+3 Interview: Christian Finnegan: My Goodness

“When I tell New York comedians I’m doing Fringe, they react with a mix of confusion and fear.”

WHO: Christian Finnegan, Writer/performer

WHAT: “Christian Finnegan is a stand-up comedian, exploring what it means to be a passable human being in 2018. Perhaps best known as one of the original panelists on VH1’s Best Week Ever and as Chad, the only white roommate in Chappelle’s Show’s infamous Mad Real World sketch. He played Martin on the popular syndicated sitcom Are We There Yet? and politics junkies will recognize Christian from his many appearances on Countdown with Keith Olbermann. Most recently, Christian was the creator and co-host of A&E’s Black and White.”

WHERE: Gilded Balloon Teviot – Billiard Room (Venue 14)

WHEN: 20:45 (60 min)

MORE: Click Here!


Is this your first time to Edinburgh?

This is my first Fringe, so I’m excited and daunted in equal measure. When I tell New York comedians I’m doing Fringe, they react with a mix of confusion and fear—as if I’d said I was going to scale Kilimanjaro or wrestle a grizzly bear. But who knows how long it will be before America is locked down in some sort of police-state dystopia, so I figure the time is now!

Tell us about your show.

I’ve been a club comic here in the States for over 20 years, but MY GOODNESS has more meat on the bone than anything I’ve done in the past. The show took shape when I noticed that my standup material was starting to dance around a central theme–basically, “What does it mean to be a good person?” So I wrote some connective tissue stuff around the more polished material, added an interactive element, a bit of tech, etc. I’ve been workshopping the show in New York over the past few months and the training wheels are finally ready to come off.

What should your audience see at the festivals after they’ve seen your show?

I’m rooming with fellow American Myq Kaplan. I haven’t yet seen his show ALL KILLING ASIDE, but he’s known as one of New York’s best and most inventive comedians and he’s a fantastic person to boot.

Also, I once spent a month driving around Western Australia with Zoe Lyons as part of the MICF Roadshow, so I’m really looking forward to seeing ENTRY LEVEL HUMAN.

And one more: I think he’s only in town for four days, but everyone should make an effort to go see Judah Friedlander. World Champions only come along so often!


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+3 Interview: Ross Brierley: Accumulator

“It’s my debut solo hour of stand up comedy.”

WHO: Ross Brierley

WHAT: “What would you do if you had a bet on the horses and won a year’s wages in a day? Quit your job and become a professional gambler? Sure, why not. Award-winning comedian Ross Brierley takes you on a surreal journey into the highs and lows of trying to predict the future to pay the bills. An hour of big, daft ideas and little plastic pens from the host of The Not So Late Show with Ross and Josh.”

WHERE: Underbelly, Bristo Square – Daisy (Venue 139) 

WHEN: 16:30 (60 min)

MORE: Click Here!


Is this your first time to Edinburgh?

No it is not. I went up last year with The Not So Late Show with Ross & Josh (which also returns this year on the Free Fringe) but this is my first solo hour. Last year was a full-on, relentless baptism of fire and this year will hopefully be a bath at just the right temperature for a month, leaving my toes wrinkled beyond belief.

Tell us about your show.

I wrote it! I produced it! I got the sizes for the poster wrong, leading to a delay with the design! I reply to all the emails! I do all the jokes! I stray off topic, nobody else. It’s my debut solo hour of stand up comedy and it’s about the dominant theme in my 33 years to date: Gambling. Where am I taking it? Wherever it’s wanted! WHO WANTS IT?

What should your audience see at the festivals after they’ve seen your show?

They should see Sean Morley bend your mind with weird immersive comedy stuff, The Delightful Sausage regenerate a Northern town and then something completely different, like a full on Samba dance band.


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“Flippant answer is no guns. For an adventure story, this really makes a difference.” – Author Adrian Goldsworthy discusses Vindolanda

“There was a rich haul in last summer’s excavations, and no doubt there will be plenty of surprises once they are deciphered.”

“(1st hand) Claudia Severa to her Lepidina greetings. On 11 September, sister, for the day of the celebration of my birthday, I give you a warm invitation to make sure that you come to us, to make the day more enjoyable for me by your arrival, if you are present (?). Give my greetings to your Cerialis. My Aelius and my little son send him (?) their greetings. (2nd hand) I shall expect you sister. Farewell, sister my dearest soul, as I hope to prosper, and hail.”

Sometime between the years 97 and 103 AD, the wife of one senior Roman officer dictated an invitation to a birthday party in the far north of the Roman province of Britannia. Under her secretary’s formal message she added her own, heartfelt postscript.

19 centuries later, this everyday example of life on the Roman frontier inspired British historian and novelist, Adrian Goldsworthy, to spin a yarn. To the slender threads provided by such miraculously preserved writing tablets as Claudia Severa’s invitation, he has added the steadily accumulating wealth of archaeological evidence documenting the Romans in Britain. Goldsworthy brings his readers to the borderlands, two decades before the first builder sucked his teeth, shook his head, and told the Emperor Hadrian that his proposed wall “was gonna cost ya.”

