen’, painted in 1851.
This majestic portrayal of a royal stag against the moody backdrop of misty mountain peaks led to numerous reproductions, engravings and marketing images from whisky to shortbread and even butter, spreading the image worldwide.
This iconic image of Scotland’s wild, natural landscape encapsulates its sense of tradition, heritage and romance. As one critic noted, ‘Landseer may be said to have mastered other animals, but the deer mastered him”.
Having been on loan for seventeen years to the National Gallery of Scotland, in 2016 the owners Diageo, decided to put the painting up for auction through Christie’s, which sparked the very real threat of a sale to an overseas gallery or collector.
Following an urgent appeal by the NGS to save the Monarch for the nation, Diageo agreed a partnership deal offering a £4 million purchase price, half its market value. Financial support came from Heritage Lottery Fund, Art Fund, Scottish Governnent, private trusts and an international fundraising campaign (#loveitdeerly), with generous donations from art lovers around the world.
On 17 March 2017, it was announced that Landseer’s famous Stag had been secured, now in public ownership to remain in the permanent collection at the National Gallery of Scotland.
To celebrate this extraordinary painting, an exhibition entitled “The Man and the Monarch” is on display throughout April in a pop up gallery at the Peacock Alley, the Waldorf Astoria Edinburgh, The Caledonian.
The Art Consultancy firm, Artiq advises on and selects works of art for private homes and public spaces. Companies and clients can also lease artworks on a regular revolving basis. It is the perfect opportunity for restaurants and hotels to enhance ambience and decor for the benefit of guests: “In the hospitality industry, a great piece of art can leave a lasting impression and resonate on a deeper level than any other aspect of design or service.” Hotels which have collaborated with Artiq on art collections include London Heathrow, Marriott, and Gleneagles, Perthshire.
Kate Terres, an Art Consultant from Artiq, is the enthusiastic curator behind this fascinating showcase of prints, photographs and portraits with works by Landseer, John Ballantyne, Albert Mendelssohn and eclectic range of contemporary artists.
A stunning, stark photograph is “White Stag” by Kristian Bell. Perhaps snapped at dusk, the pure white of its coat illuminates the soft tones of green and brown foliage with the two central deer staring directly at the lens.
As Kristian explains “I had heard a few rumours of a white stag hanging around the Arne RSPB in Dorset so was pretty pleased when we came across a group of deer including two white stags…. they were flighty and this was the closest I could get.”
The award winning London-based German artist, Alma Haser specializes in carefully constructed portraits using imaginative paper-folding techniques which distorts the face, Picasso-esque style, such as in her series Cosmic Surgery.
“I hope that people find them beautiful but at the same time are taken aback because they are so awkward and weird. I just want them to look closer.” Alma Haser
Haser also alters the shape of a head and facial expression with decorative adornments in a series entitled Brainstorm, and here you can see her powerfully enigmatic portrait “Thistle Face,” showing a man’s face obscured by the flower of Scotland. Landseer suffered bouts of depression throughout his life and this vibrant image of sharp, spiky leaves and purple tone, subtlely reflects the blocked mind and dark thoughts of mental illness.
To complement a fine print of “The Monarch of the Glen” itself, there is also “Scene in Braemar – Highland Deer”. In 1888, this Landseer painting was purchased at Christie’s for 4,950 guineas by Sir Edward Cecil Guinness, remaining in the family, (on loan to the National Gallery of Dublin) until sold to a private collector over a century later. The dramatic painting, nearly 9ft high, portrays the artist’s most familiar subject, the Red Stag, surrounded by young fawns and a cute little hare with a soaring eagle overhead against menacing grey storm clouds.
This small yet comprehensive exhibtion captures the essential spirit of Landseer’s life and work: a violent scene of eagles attacking three swans, portraits and photographs which illustrate his close association with Queen Victoria (who commissioned numerous pictures), and his epic project to model the lion sculptures for Trafalgar Square.
It would have been fantastic to have also included a print of Sir Peter Blake’s own striking interpretation, “After The Monarch of the Glen” (1966), hanging side by side Peter Saville’s dynamic tapestry, “After, After, After The Monarch of the Glen,” (2012).
Within the former Caledonian Station concourse, the Peacock Alley is a most elegant Salon for hotel guests and non residents to relax over afternoon tea or a coupe of champagne. The Bartender has invented a special Scotch Whisky, Earl Grey and orange-flavoured “Monarch” cocktail, the perfect tipple as you browse around this artwork.
It makes you wonder that if Landseer were alive today, he would be invited to work for fashion houses and jewellers to create promotional advertisements .. you can just visualise Landseer’s Stags, dogs and lions joining Cartier’s Panther as a symbol of artistic style and luxury.
