Joelle, Matt, Lindsey and I went for a stroll through the Pentlands - the usual starting and finishing places for me, catching the bus to Balerno, and home again from Penicuik. It's the inbetween that usually changes for me - sometimes I'll walk all the peaks, sometimes half, or sometimes just sticking to the flat. This time we just stuck to the flat, as I had guests who weren't that used to long walks.
I was pleasantly surprised to have them come with me; Matt & Joelle were only in Edinburgh for the weekend, and it was great to have them put 4 hours aside for a walk through the Pentlands - I hope they think it was worth it. I love the walk, and do it as many weekends as I can, but I realise not everyone is as crazy as I am.
The weather was glorious for the walk - we stopped for a snack lunch down near Threipmuir Reservoir, chatting away all the while. Joelle was taken by all the purple heather, whilst Matt was taking all the pictures! Be sure to check out his website at some point as I'm sure he'll have much better photos than I on there :)
Lindsey and Matt saw their first highland cows - due to the nature of the walking around the Pentlands we ended up in the paddock right next to two of them, which was great as it was the closest I've ever been too.
Due to public transport being a pain from Flotterstone (the usual start/end for people walking the Pentlands) we had to walk through to Penicuik, which I don't mind as even though it's not through the hills, it's down some lovely country roads.
We ended up home with about 15 minutes before we had to leave to go see a show at the Fringe - all quite happily exhausted, and very pleased at having spent 4 hours in the very beautiful Pentlands.
Wednesday, August 29, 2007
Tuesday, August 28, 2007
Fringe Review: The Ballad
The Ballad was one of the only shows I saw during the Festival that I didn't pick - maybe that's better as when it's someone else's choice, and it's bad, you have someone else to blame.
In this instance however, I have someone else to thank profusely; this show was incredible. Billed as a love story without words, the story instead is carried along by mime, dance, and aerial dance. Boy meets girl, girl likes boy, girl and boy shag, have a baby, girl dies giving birth. Very 90s. This story starts a little cheesy, but then again it's a great starting point for the direction this piece takes you.
Of course you've read all my other reviews, therefore you'd know I'm a huge supporter of any show that encourages the active suspension of disbelief. The dancing in this show is very freeform and contemporary, it's lovely, but I found myself breathless with the aerial work - it was very easy to ignore the harness on the girl and just appreciate the extra dimension the choreographer has opened up by enabling the girl to be flown. It's simply beautiful, and magical. It looked so effortless, and certainly enhanced the already magical feeling of the piece.
The show is predictable in places, tacky in others, but I found it wasn't too much of either - this is probably the tackiest show I've seen in a while (aside of Eurobeat but that's another story), and as much as I am loathe to admit; it's perfect tack. It's presented in such a beautiful way that it seems completely appropriate.
The Ballad has some darker moments, aided along by the beautiful score played by the composer herself, seated at the front right of the stage at her piano. Looking very Tori Amos-like, she plays along with the action, beautifully complimenting the dancers with appropriate music and impeccable timing. From time to time she utters deeply haunting vocals - a couple times at improbable moments, but her vocals at the end leave you disquieted - the perfect ending for a wonderful piece of theatre.
The Ballad played at Zoo Southside.Thursday, August 23, 2007
Fringe Review: The Last Five Years
The Last Five Years tells the tale of the five year relationship between Cathy and Jamie, with an interesting twist - Cathy's tale goes backwards, whereas Jamie's tale goes forwards. They progress through dating, co-habitating, getting married, and then the breakdown of the marriage. In the show Jamie gets increasingly bitter and ends up leaving Cathy, whereas Cathy starts from her breakdown and goes right through to being hopeful for their future together (which we already know is doomed).
It's a great format, and offers many opportunities for clever staging - the two actors only really share the same "time" right in the middle of the show, when they get married. Well, Jamie gets married, Cathy gets "unmarried".
Unfortunately director Russell Hope has missed quite a few of these opportunities to take the strange format of the show and run with it, so to speak, instead dumbing it down slightly, and the actors end up flip-flopping between their own timeline (backwards and forwards respectively), and the timeline of the other actor onstage, thus going from happy to sad to happy all in the space of three songs, it's a bit perturbing. I would wanted Hope to have embraced the idea of the timelines running in opposite direction and made more of it.
Nadim Naaman's Jamie is superb. He comes out on stage looking like a dweeb and you think "oh god, this is a college production" but then he opens his mouth and the awe sets in; Naaman has an incredible voice, perfectly suited for this role. He's likeable onstage, relaxed, friendly, and even when you want to dislike him you still can't help but feel sorry for him.
Hannah Wilding as Cathy is also a great casting, she plays the part perfectly, switching seamlessly between neurotic wife to swooning fan. Jason Robert Brown's script and score doesn't leave much chance for sympathy for the role of Cathy, yet Wilding draws you into her madness and I think you end up understanding her a little more than you normally can if you just listen to the CD.