Goldsworthy, a celebrated academic with several shelf-benders to his credit, is also the author of two previous novels – both set during the Napoleonic Wars. His latest novel, Vindolanda, takes its title from the Roman Fort to where Claudia Severa’s invitation was sent. Vindolanda is the first adventure for Titus Flavius Ferox, centurion of Legio II Augusta and a man torn between two worlds. His grandfather was one of the great chiefs and war leaders of the Silures, the tribe living in what is now Goldsworthy’s native South Wales. The young Ferox was sent away as a hostage, to be educated and raised as a Roman, and was made a citizen and later commissioned into the Roman army. Years later he returns to the province of Britannia, oathsworn to the emperor of Rome, but still in his heart a warrior of his own people.

Vindolanda was published in June 2017 by Head of Zeus. To find out more click here.


Why Vindolanda?

First and foremost because of the writing tablets discovered there. When you read something like the invitation to her birthday party sent by Claudia Severa to Sulpicia Lepidina it lets you glimpse something of ordinary life nineteen centuries ago. These two women were married to Roman army officers, and if it was not for this and a few other tablets we would never have known they existed. Instead, we can read as they ask about each other’s health and families, and plan visits.

It is all very human, very normal, reminding us that these were people just like us – even if they came from a very different society with very different attitudes. When I first read the tablets many years ago, I could not help wondering about these people and wanting to know more about them and their world. So the novel is an imagined version of this. It’s an adventure story, not meant to be a searing examination of the human experience, but a good story in a world that seems real. I think of it as a Western, but set in Britain at the end of the first century AD. It’s about a frontier, and all the people brought together in a place like that.

If you could plug one gap in our knowledge of Roman Britain what would it be?

The first instinct of a historian is to wish for more written sources. So little of the literature from the ancient world has survived that one of the commonest phrases writing about it is always ‘well, we don’t really know.’ Roman Britain is worse than many other areas, with just a handful of accounts. It would be nice to have the missing pieces of Tacitus’ Annals and Histories even more to have detailed narratives of more of Roman Britain’s history. Vindolanda is set at a time when we know next to nothing. We probably never going to find anything like this, but you can wish.

Still, that’s a modest ambition compared to the big missing piece in almost all of the Roman Empire’s history, because we only really get the Romans’ side of the story. The peoples who lived in Britain in the Iron Age did not write anything down. To have stories from their point of view, of what it was like when the Romans turned up on your doorstep and did not go away, would be truly wonderful. Short of a time machine, that’s never going to happen, so as a novelist you do your best to guess.

What’s the most unexpected item ever found from Roman Britain?

I’ll have to say the writing tablets themselves. We were used to inscriptions on stone, but no one thought we would be lucky enough to find something like this. Since then, some have turned up at other sites, notably in London and Carlisle, and more keep being found at Vindolanda. There was a rich haul in last summer’s excavations, and no doubt there will be plenty of surprises once they are deciphered.

The unusual conditions at these sites allow preservation of things you simply don’t get elsewhere – the wood, leather etc. There are more Roman shoes from Vindolanda than any other single site in the rest of the empire, but one thing that stands out is how fashions were the same throughout the empire. All these everyday objects do suggest that people from opposite ends of the empire dressed in a similar way, ate and drank similar things, and maybe laughed at the same jokes or hummed the same tunes.

Double entry bookkeeping or the steam engine – which might have done more to transform the fortunes of the Roman Empire?

Well, of course, in Alexandria they made a working steam engine, but never seem to have thought of it as anything other than an interesting experiment. The Romans were of their time, used to doing things in set ways, relying on human or animal power. On the other hand, there was progress in technology and some very sophisticated uses of water power. For a while, there was a tendency to underestimate the accomplishments of craftsmen in the Roman period, so that it has taken archaeological finds to demonstrate for instance that carriage was pretty much as sophisticated as anything in the eighteenth century.

Rome was huge and lived in a world without serious economic or military competitors on the same scale, which did not encourage rapid innovation. Even so, its problems had more to do with political instability than economic failure. From the third century AD onwards the Romans just keep on fighting civil wars until the empire rots away and vanishes in Britain and the West. That this process went on for centuries shows how strong and complacent the Romans had become.

What did silphium taste like?

No idea. We don’t really know what it was. A problem generally about food from the ancient world is that even if we have an idea of ingredients, we never get the sort of really detailed recipes a cook would want.

What’s the biggest adjustment required transitioning from writing fiction set in the Napoleonic period to Roman times?