“The Man and the Monarch” is on show until the end of April 2017
The Waldorf Astoria Edinburgh – The Caledonian
Princes Street, Edinbugh EH1 2AB. tel. 0131 222 8888
“”Hay Fever” is considered by many to be my best comedy .. and is far and away one of the most difficult plays to perform. To begin with, it has no plot at all, and remarkably little action. Its general effectiveness therefore depends upon expert technique from every member of the cast.” Noel Coward
Set in the 1920s at a country house near Cookham, Berkshire, this is a comedy of (appallingly bad) manners in the company of the eccentrically Bohemian Bliss family – Judith, a recently retired stage actress, her husband David, a reclusive novelist, and their grown up, over- indulged children, Simon and Sorel.
The pared-down timber design features the shabby chic lounge with piano, gramophone, drinks cabinet, staircase and garden backdrop. A battered Chesterfield sofa is the focal point for a series of intimately dramatised scenes, starting with the two siblings curled up amicably, sketch pad and poetry book in hand respectively.
With her blonde curls in a virginal white dress, Sorel is a vain, pretty young thing, while Simon in his stained pyjamas, vest and old socks expresses a lazy, louche personality. It transpires that both have invited a friend, an older lover, for the weekend, much to their mutual annoyance.
Gliding serenely in from the garden, Judith blooms like a herbaceous border in a flowery, orange kaftan, floaty palazzo trousers and straw hat, not forgetting green welly boots.
Hearing that the scullery maid has toothache, she responds with egoistic vagueness, “Who is Amy?” before revealing that Sandy, her latest admirer, is coming to stay.
To cap it all, David emerges from his hideaway study to announce that Jackie, his literary muse, will soon arrive at the station.
The Japanese Guest room is beginning to look a tad crowded.!
Each guest is “greeted” at the front door with a disdainful glare by Clara, the housekeeper (well played with grumpy dourness by Myra McFadyen), and carefree abandon by other family members.
First of all is the elegant Sandy in brown and white spats, expecting a romantic tryst with the unattached Judith. “My husband – he’s not dead, he’s upstairs, ” she admits, leading him out to the garden.
Then the glamorous, bob-haired Myra, struggles into the house complete with suitcase, hat box and tennis racquet. She is soon ravenously embraced by Simon, portrayed with languid pout and poise by Charlie Archer, his matinee good looks and camp manner, reminiscent of a youthful Rupert Everett.
Richard Greatham, Sorel’s “suave, polished, debonair diplomatist “ arrives at the same time as Jackie who are left standing in the hallway, with no option to sit down and make small talk.
This exquisitely stilted scene succinctly pinpoints the precise nuance of language, attitude, accent and astute observation of social class. To the diplomat’s volley of comments about the beauty of Spain and Italy, the sweet, young ingénue is like a rabbit in the headlights, quivering with nerves, her cheeks turning bright pink with embarrassment at her cultural ignorance of world travel. A trip to Dieppe, she realises to her shame, does not quite compare. Hywel Symons and Katie Barnett create a masterly comedic double act with subtle gesture and perfect timing.
Expecting a quiet weekend in the country, the four guests unwittingly become embroiled in the family’s private world of make believe; orchestrated by Judith, life is a masquerade where reality slides easily into fiction. Enter this artistic household to find that “All the world’s a stage, And all the men and women merely players, They have their exits and their entrances …”
An after-dinner parlour game of linguistic Charades, performed strictly to family rules, confuses the guests while the hosts relish the role playing, which spirals into exaggerated emotional outbursts with melodramatic flair. As Sorel tellingly admits, “We none of us every mean anything”.
The sequence of outrageous antics, frivolity and fun around the house is choreographed by director, Dominic Hill like a fast and frantic eightsome reel as they each swing around between partners, an innocent bedroom farce acted out behind the closed door of the library and the shrubbery in the garden.
Eccentric, unconventional behaviour perhaps, but Coward based the Blisses on the life and loves of close friends, visiting Hambleton Hall for weekends to be entertained by Mrs Astley Cooper, her equally dotty husband Clem and artist son Stephen. He would jot down snippets of dialogue, which inspired him to pepper the conversation in “Hay Fever” with such lines as “People have died from hiccups, you know.” and “This haddock’s disgusting!,‘ during an hilarious breakfast scene.
Judith is also very much modelled on the American actress, Laurette Taylor, who was sharply witty, intolerant and entirely devoid of tact; her family played parlour games on Sunday nights, disapproving of any self-conscious guest who didn’t play their part.
Susan Wooldridge is meticulous in combining Judith’s winsomely warm personality with her cool, capricious nature hidden behind broad smiles and hearty laughter. Her tone of voice shifts from high pitched merriment to a deep throated growl to express feelings of delight and anger.
With a performance in similar vein to Sybil in Fawlty Towers, she likes to be a centre of attention and ignores her husband David, played by Benny Baxter-Young as a quietly idiosyncratic intellectual with nonchalant charm.
Each member of the cast is spot on – a character parade of studied demeanor and facial expression – creating a slick, quick, energetic ensemble. A wardrobe of beautifully authentic costumes from summer frocks to glittering ballgowns and Tuxedos all adds to the vintage period with stylish aplomb.
The bamboozled guests soon realise that their hosts are “artificial to the point of lunacy .. I believe they’re all mad!” and decide to take matters into their own hands and plan the great escape with hilarious results.