Flippant answer is no guns. For an adventure story, this really makes a difference. You can plausibly have a character point a pistol or musket and tell two or three others to drop their weapons and do what they are told. That’s less convincing if all he has is a sword. However, the really big difference is the wealth of information. For Wellington’s army, you have a host of personal accounts, letters, diaries, etc, and they are written by junior officers and sometimes ordinary soldiers. These tell you about the little details of life on campaign, as well as the battles and skirmishes. You can describe a uniform with confidence, even include jokes and slang that were doing the rounds at the time of the story.

None is this is available for the Roman world, so you have to guess and invent or lift from other periods. Time and again someone would ask me how I came up with the idea for an incident in one of the Napoleonic stories and how on earth did I think of it. Usually, the answer was that it was true. I may have made it happen to one of my characters, but that was what they really did. You cannot do that to anything like the same degree with a story set in AD 98 in Roman Britain. So writing the two sets of stories has been very different, which has been nice. Hopefully someday before too long I’ll complete the Napoleonic series as well as keeping Ferox busy.

The snow that falls on a battlefield settles on the fallen rather than the damp ground – where do details like that appear from?

That sort of thing comes from accounts from other eras, and looking at film and pictures and what you see around you. I have always had a interest in most of history, with a particular fondness for military history. My mind seems good at remembering the obscure – and less good at something like remembering a phone number. For Vindolanda I have lifted bits and pieces from other periods and cultures to fill in all the gaps in our knowledge. I’ve seen horses close up to the one in front so that its tail helps waft the flies away, so there doesn’t seem any reason why the Batavian’s mounts in the story would not do the same thing.

One thing that is important to me in both Vindolanda and the Napoleonic series is that there is a sense of humour running through it. Partly this is because I find a thriller or adventure story without humour rather dull, but mainly it’s because all the soldiers I have known and read about have laughed a lot. The humour is often quite black, but it helps them to cope. So to me, to make the story and characters plausible the characters need to joke and laugh.

You’ve got a one-way ticket to the Roman Empire for you and your family. When and where are you taking them?

So many choices. It would be something to see Rome at its height – both the grandeur and the squalor. Some the slums probably resembled the poorest areas of Calcutta than our imagined city of gleaming marble. I suspect the smells would be pretty overpowering. Be nice to see an army base and see how close we have got to the reality from the archaeological remains – or Hadrian’s Wall. Still, if you wanted a holiday, perhaps just a comfortable villa somewhere.

You’ve got a solo return ticket for either a year on campaign with Julius Caesar; a fortnight with Hadrian and his entourage at Tivoli; or a day in the Library of Alexandria. Which do you choose?

As a historian hard to resist a library, although an archive somewhere less famous or at an army base might provide fascinating if less dramatic information. Hadrian was probably tough to be around, and I suspect you would spend most of your time listening and saying how right he was. Caesar had charm, and giving my interests seeing the real Roman army in action would answer a lot of questions. It would be a grim business though.

What’s next for Flavius Ferox?

A new novel, The Encircling Sea comes out on 1st June. Without giving too much away, this takes Ferox to the far north and across the sea, and features some old and some new enemies. I’m finishing off the third novel at the moment and that will be out in 2019.


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“I’m thinking at this point that I may leave Russia behind for a while.” – Author William Taubman discusses Gorbachev

“A true believer and an honest man, he also knew how to maneuver and play the game of bureaucratic politics.”

“At 33rd Street you pass the Empire State Building, which for many years was the tallest building in the world and is still a VERY tall building indeed. But when you pass it in a car there’s this phenomenon – a kind of parallax phenomenon – that any building that’s nearer it, or even a person, will seem taller because you can’t gauge it’s full height until you get a bit of distance. And if you get a good run of green lights on 5th avenue and you look out of the back of the taxi as you go down and down and down the Empire state building rises and rises and rises – like a rocket. It actually goes up and up and up as all the buildings close to it are revealed to be so much smaller.”

Stephen Fry’s comparison of the emergence of Oscar Wilde from his 19th century milieu as being like the emergence of the Empire State Building on the New York Skyline might also stand for Mikhail Sergeyevich Gorbachev. Gorbachev was born in the Stalin years. He lived through the Soviet Union’s decades of turmoil and decay. He rose from the humblest of origins to become one of the most revered and yet reviled statesmen of the 20th Century. Fry’s summary of Wilde’s reputation – “The best of his age and getting taller and taller with every decade which comes” – might also stand for the man who led the Soviet Empire to its peaceful dissolution.

William Taubman is the Bertrand Snell Professor of Political Science Emeritus at Amherst College. His biography, Khrushchev: The Man and His Era, won the Pulitzer Prize and the National Book Critics Circle Award for biography. Taubman is also the author of Stalin’s American Policy: From Entente to Détente to Cold War, and co-author with his wife, retired Amherst College professor of Russian Jane Taubman, of Moscow Spring. He has received the Karel Kramar Medal of the Czech Republic and the Order of Friendship of the Russian Federation. He lives in Amherst, Massachusetts.