A sparkling, sassy and sophisticated revival illustrating once more Coward’s inimitable talent to amuse.
Hay Fever by Noel Coward
Royal Lyceum Theatre, Edinburgh 10 March – 1 April, 2017
The Citizens Theatre, Glasgow, 5 – 22 April, 2017.
(Production photographs – Mihaela Bodlovic).
“Moments” – Seascapes, Still Lifes and Portraits capture a sense of time and place at Dundas Street Gallery, Edinburgh
Covering Scottish seascapes, travel journeys far and wide, portraits and still life, there are around 60 original works of art, representing their individual style and subjects. The attractive, well lit basement gallery is an ideal space with separate walls and sections for each artist.
Describing himself as a realist artist Ken Young specialises in painting boats and harbours along the curving coastline of the East Neuk of Fife. The picturesque fishing villages of Pittenweem, Crail and Anstruther are a painter’s paradise. There are some colourfully evocative paintings here, such as “Still Water” where you can almost feel the salt sea air.
As Ken describes the artistic process for this work, “This is Dysart Harbour on a quiet evening as the light fades. The water is very still, reflecting the colours of the sky. I was aiming for a forlorn atmosphere .. at the end of a day.”
I am also impressed by his Still Life paintings such as the detailed texture of glistening glass and crimson cherries.
After taking early retirement from work in the financial business, Colin Joyce is now relishing a new mid life career as an artist. He also writes articles for Leisure Painter magazine and teaches art on cruise ships.
” I love to travel – my sketches and photographs recall the sounds and smells of the place. I often create a painting on location, “en plein air” inspired by light, the way it changes the landscape day by day, hour by hour.”
Painting in either Watercolour or Oils, there is great clarity in the cityscapes of Edinburgh, a sense of movement of buses and cars on a rain drizzled street; the iconic shape of the Bass Rock and the towering structure of the Forth Bridge; in contrast are charming views of Venice, with the bright sun on dappled water and ochre stone.
Roy McGowan returned to his love of art later in life, having enjoyed painting in his youth. For thirty five years he never picked up a paintbrush which he regrets but is clearly making up for lost time in the studio today. His collection of oil paintings cover his eclectic interest in seascapes, figurative studies and still life. My eye was particularly drawn to his exquisitely drawn “Blue Jug and Apple,” reminiscent of Cezanne.
Like his fellow artists here, Roy is a master at depicting the atmosphere of a quiet seashore and distant horizon with painterly precision.
Meeting Ken, Colin and Roy, three seriously talented artists from Fife, reminds me of the classic comic tale, “Three Men in a Boat – (to say nothing of the dog)”, by Jerome K Jerome. The boating adventures of Jerome and two ship mates, cruising along the River Thames from Kingston to Oxford and back again, was intended to be read as a serious travel guide.
I can just imagine these three friends taking a similar trip – perhaps a barge trip along the Caledonian canal, or a cruise around the Hebrides, with their sketchbooks in hand to capture loch and sea views, beaches, boats and wildlife en route.
Following in the footsteps of Jerome and his friends, on such an artistic journey would make a fantastic exhibition and indeed a stunningly illustrated book!
For more information on this exhibition and the artists:
Rent the Musical, with book, lyrics and music by Jonathan Larson, opened off Broadway in February 1996, running for two months before it transferred to Broadway where it ran for 12 years. Tragically, Larson died of an aortic aneurysm shortly after the dress rehearsal for what would become a hit show, winning four Tony Awards including Best Musical, the Pulitzer prize for drama. The New York Times called it an “exhilarating, landmark rock opera.”
This 20th anniversary UK touring production roared into the Festival Theatre this week, attracting a large fan base, who applaused the energetic cast with a standing ovation.
The show, inspired by Puccini’s romantic opera, La Boheme (1896), about a group of Bohemian artistes in 19th century Paris, with the plot shifted to New York a century later. In a run down loft apartment in the East Village, Manhattan, a group of friends struggle to make a living due to homelessness, unemployment, drug abuse, HIV/AIDS, social and political unrest.
The towering, multi-storey, industrial scaffolding stage set, with flashing Café and Don’t Walk signs, represents the Urban Jungle where life is rough and tough for the junkies, druggies, drop outs and bag ladies, as envisioned by Jonathan Larson:
“In these dangerous times, where it seems the world is ripping apart at the seams, we can all learn how to survive from those who stare death squarely in the face every day and we should reach out to each other and bond as a community, rather than hide from the terrors of life at the end of the millennium.”
Puccini’s characters have been re-imagined for the late 20th century: the poet Rodolfo becomes Roger, the songwriter, Marcello the painter is now Mark the filmmaker. Tom Collins a gay anarchist is based on Colline the philosopher, and Schuanard is now Angel Schunard, a transvestite street drummer. Musetta is Maureen, a bisexual performance artist and Mimi, the poor, TB-stricken seamstress is cast as an exotic, erotic dancer. (Perhaps a fashion designer would have been more apt!).