Gorbachev: His Life and Times was published in September 2017 by Simon & Schuster. To find out more click here.


Why Mikhail Sergeyevich Gorbachev?

Gorbachev changed his country and the world, although, it must be added, he changed neither as much as he wished. All political leaders have power—by definition. But some, like Soviet leaders, unencumbered by the rule of law, constitutional constraints, or a free press, have more than others. Moreover, Gorbachev used that power in a way that was unique; No other Soviet leader would have done what he did. And that uniqueness cries out for biography–to try to explain how his character helps to account for what he did.

If Plutarch were to parallel the life of Gorbachev, whom among his contemporaries outside the Soviet Union might he select?

The two American leaders to whom I most often compare Gorbachev are Ronald Reagan and Barack Obama. Since the two of them were so different (an arch-conservative Republican and a liberal Democrat), how can Gorbachev resemble both? Reagan and Gorbachev shared a commitment to the abolition of nuclear weapons. But in addition, personal similarities (including some striking parallels in their marriages to Nancy Reagan and Raisa Gorbachev) created personal chemistry that, in turn, led them toward major agreements that ended the cold war.

I explore such similarities in my book, but recently Jack F. Matlock, Jr., American ambassador to Moscow during the Gorbachev years, confirmed them. I was describing my impression of Gorbachev during the eight interviews my wife, Professor Jane Taubman, and I had with him over the course of ten years: he was warm, natural, informal and with a sense of humor. Lacking similar exposure to other world leaders, I told Matlock, I couldn’t compare Gorbachev with them, but I doubted many of them came across the same way. “There’s at least one such leader who did,” Matlock replied. “Ronald Reagan.”

As for Gorbachev -Obama parallels, I’d list the following: Both were highly educated and thought of themselves as intellectuals; both were deeply devoted to their wives; both tried to reserve supper time for dining with their families rather than politicking; both wanted to carry out radical reforms in their countries; both failed in the end to achieve their grandest goals owing to the fierce political opposition they faced.

Nixon and Reagan occasionally met off camera during the latter’s presidency – is there any evidence Gorbachev once had / or is having a similar direct input into the thinking of his successors?

On the contrary. Gorbachev initially praised Putin when the latter assumed the Russian presidency in 1999-2000 and supported him for reelection in 2004. But they have since become estranged and have rarely, if ever, met since Putin was elected again in 2012, Gorbachev seemed closer to Dmitri Medvedev, who served as president between Putin’s second and third terms, but he evidently had no direct input into Medvedev’s thinking either.

Has Gorbachev found a meaningful role beyond the Kremlin?

After being forced out of power in December 1991, Gorbachev established a foundation, the International Foundation for Socio-Economic and Political Studies (also known as the Gorbachev Foundation) which, in addition to charitable endeavors, has sponsored conferences and publications on issues domestic and international. He has also chaired Green Cross International (an ecological organization), and the World Political Forum. He has commented regularly on political issues, and in 1996 he ran for the Russian presidency, but received less than one percent of the vote.

The portrait you paint is of a true believer coming up through an undergrowth of hacks, cynics, and hypocrites. Might Gorbachev have found more success if he had been more cynical?

Gorbachev was brilliantly successful at rising through Communist party ranks to become Soviet leader–successful because although he was a true believer and an honest man, he also knew how to maneuver and play the game of bureaucratic politics. He was equally adept at using his power as party general secretary to browbeat his more hardline colleagues into supporting radical reforms that transformed the Communist system. But Gorbachev wasn’t nearly as skillful at playing the new game of electoral politics (Boris Yeltsin turned out to be more adroit), and he shrank from using force to hold the USSR together when that might have discouraged restive ethnic minorities from breaking away.

Wasn’t the ultimate problem, for anyone trying to maintain the USSR, the inescapable reality that, despite everything, so many Soviet citizens simply didn’t want any part of it?

It is true that by 1991 many Soviet citizens did not want any part of the USSR. Not only non-Russian republics, but many Russians, too, preferred national sovereignty and independence. Since then, however, many Russians have missed their inner empire (the USSR) and their outer empire in Eastern Europe, and hence have strongly supported Putin’s efforts to resurrect Russia as a great power.

The role of China is relatively peripheral in the story you tell. Is that something later authors are likely to revise as new sources and perspectives become available?

Many observers have wondered whether Gorbachev could have been more successful if he had adopted the Chinese model of reform: if had prioritized radical economic reform while maintaining authoritarian political rule (as the Chinese did when they crushed the massive demonstrations in Tiananmen Square). But if Gorbachev had done so, he would not have been Gorbachev, the man determined to democratize the USSR.