The narrative opens on Christmas Eve and relates the lives and loves of this group of housemates over the next year, which Mark is capturing on film for a social documentary.
“ December 24th, 9pm, Eastern Standard time, from here on in, I shoot without a script.. first shot Roger, tuning his fender guitar he hasn’t played in a year”.
There’s plenty of drama for Mark to film, first reporting on Roger, who is HIV positive and trying to compose a significant song as his legacy, and their neighbourhood rent strike against the landlord now planning to evict them.
Lying on a mattress upstairs in this squat is Mimi, a tiny doll of a girl, diagnosed HIV positive through drug abuse. Frail and vulnerable from lack of food, desperate for heat and light, she asks Roger to “Light my Candle”, their brief encounter leading to a rocky, romantic affair.
Living an impoverished existance on the edge of society, the friends exist from day to day. In a rousing choral anthem “Seasons of Love,” they reflect on how to measure the 525,600 minutes in a year. “In daylights, in sunsets, in midnights, in cups of coffee, in inches, in miles, in laughter, in strife, how do you measure a year in life?
Another theme the musical explores is the discrimination of artists, homosexuals, and others whose lifestyles go “against the grain, going insane”, as described in the song “La Vie Bohème.” There’s some vivacious dancing throughout such as a fabulous Tango sequence with Mark and Joanne strutting their stuff with pin point precision.
However, as this is a through sung musical, there is no dialogue, and the over amplification from the stage band drowns out most of the lyrics. Without the essential narration, it is extremely difficult to follow the plot and to empathise with the characters and their individual dilemmas.
La Bohème oozes with the life affirming notion of love and romance, despite the students’ hard times. In contrast, Rent portrays a permanent dark mood which is angry and negative. Twenty years on since the premiere, the tragic plight of the Aids generation today appears rather dated. What is missing in this rather raucous rock show, is a true sense of emotion. Following the self-destruction of several characters, it’s hard to connect and feel sincerity and truth behind their sad, wasted lives. At its core, there is little heart.
Les Miserables managed to bridge the gap turning the story of The Glums into a richly dramatic, heartfelt musical.
More akin to Puccini’s “Che gelida manina” (Your tiny hand is frozen) is Roger and Mimi’s soulful duet, “Another Day” – “There is no future, There is no past, I live this moment as my last, There’s only us, There’s only this, Forget regret, Or life is yours to miss, No other road, No other way, No day but today”
These lyrics more than any other sum up the underlying theme of Rent, and punch home Jonathan Larson’s prophetic message, Carpe Diem, seize the day.
Rent the Musical, 14 -18 February, 2017 – Festival Theatre, Edinburgh. http://www.edtheatres.com
UK tour dates until 27 May 2017- http://www.rentonstage.co.uk/
Cracking Wine was set up early last year by Janet Harrison afer having spent over 15 years visiting wine producing regions and vineyards. She is also professionally qualified to an advanced level by the Wines and Spirits Education Trust.
Wine tasting events are held around the North West of England – such as a wittily marketed series entitled, “Women who drink wine.” And then Janet had the innovative idea to present a Fizz Festival which was held in Altrincham, Cheshire last November.
Perhaps unsurprisingly, knowing the Brits passion for bubbly, it was a sell out success.
The good news is that in parnership with Diana Thompson, (Thompson PR, Edinburgh), Cracking Wine is bringing this sparkling event to Edinburgh. The Fizz Festival, (the only consumer wine fair in the UK dedicated to Champagne and sparkling wine), will take place at The Edinburgh Academy, Henderson Row, on Saturday 29 October 2016. What a perfect time to learn about and sample an eclectic range of wines, purchase a few bottles and perhaps order a box or two well before the fizzing Festive season.
The UK has held the record as the world’s largest Champagne market since 1996 and shipments grew 4.5% last year with a total of 34.2 million bottles. Pehaps those crazy ladies, Patsy and Eddy, cracking open another bottle of Bollinger (for breakfast) and shaking up Stoli -Bolli cocktails, may have had someting to do with this.!
Sales of Prosecco and Cava here too have increased by 80 per cent in the past five years, and latest figures for 2015/16, show we consumed 31.6 million gallons of sparkling wine from Italy, France, Spain and England.
Janet Harrison had a clear objective in the creation of this new event:
“The festival will have a modern approach to the usual wine fairs with no snobbery and a fun and informal atmosphere. With the massive rise in sales of sparkling wine due, in part, to the popularity of Prosecco, it seemed a great time to organise a festival dedicated to fizz.”
This one day event will feature the opportunity to taste up to 75 different champagnes and sparkling wines, as well as personally meet the wine merchants and experts to learn everything about Fizz but were afraid to ask.
The thirst quenching line up of Exhibitors will include Vino, Oddbins, Majestic wines, Good Brothers Wine bar, From Vineyards Direct and Zonin 1821 Prosecco.
To complement the drink, there’s a market place of Scottish food producers too from Damn Fine Cheese to fresh shellfish from the Oysterman.
There will be two ticketed sessions: 12pm-3pm and 4pm-7pm. During these times, visitors can take part in special Masterclass events hosted by three true professionals: Doug Wood of Woodwinters (Bridge of Allan & Inverness), named 2016 Wine Merchant of the Year, will be introducing The Wines of Ferghettina from the renowned Sparkling Wine Region in Italy, Franciacorta. Woodwinters like to encourage a sense of adventure and share the magic, not the mystery, of great wines.
“All aboard the Fizz Line” by Nikki Welch. owner of Convivium Wine, will explain different styles of sparkling wines to demonstrate the easy way to navigate wine around her amazingly creative WineTubeMap, tempting the taste buds from Pink Fizz to Vintage Champagne.
A rather glamorous event is sure to be the Taittinger masterclass with Master of Wine, Mark O’Bryen presenting a prime selection of superlative Champagnes from one of the largest and oldest family-owned Houses in France.
As an exciting new venture, Taittinger is soon to produce English sparkling wine after investing in a collaborative vineyard business in Kent. The UK is Taittinger’s biggest export market and they wanted to “create something special to show our appreciation.”
The new wine Domaine Évremond (named after Charles de Saint-Évremond, who inspired 17th-century Londoners to quaff champagne) will certainly be a Grand Alliance Fizz to launch with a splash.!
“I only drink Champagne on two occasions, when I am in love and when I am not” – Coco Chanel
In Festival spirit, it will be a Cracking day out! Competitions and prizes, exclusive discounts and The Fizz Festival People’s Choice Awards. There are three categories – Best Champagne, Best Sparkling Wine, UK and Best Sparkling Wine, Rest of the World.
From the shortlisted selection nominated by the exhibitors, visitors are the judges voting on their top choices with the Awards ceremony taking place in the evening as the finale of the Fizz Festival.
And you can be assured of a lively, buzzing, fizzing atmosphere – just take a look at this video from last year!.
Diary Date: Fizz Festival 2016 Edinburgh – Saturday 29 October, 2016
Edinburgh Academy, 42 Henderson Row, Edinburgh EH3 5BL (in the New Town between Stockbridge and Canonmills)
Fizz Festival Tickets: £ 25, now on sale at www.crackingwine.co.uk
Masterclasses: £ 5 – £7.
The Fizz Festival People’s Choice Awards Ceremony, 7.15pm with oysters and fizz: Tickets £ 5.
“Hey, did you ever try dunking a potato chip in Champagne. It’s real crazy!
Best Theatre in Scotland
“I can’t rate this place highly enough. It’s a repertory theatre so you can see different shows each night, and two shows on matinee days. The standard is excellent, there’s a lovely restaurant and always delightful staff.”
The comments of a happy theatregoer this summer who clearly shares my passion for Pitlochry Festival Theatre, which I have been visiting since a young teenager during summer family holidays at Loch Tay; we would drive over to see a matinee, (such as a thrilling performance of “Rebecca” by Daphne du Maurier), followed by fish and chips in town and then head back to Kenmore. Happy memories!.
Latterly, I have continued to visit most years to see a few productions from the usual culturally diverse programme – the wit of Oscar Wilde, sizzling satire from Noel Coward, bittersweet romance from Somerset Maugham, murder mysteries, (more please!), American drama, (ditto), whimsical fantasies by J M Barrie and contemporary Scottish plays. Artistic Director John Durnin balances period classics with comedy and a lavish musical to suit both the local residents and visitors who flock to Pitlochry every summer.
The PFT’s Repertoire Season 2016 featuring an ensemble cast of eighteen actors, kicked off on 27th May with Rodgers & Hammerstein’s musical, “Carousel” which quickly proved a hit with theatre-goers .. “Carousel was absolutely marvellous – acting, singing, costumes, set, orchestral music could not be faulted.”
and Critics …“The opening production of Pitlochry’s 2016 season has set the bar high for the rest of the year with a sparkling version of Carousel”. The Stage
Ayckbourn’s trilogy, “Damsels In Distress” offers three comedies – GamePlan, FlatSpin and RolePlay – featuring totally different characters and plots but sharing the same stage set, a smart Docklands penthouse apartment, and performed by the same seven actors. Each play can be enjoyed on its own, see two or three, and if you fancy a farcical feast, a trilogy marathon in a single day.
GamePlan – “The set is sumptuous – a riverside apartment with large sliding doors leading out to a balcony with an impressively realistic view across the Thames”. RolePlay – ” Vintage Ayckbourn performed by a capable cast – the highpoint in Pitlochry’s ambitious three-play revival.” The Stage
5 star visitor review: “We were in Pitlochry for 3 nights. Game Plan and Flat Spin were excellent and the theatre restaurant a good place for a meal before the show“. 27 July, 2016
“Thark” is a vintage Ben Travers classic from 1927, an hilarious comedy of manners in a country house featuring a disparate bunch of English stereotypes, the philanderer Sir Hector Benbow, who fancies the delectable, sweet Cherry Buck; but his romantic plans for the weekend are scuppered by the unexpected arrival home of his wife.