At least one recent book, Chris Miller’s The Struggle to Save the Soviet Economy: Mikhail Gorbachev and the Collapse of the USSR, argues that quite a few Soviet experts tried to direct Gorbachev’s attention to Chinese economic reforms, but that powerful interest groups (central ministries in Moscow, the collective farm lobby, and the military-industrial complex) were strong enough to resist such reforms, whereas in China, weakened by the effects of the Cultural Revolution, they were not.

In his biography of Scott of the Antartic, Ranulph Fiennes urges armchair historians not to take the catty carping in primary sources – such as expedition diaries – too seriously, lest what is safely and quietly vented into private journals be mistaken for a precise record of the moral and material situation. Is there a similar danger with the testimony of close aides to public figures – after all no man is a  hero to his valet?

During pre-Gorbachev Soviet times, it would have been impossible to interview Soviet leaders or their close aides. Post-Soviet Russians who write memoirs or give nterviews became much freer to tell the truth, but only as they remember (or choose to remember) it.  Many of them have long-standing scores to settle, which they do with more relish than regard for the facts. In that sense, documents now available in archives provide an important corrective to memoirs, which in turn check them. In the case of certain former Gorbachev aides who had become his mortal enemies (such as Valery Boldin, Gorbachev’s chief-of-staff who joined conspirators in the anti-Gorbachev coup-attempt of August 1991), I was careful to use only selected bits of his testimony which had the ring of truth.

Does Gorbachev consider himself to have been a success?

One of Gorbachev’s greatest admirers, the late Soviet historian Dmitry Furman, wrote that for Gorbachev to have resorted to force and violence to hold on to power would have been “a defeat” since it that would have gone against his principles. In the light of those principles, Furman continued, Gorbachev’s ”final defeat was a victory.” Well, it certainly didn’t feel that way to him at the time.  Later, when he seemed depressed, friends assured him that he had given his people freedom, and that if they had made a mess of it that was their own fault.

Gorbachev’s latest book, published in 2017, is titled, I Am Still an Optimist. He still insists he is happy. If so, that is because he rightly believes that he laid the foundations for eventual democracy in Russia—by sponsoring the first free elections since 1917, by establishing a genuine working parliament to replace the rubber-stamp Supreme Soviet, and by turning glasnost into virtually free speech. How long it will take for Russia to be more fully democratized is another matter. Gorbachev himself has said that it may take “decades,” even “the whole twenty-first century.” But in 2011-2012, when demonstrators swarmed the streets of Moscow protesting against what they called rigged elections, Gorbachev couldn’t contain his basic optimism, his hope that the march toward a freer country had begun again.

What (or perhaps who) will your next big project focus on?

I’m not entirely sure what my next project will be. I’m thinking at this point that I may leave Russia behind for a while and that, together with my brother, Philip Taubman, former New York Times correspondent and editor, I may write a book about the late American Secretary of Defense Robert S. McNamara.


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“I’m not keen on speculation.” – Author James Shapiro discusses The Year of Lear

“I’m of two minds about OP. Yes, from a narrowly academic perspective, OP offers a fresh way of hearing the plays. But why stop with pronunciation?”

Was Shakespeare an Elizabethan English or an early British Jacobean playwright? Was he a fully fledged European, forged in the classical, moulded in the renaissance? Was he a proto-American laying the groundwork for the intellectual and political revolutions fermenting across the pond? Rhetorical questions will tend to take centre stage in Shakespearean studies, while concrete answers will sink the over-confident scholar beneath a tide of uncertainty and lack of material evidence.

James Shapiro is the preeminent walker of those fine lines between what we know, what we think we know, what we are yet to know, and what we would like to know about the inscrutable Swan of Avon. Born and raised in Brooklyn, New York, Shapiro has degrees from Columbia and Chicago. He has strutted his professorial stuff in the US and abroad, serving as the Samuel Wanamaker Fellow at the restored Globe Theatre, London. Shapiro is the recipient of more laurels, prizes and plaudits than Katharine Hepburn got Oscars. His critical treatment of the Oxfordian Theory (that Shakespeare didn’t write Shakespeare) has been described as “decisive.”

1606: William Shakespeare and the Year of Lear was published in October 2015 by Faber & Faber. To find out more click here.


Why 1606?

Why not 1606? It was a year in which Shakespeare was working on three extraordinary tragedies –Lear, Macbeth, and Antony and Cleopatra – in the immediate aftermath of a failed terrorist attack (the Gunpowder Plot), during an outbreak of plague that reached Shakespeare’s doorstep.

Shakespeare wrote many of his most famous plays after James VI and I came to the English throne. Why do we tend to think of him as an Elizabethan playwright?

I am as guilty as the next person for speaking of Shakespeare as an Elizabethan, but after 1603 he was
Jacobean – and English subjects (as far as King James was concerned) now British ones. Shakespeare’s career (from now on as a King’s Man), and the political and religious concerns of his audience certainly shifted once a Scottish King succeeded the last of the Tudors, Queen Elizabeth.