Noel Coward is back with a timely revival of his family saga, “This Happy Breed” in which he starred himself in the 1942 premiere.
In contrast to his inimitable, romantic encounters between fashionably glamorous martini-sipping socialites such as in “Private Lives” and “Design for Living,” this play observes the gritty suburban life of the lower middle class Gibbons family between the wars, illustrating heartfelt patriotism with warm affection.
The final summer season production is “Hard Times” based on the novel by Charles Dickens, a master chronicler of Victorian life and family strife; set in 1870s Lancashire, Thomas Gradgrind is a retired merchant and schoolmaster, who abides by his philosophy of rationalism and fact, lacking any sense of imagination much to the despair of his children and his young pupil, Sissy.
The wonderful, romantic history of the Festival is all due to a passionate vision to create a Theatre in the Perthshire town by its founder, John Stewart.
“When staying in Pitlochry during the early part of the war, I chanced to see a stately house with a fairly large garden, quite close to the town. I at once realised that here my dream theatre might well be established in this fashionable resort right in the heart of Scotland”
His dream did came true, and in 1951, the launch of the Pitlochry Festival Theatre took place in a huge tent in the garden at Knockendarroch. The house became the theatre headquarters and the home of Kenneth Ireland, the Artistic Director.
A tea room and box office were built and soon after, the tent was replaced by a more permanent Marquee where the theatre remained until 1981; on a gloriously sunny May day, with bagpipes heralding the occasion, the new spacious, sleek, glass-fronted theatre opened in such a perfect location on the banks of the river Tummel.
The tranquil Highland setting is surrounded by gardens, woodland and hills, yet an easy walk from the town centre. The Theatre has recently been shortlisted as one of Scotland’s favourite buildings of the past century as part of the Scotstyle Festival of Architecture.
2016 marks the 65th anniversary of the founding of the Theatre and 35 years since the opening of the new auditorium. In recent years, the summer season (May to October), has gradually been extended with a Christmas-time Musical, the Winter Words Festival as well as a concerts, talks and shows on Sunday evenings.
In the Autumn, the entertainment continues with “Para Handy” by Neil Munro about life on board the Vital Spark puffer, featuring stories, songs and a live band. And then it’s time for the Musical, which this year is “Scrooge”, based on A Christmas Carol, by Charles Dickens. Having been wowed in recent years by “It’s a Wonderful Life” and “Miracle on 34th Street”, this will once again offer a great Festival show for all ages.
With an international reputation for high quality productions, over 100,000 visitors every year have the opportunity to see six or seven plays in six days. The theatre with an art gallery, shop, Restaurant and café bar, is a buzzing social hub day and night. Pitlochry is the ideal holiday town with a wide choice of hotels, award winning B&Bs, cafes and restaurants, (see below); shops galore, (gifts, tweed, country clothing, jewellery, arts and crafts), and Edradour whisky distillery. Perthshire is an outdoor playground for hiking, biking, river rafting, hill climbing and scenic drives around Loch Tummel.
The PFT is now looking ahead to its 70th birthday celebrations and has launched a £25 million fundraising scheme, “Through the Vision 2021,” a major project to establish a national centre of theatrical excellence in Perthshire. Across several phases over the next five years, the plan is to extend and improve the front of house, refurbish the auditorium and build a full height fly tower.
In addition, to create a second, smaller auditorium as well as a national centre for production services for skills training, set design, costumes, lighting, sound, technology, which would be available to other theatres. The architectural design includes new riverfront terraces, landscaping, improved access and an enlarged car park.
Pitlochry Festival Theatre is already one of Scotland’s leading cultural tourism destinations, which economically for the local community, is far greater than any comparable UK theatre, and in Scotland, second only to the Edinburgh Festival. By 2021, with a longer season running from Spring to Winter and two auditoria, it is estimated that theatre attendances will rise by 40% to around 140,000 annual visitors.
The PFT aims to play more of a significant and key role within the performing arts sector in the UK through partnerships with other theatres, producers and venues. It will programme the best touring work across theatre, opera and dance and in turn, tour a selection of own productions around Scotland and further afield. The artistic programme will be increased and greatly diversified with more drama, concerts, events and tours year-round.
“Through the Vision, 2021” is a challenging and exciting development, which preserves the legacy of John Stewart and his inspirational dream to establish a Theatre in the Hills.
” ….if you’ve never been to Pitlochry Festival Theatre, you really are missing out. Just try it!”. Theatre visitor, July 2016.
Pitlochry Festival Theatre, Port na Craig, Pitlochry, PH16 5DR. 01796 484626.
Recommended places to stay and eat:
Craigatin House & Courtyard – Guesthouse of the Year, 2016, Scottish Hotel Awards
Craigmhor Lodge – Best Breakfast award, 2015, Scottish Hotel Awards
Fisher’s Hotel – Old Coaching Inn near the train station; 2 bars & restaurant, lovely garden.
The Old Mill Inn – Scottish Inn of the Year, 2016, Scottish Hotel Awards
Killiecrankie Hotel – Charming, luxury country house with first class, homely hospitality.
Fern Cottage Restaurant – 10 minutes walk from PFT, perfect for pre-theatre meals.
Victoria’s Restaurant – Morning coffee, lunch and dinner – open all day.
Laura Gill graduated from the University of Edinburgh in 2011 with MA (Hons) Fine Art. In this exhibition, Solo Performance, her acrylic paintings, ink drawings and giclee prints specialise in figurative work to capture the human body as expressed through the media of music, dance and physical movement.
Her Degree Dissertation was on the Scottish Artist J. D Fergusson (1874 – 1961), whose broad repertoire covered life drawing, portraiture and vivaciously bold landscapes, as a key member of the Scottish Colourists.
In 1907 Fergusson settled in Paris, joining the flourishing and pioneering community of Impressionist artists including Picasso, Matisse and Derain. Portraits of women and nude studies had always been his subject matter but in 1909, a performance of Les Ballet Russes caught his imagination to combine his passion for the feminine figure, motion and dance, with his dramatic use of colour and light as seen here in Les Eus, 1910. And then a chance meeting with the 22-year old English dancer, Margaret Morris, led to work with Margaret’s dance company where he perfected his vision of feminine sensuality and the wild freedom of modern dance. This was a turning point in his life, when the expansiveness of this theme in his art took over and, as lifelong partners, their careers become intricately intertwined.
Laura Gill is clearly inspired by her academic study of Fergusson’s work, in developing her own unique, simple, abstract figures which capture a moment in time, a pause in the flow of dance steps and music.
In her fine selection of paintings are violinists and harpists with their bows slicing on strings, ballerinas “en pointe,” jugglers, an acrobatic handstand and a humorous homage to Vettriano’s The Singing Butler waltzing on a beach, in a giclee print, “Umbrellas at Dusk”.
The classic cartoon-like technique of overlayed figures neatly reflect the movement of legs, arms and the rotating spin of a dancer. Ink drawings are delicate sketches, just a few broad, Fergusson-esque lines on paper, but equally show muscular physicality, energy and elegant poise. There’s a powerful sense of shifting shapes and meticulous timed rhythm in the concentration of these performers on stage.
To vary the theme, here too is an acrylic work, “Chasing Waves”, five yachts with billowing sails – you can almost feel the wind blowing over the beach; but unfortunately, the group of people on the shore distract the eye from this evocative blue-tinted seascape, which in itself should be subject.
Laura certainly has a talent in portraying the intimate, passionate world of the performer, from circus to contemporary dance, which is her forte. In order to focus and enhance her stylistic method, it would be a wonderful opportunity if she were able to be offered the role of Artist in Residence with Scottish Ballet, for instance, or at Dance Base. This would be a most pertinent tribute to the joint artistic legacy of J. D. Fergusson and Margaret Morris.
Laura Gill Artwork – Solo Performance
Whitespace Gallery, 25 Howe Street, Edinburgh.
2nd to 7th July, 2015.
Marie Louise Wrightson – a colourful exhibition of “curiouser and curiouser” paintings on show at Robertson Fine Art, Edinburgh
Art lovers can enjoy an ever revolving mixed exhibition of contemporary landscapes, portraits, photographic prints, sculpture and cutting edge urban street work – at Robertson Fine Art. Under Managing Director, Gordon Robertson, the company has three galleries in Glenrothes, Dollar and now here in Edinburgh.
At their city centre gallery, well located on Hanover Street, their featured Artist of the Month is Marie Louise Wrightson whose eclectic work is distinctive by its quirky imagery and artistic technique. Her work has been shown in Edinburgh over recent years at the Royal Scottish Academy, Leith Gallery, Alpha and galleries in Dundee, Fife and Glasgow.
After Wrightson studied fine art at Duncan of Jordanstone School of Art in Dundee, she later settled in Auchtermuchty, Fife where she paints in her Summer House Studio.
Fairy tales, cartoons, films, classic stories and the memories of seaside holidays from childhood are often the inspiration for her work – sweet shops, Fairground merry-go round rides, birds and animals to create imaginative still lifes and realistic figurative studies.
This collection of oil paintings and prints depicts, through colourful, humorous images, a modern vision of the crazy characters and fantasy tales from Alice in Wonderland by Lewis Carroll.
First published in 1865, its fantasy plot, humorous rhymes, riddles, puzzles and brilliant use of nonsense was revolutionary for a Victorian children’s novel, being neither moralistic or educational.
Illustration has always been an essential ingredient in books for children, who from a young age, understand how both the pictures and the words both tell the story as they learn to read.
“And what is the use of a book,” thought Alice, “without pictures or conversation?”
As you wander around Robertson’s Art Gallery, enter a fantasy world of the White rabbit, the Cheshire cat, cute mice, a walrus, the Mad Hatter, buckets and spades, butterflies, delicious jam tarts, cream cakes, tea cups, playing cards, trees and flowers. And there’s Alice, our sweet, young heroine appearing at the heart of this enchanting wonderland.