As a ruler (and as a man) did James VI and I confirm, alter, or refute his English subjects in their anti-Scottish prejudices?

That depended on which subjects you asked. The Gunpowder plotters might have offered one answer; those who profited by James’s reign another; English courtier displaced by new Scottish favorites yet another. There were very few Scots living in London under Elizabeth, so I’m not even sure how deep anti-Scottish sentiment ran.

Shakespeare used his history plays (on both British and classical themes) to reflect the concerns of the paying punter. Your work unpacks the social, cultural, and political content subtly packaged by Shakespeare. Did the early Stuart establishment share your sense of Shakespeare’s value as a political weathervane?

I’m not quite sure there was a Scottish establishment in the modern sense you suggest. I’m not entirely sure that King James and those in his immediate circle – who saw many of Shakespeare’s plays staged at court – fully grasped their full range of historical and political concerns. I’m not sure I do either, for that matter. So I don’t quite know with confidence, nor did they, which way that weathervane pointed.

Original pronunciation is helping to clear a fresh path in performances between texts and audiences. Has OP any academic value to scholars?

I’m of two minds about OP. Yes, from a narrowly academic perspective, OP offers a fresh way of hearing the plays. But why stop with pronunciation? Why not other aspects of original staging – natural light performances in the afternoons, bear-baiting next door, nobody showers for weeks before entering the theater, urinating in the corner of the theatre, paying a penny for admission, real weapons used in stage combat, sumptuary laws in place concerning what playgoers could wear, etc. Why privilege pronunciation over other aspects of original performance?

Most scholars agree that Shakespeare wrote his plays, but is there anything to suggest that he took an active role in editing them for print? Could Shakespeare have had any role preparing the First Folio, eventually published 7 years after his death?

There is no evidence whatsoever that Shakespeare was involved in preparing his plays for publication in the 1623 Folio. But that hasn’t stopped speculation. I’m not keen on speculation. I tend to put myself in the camp that believes that Shakespeare wrote primarily for the stage (from which he earned a living) rather than the page (from which he earned little besides our infinite gratitude centuries later).

If you could ask Shakespeare one question, what would it be?

Why are some of your plays – like The Comedy of Errors – so short, and others, like Lear and Hamlet, so much longer, impossible to stage in two or even three hours?

If you could take credit for having written one line of Shakespeare’s (and get away with it) which would it be?

One line is not much to brag about. But I’d take any of them.

You’re working on a new book. What can we look forward to?

I’m writing about Shakespeare in a divided America. The history of Shakespeare in America is markedly different from that in England, Ireland, Germany, etc. As Shakespeareans increasingly turn to a global perspective I thought it a good time to focus on the local. The book should be out before the next presidential elections here.


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+3 Interview: Juan Vesuvius: I am Your Deejay

“The story is autobiographical and it does what it says on the tin. I have been telling these anecdotes in the pub for years.”

WHO: Barnie Duncan, Creator/Performer

WHAT: “Superstar disc jokey Juan Vesuvius brings his turntables back to Edinburgh to deliver the greatest and strangest DJ set you’ve ever experienced. But why does he need so much towelling? And what really happened between him and David Guetta?”

WHERE: Assembly George Square Theatre (Venue 8)

WHEN: 23:00 (60 min)

MORE: Click Here!


Is this your first time to Edinburgh?

No this is my fourth Fringe in Edinburgh. The first time I cam was in 2012 I think.. or 2011… with my best friend Trygve Wakenshaw. We made a show called Constantinople, and performed it at a venue that has since closed called The Electric Circus. In their karaoke room. It really taught us a lot and we were fresh non-jaded by flyering, toga wearing fun guys. Then I started bringing the Juan Vesuvius character over, and I am proud to be here with the third chapter in the trilogy.

What’s the biggest thing to have happened to you since Festivals ’16?

I wasn’t here for Fringe last year, I instead went to South Korea and Helsinki and China with Juan and calypso’d those places heads off. It was pretty full on. It was so full on I got a Calypso tattoo to commemorate the tour.

Tell us about your show.

This show is the third instalment of the Juan Vesuvius story – a DJ from the Caribbean who loves Calypso and maracas, but in this show delves into the history of House Music. It is an educational and surreal and physical and Turntabelist I wrote it in Melbourne and previewed it in Berlin before bringing it to Edinburgh, and I am produced by the suave and tall Nick James Clark.

What should your audience see at the festivals after they’ve seen your show?

OK great question. They should see my show with Trygve called Different Party, and they should see John Kearns, and Peter and Bambi Heaven, and Paul Currie and also Laid by Natalie Palamides.


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+3 Interview: Creature

“The performers fly, spring, fall physically forming relationships with each other.”