The artistic style is certainly unique – a blend of caricature, Disney-esque cartoons, Japanese Anime combined with the classic technique of fine art and portraiture. Some paintings are innocent and fun, while others cleverly re-imagine Alice in Wonderland as a flirty beach babe with a subtle touch of the saucy seaside postcard style of Donald McGill.
“If I had a world of my own, everything would be nonsense. Nothing would be what it is, because everything would be what it isn’t …” .
At the preview event last Saturday, the visitors were enthralled with red stickers spreading like measles around the original art work and prints. These will only be on show from 4th June for about ten days so take a visit to Robertson’s Fine Art soon to see Marie’s magical decorative illustrations which will sure to inspire and amuse both adults and children.
Curiouser and Curiouser indeed!.
Robertson Fine Art, 100 Hanover Street, Edinburgh, EH2 1DR
0131 285 0695 – www.robertsonfineart.co.uk
Open Eye Gallery, Edinburgh – Kirsty Wither, John Mackechnie, Gill Tyson: The natural world with an evocation of tranquility
“The Open Eye is cool, elegant yet welcoming and warm. The staff are knowledgeable and friendly. The exhibitions are almost always fascinating and carefully curated, with a good range of predominantly Scottish artists ……. well worth a visit. ..” Art lover’s review, 2014.
Visiting the Open Eye is always an exciting, inspiring and enticing artistic experience. Located on the ground floor of a Georgian townhouse at the corner of Abercomby Place, the grand, flagstoned, pillared hallway, leads off into spacious, light-filled white-walled salons.
Founded 35 years ago, the gallery promotes young, emerging talent, as well as presenting renowned Scottish artists, British, European and American printmakers, complemented by graceful displays of jewellery, ceramics and sculpture.
This current exhibition running from 20th February – 7th March, 2016, brings together a diverse trio of artists who seek to capture the beauty of our natural world, sharing an evocative sense of tranquility.
To brighten a winter’s day, take a wander around Kirsty Wither’s fruit bowls and colourful bunch of floral studies with a flourish of pink, coral, crimson red, as if haphazardly arranged in white shapely vases; soft petals seem to float in the air, scattering in a free-flowing movement on to a table.
Colour and texture are eminent too in her atmospheric landscapes – the open countryside, distant hills, under the Italian sun or winter-snow light.
Wither also effortlessly switches to figurative scenes with her Giacometti-styled female nudes, slender sculptural shapes posing in a shadowy surreal setting.
Kirsty Wither, Silvery Sea
In the room across the hallway, immerse yourself in a world of amazing reflective light. John Mackechnie is one of the UK’s leading printmakers (Director of Glasgow Print Studio), and this selection of work is entitled Parallel Lines.
Stand in front of “Road to the Isles”, for instance, and imagine you are on a beach, the shallow sea water lapping around your bare feet, soft sand beneath your toes. The mesmerising clarity of this stunning image is based on photographs along the coastline between Arisaig and Mallaig.
Mackechnie also captures with an extraordinary abstract realism, the modern architectural design of skyscraper buildings, with their uniform grids, blocks and parallel lines of luminous glass and shining steel. As well as screenprints, graphic visuals are also created on Perspex with dynamic and dazzling 3D effect.
In the Print Room. Salt Stars is a series of stone lithographs by Gill Tyson. She is inspired by off-the-beaten-track remote places, and lives in Morvern on the Lochaber peninsula: “In our house between a river and the sea I was struck by the important role of the night skies: all those stars and the brightness of a full moon on the water, almost as light as a west coast day.”
Her various lithographic and screenprint techniques are meticulous processes, grinding and preparing the stone, composing a picture in gradual stages using hand drawn marks, like a slow form of painting. Seawater is used as a wash, where grains of salt become virtually imbedded in images of the night sky and wild Highland environment.
These deceptively simple, sketchy scenes, such as “Before the Storm” and “Crossing Over”, show the perspective of where land meets sea, isolated places of natural beauty. There’s a dreamlike quality as you wander around these minimalist, monochrome prints. “Fishing” is delicately designed as if with thin pen-strokes akin to Asian calligraphy.
This imaginatively-curated exhibition takes you on a delightful, painterly journey through the eyes of these three artists – so catch it if you can before 7th March.
As well as a rolling programme of selected artists each month, the Open Eye also showcases established gallery artists, including John Bellany, Chris Bushe, Alberto and Leon Morocco, Barbara Rae, David Schofield, Carola Gordon, David Forster, Henry Fraser, et al.
The Print Room has a rolling programme of work including Picasso, Miro, Chagall, Pasmore, William Scott, Paolozzi, Hockney, Bruce McLean, John Byrne, Pat Douthwaite, Jonathan Gibbs and other modern masters.
The Open Eye Gallery,
34 Abercromby Place, Edinburgh EH3 6QE
tel. 0131 557 1020