WHO: Vanessa Cook, Choreographer

WHAT: “Five extraordinary dancers weave aerial acrobatics and earth-bound choreography in a new work of compelling and visceral dance theatre. Visually stunning, suspended in a mesmerising soundscape, raw and beautiful, Creature explores the delicate balance between flying, falling, balancing, tumbling, succeeding and failing: this complex business of being human. A unique free fall experience for both performers and audience, it happens right in front of us, over us, and around us. UK Premiere from international company based in Switzerland. Creature is conceived and choreographed by Vanessa Cook (UK) and directed by Kate Higginbottom (UK).”

WHERE: C venues – C south (Venue 58) ​

WHEN: 17:35 (50 min)

MORE: Click Here!


Is this your first time to Edinburgh?

This is our first time to Edinburgh. Company members have been many times as punters, but this is the first time performing. I am British, but now live in Switzerland, so it’s especially nice for me to be returning to the UK with a with a show. The other members of the company come from Switzerland, Italy and Poland so they’re thrilled to be here.

Tell us about your show.

Creature is choreographed by me Vanessa Cook. It is an aerial dance show that uses ropes/harnesses/bungee equipment. The performers fly, spring, fall physically forming relationships with each other. Originally made and performed in a massive warehouse in Bern, Switzerland, this piece in Edinburgh is an adapted version for a smaller theatre venue. It can be performed in large or smaller venues.

What should your audience see at the festivals after they’ve seen your show?

I really enjoyed a show called ‘Land’. It was playing at Summerhall (but has finished already). One performer is bouncing on a trampoline, obsessively doing a jigsaw. Their relationship unravels in ridiculous and funny ways. For me it was a metaphor for how we try to ‘help’ each other, but don’t listen to each other.

But still playing is ‘All the Fun’. This is a charming and clever show.


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The Girl Who Jumped Off The Hollywood Sign (Assembly Roxy: Until 28 Aug: 11.30: 70 mins)

“Hartstone inhabits her characters (male and female) much as Liz Taylor was supposed to have simply been Cleopatra”

Editorial Rating: 5 Stars: Outstanding

We enter to the strains of Arthur Dooley Wilson singing As Time Goes By. The mood is glamorously sombre. On stage is the top half of the ‘H’ of the Hollywood sign. Onto it steps a figure in black dressed as though for a funeral. How did she get here? What (and who) have pushed her to this?

The story which writer and performer Joanne Hartstone has to tell is eerily familiar. Evelyn Margaret Edwards (or Evie Edwards, to use her stage name), is a naive young lady seeking to change her rags into riches through the magic of the Hollywood limelight. She has dreamed of becoming a star all through the Great Depression, from the stock market crash, via a Hooverville, and the unending grind of a hand-to-mouth existence. But without a fairy godmother her dreams are outshone by the stark realities of the entertainment industry.

A few days back I was interviewing the star of an American Civil Rights drama. With tongue firmly in cheek I asked if she was grateful to President Trump for helping to keep the issues she tackles relevant. “We’ll he’s great for my ticket sales!” she replied with a sad grin. We reflected on the truth that tragedy and suffering are the Fringe writer’s bread and butter – no one ever paid to see a play about contented people happily pottering through an uneventful life.

The good writer tells a tragic story in its time and place. The brilliant do that too, but they also say something universal about the human experience at all times and in all places. Hartstone has written a piece that falls squarely into the latter category. Her script is at once an insider’s tour of Hollywood’s Golden era (for ‘insider’ read, ‘black and white movie nerd’). It is also a profound reflection on the use and abuse of women – their ambitions, their independence, their bodies and souls.

The delivery is paced, but pacy – never lagging or getting ahead of itself. The story unwinds like a spool of luxury cloth under an exacting tailor’s expert eye. Though this is a one-woman show Hartstone inhabits her characters (male and female) much as Liz Taylor was supposed to have simply been Cleopatra while Richard Burton played at being Mark Anthony.

Hartstone is also possessed of a fine, evocative voice which conjures up the spirit of the age in sparkling speech and song. The movement is minimalist, the set perfectly scaled to allow Hartstone to ascend and descend from the ‘H’ with a minimum of fuss. You can honestly imagine that this is the staging Evie Edwards would have designed to best tell her story from.

The Girl Who Jumped off the Hollywood Sign is Fringe theatre at its best – profound without being maudlin, sassy, smart, and above all edgy. This is an iron fist of a script nestling in a velvet glove.

outstanding

StarStarStarStarStar

Reviewer: Dan Lentell (Seen 24 August)

Visit the Assembly Roxy archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: Oskar’s Amazing Adventure (Gilded Balloon Teviot: Until 27 Aug: 11.50: 40min)

“The highest praise I can think of is to jump up and down in my seat squealing ‘Again! Again!'”

Editorial Rating: 5 Stars: Outstanding

It’s the middle of a hard winter in Switzerland. The little house on the top of the mountain is snowbound. Oppressed with cabin fever, fun loving puppy Oskar runs off in search of new friends to play with.

The show is based on the picture book by celebrated children’s author Colin Granger. Colin is of course a part owner of Komedia Brighton, and (once upon a time) was the author of the Heinemann English Grammar (which is yet to be dramatised for the stage). All the original characters are present, including Oskar, his friend the Marmot, the hungry Fox, Grandma, the chickens, the other puppies. The only exception is Mrs Goat who lost her seat on the tour bus to Colin.

We enter to find an alpine backdrop hung from rustic timbers. In front is a canvas pyramid with three of the four sides painted with a particular scene from the narrative that is about to unfold. With the occasional turn of this pyramid by performer Natasha Granger, Oskar’s story is revealed. Not since the Pharaoh Khufu walked out of Dunbar and Sons onto Morningside Road, having just purchased the ultra deluxe funerary care package, has a pyramid been put to such effective use.

This production is a grace and flavour mansion giving Colin Granger’s charming narrative a home away from home. The grace is delivered by his daughter Natasha whose fluid movement melts in and out of the liquid lighting and soundscape. The flavour is unmistakably alpine – crisp, simple, elegant. The interplay of stagecraft and performance is balanced and nuanced. The puppetry (including some shadow play on one side of the pyramid) empowers rather than overpowers. The effect is hugely satisfying, whether this is your first ever show or simply your latest.

It’s a safe bet that the Children’s section of the Fringe guide is the growth area to watch and shows like Oskar’s are in the vanguard. A glance at the reviews on EdFringe.com reveals where that vanguard will encounter the sharpest slings and arrows. Audiences love this show (as they should). The “professionals” are noticeably less excited. Why would they be? It’s fairly obvious that they weren’t accompanied by a reliable preschooler.

You might have noticed that it’s really quite expensive to come to Edinburgh in August and this is true for pundits as well as for producers and punters. Bringing a kid along too (without the support of local grandparents in residence) is a big ask, but it must be better answered. As the children’s section of the Fringe guide grows, reviewers and their publishers need to be much better at reflecting the artistry and talent that shows intended for younger audiences are already delivering.

This was my own preschooler’s first ever live show and I am so massively grateful to Theatre Fideri Fidera for making it such a positive and memorable experience for us both. Oskar’s Adventure may not strike a jaded 20-something as particularly amazing, but for preschoolers first noticing the big wide world (and for those of us privileged to attend them on their journey) the perspective offered is just right. The highest praise I can think of is to jump up and down in my seat squealing “Again! Again!”

outstanding

StarStarStarStarStar

Reviewer: Dan Lentell (Seen 23 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Interview: Cursed

“The festival is buzzing with energy and I can’t wait to meet some of you in the street while flyering, come say hello if you see me!”

WHO: Mila G. Lawlor, Stage Manager

WHAT: “Divine punishment. Guilt. Bloodshed. The story of the House of Atreus is the most haunting of Greek mythology. Meet a family descended from the Gods, where the borders between cruelty and desire, loyalty and betrayal are painfully blurred. In this newly written and bold adaptation, their story is revived. It is now your turn to take action. From Agamemnon to Orestes, the family’s fate is in your hands. Coming fresh from London and making their Fringe debut, The Samurai! Company promises you a disquieting journey through the depths of human nature.”

WHERE:  Greenside @ Infirmary Street (Venue 236)

WHEN: 20:45 (60 min)

MORE: Click Here!


Is this your first time to Edinburgh?

Yes, it is my first time! And the first time of the company as well! Most of us have dreamt of coming to the Fringe for a while and we’re really excited about being here together and performing! The festival is buzzing with energy and I can’t wait to meet some of you in the street while flyering, come say hello if you see me!

Tell us about your show.

‘Cursed’ is a modern adaptation of Aeschylus’s Oresteia -a greek family tragedy- re-written by our director and other friends. It is immersive and the storyline changes depending on the audience’s decision. To me the play is especially relevant in terms of how subjective justice is and how people make different choices depending on a large number of factors: mood, ethic, education, etc.

We are producing the show with The Samurai! Company. Once the director had her idea, she invited all those who wanted to come join her to create the show. Meaning: no audition process, a large group of enthusiastic people, coming from all walks of life, and from very international backgrounds! With the director’s hardwork and patience, we created an amazing show out of this challenging experiment, and she made all the actors improve incredibly in no time!

The production premiered in May at Goldsmiths University and received a warm welcome from our audience! With exciting and unexpected reactions as well!
As for whether we’re taking it further, we’re hoping to the moon and back! No, seriously, we won’t take this show further but we hope to take another one to the Fringe again next year!

What should your audience see at the festivals after they’ve seen your show?

Oh well, a comedy for a change! You might need it!

And, definitely come and see our fellow Greensiders! Otherwise, maybe go and see another more modern family drama to see how relevant our play is!…… Or, just come see the show again, perhaps to check out an alternative ending!


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