However. Wilding's voice is not healthy right now. I saw the show on the night of the 22nd, and a review from an earlier performance agrees with me; her voice is suffering. I couldn't be sure if it's due to over-use, not warming up, or more likely; she has a cold. You can see the poor girl suffering as her voice refuses to behave - at times she hit completely wrong notes but had to stick with them, and other times she was quite flat in her upper register, switching to belting when she probably shouldn't, just to get the note out. I really feel for her, it's a terrible time to have your voice give up on you, but such credit to her - she rallies through and performs admirably.
It's a great script and score, and Naaman & Wilding certainly do credit to it. As I said I wish the director had pushed the split timeline idea a lot more, and I also wish I'd seen it on a night where Wilding's voice was up to scratch. I can hear that underneath the scratchyness and flat notes that she does have a great voice, it's a pity I didn't get to hear it.
The Last Five Years plays at the Pleasance Dome (Potterrow for you locals) until August 27.
It's a great format, and offers many opportunities for clever staging - the two actors only really share the same "time" right in the middle of the show, when they get married. Well, Jamie gets married, Cathy gets "unmarried".
Unfortunately director Russell Hope has missed quite a few of these opportunities to take the strange format of the show and run with it, so to speak, instead dumbing it down slightly, and the actors end up flip-flopping between their own timeline (backwards and forwards respectively), and the timeline of the other actor onstage, thus going from happy to sad to happy all in the space of three songs, it's a bit perturbing. I would wanted Hope to have embraced the idea of the timelines running in opposite direction and made more of it.
Nadim Naaman's Jamie is superb. He comes out on stage looking like a dweeb and you think "oh god, this is a college production" but then he opens his mouth and the awe sets in; Naaman has an incredible voice, perfectly suited for this role. He's likeable onstage, relaxed, friendly, and even when you want to dislike him you still can't help but feel sorry for him.
Hannah Wilding as Cathy is also a great casting, she plays the part perfectly, switching seamlessly between neurotic wife to swooning fan. Jason Robert Brown's script and score doesn't leave much chance for sympathy for the role of Cathy, yet Wilding draws you into her madness and I think you end up understanding her a little more than you normally can if you just listen to the CD.
However. Wilding's voice is not healthy right now. I saw the show on the night of the 22nd, and a review from an earlier performance agrees with me; her voice is suffering. I couldn't be sure if it's due to over-use, not warming up, or more likely; she has a cold. You can see the poor girl suffering as her voice refuses to behave - at times she hit completely wrong notes but had to stick with them, and other times she was quite flat in her upper register, switching to belting when she probably shouldn't, just to get the note out. I really feel for her, it's a terrible time to have your voice give up on you, but such credit to her - she rallies through and performs admirably.
It's a great script and score, and Naaman & Wilding certainly do credit to it. As I said I wish the director had pushed the split timeline idea a lot more, and I also wish I'd seen it on a night where Wilding's voice was up to scratch. I can hear that underneath the scratchyness and flat notes that she does have a great voice, it's a pity I didn't get to hear it.
The Last Five Years plays at the Pleasance Dome (Potterrow for you locals) until August 27.
Wednesday, August 22, 2007
Fringe Review: Paranoid Park
I didn't know what to expect from the film Paranoid Park, except that it was directed by Gus van Sant. I found out after that the screenplay was also written by him, from an original book.
Paranoid Park delves into the lives of teen skaters in Portland, Oregon, following a young skater "Alex" after he is involved in the accidental death of a security guard.
Co-Cinematographer Christopher Doyle was at the showing, introducing the film as "teen art", and then we settled in to watch. And such a beautiful film - it evokes memories of the casual style of Kids, more following the actors around rather than directing the action. All of the actors in Paranoid Park had never been in a film before, and this shows on a couple of the parts, but certainly not the lead "Alex", played wonderfully by Gabe Nevins.
This film doesn't seek to justify the lives of skaters, the accident that occurs, or in my opinion even celebrate the lives of skaters, merely lift the lid a bit and reveal the culture therein. It's such an easy film to watch - just sit back and let the ideas and visions wash over you. It's filmed in a format reminiscent of Super 8 - a square format, with a very early technicolor feel to it, evoking memories of the first family footage on video cameras, which certainly assists in the relaxed manner this film was shot. Christopher Doyle makes fantastic use of light throughout the film, there is a scene in the film where "Alex" showers after the death of the security guard - it's quite a long scene in the scheme of things, but it's utterly entrancing. No, not like that - you only see his head and upper shoulders, the shot is enhanced completely by the sound and light choices, it's fantastic.
One of the things I think they did so well in this film was give the audience time to think for themselves. So many films drag the audience along in the story without stopping for breath. Paranoid Park has so many points where you've really nothing else to do but consider the situation at hand - it's a little uncomfortable to begin with, as audiences are not often asked to get involved like that - but by the end of the film you're thankful for those moments where you're left with beautiful imagery and time for your own thoughts.
It's a brilliant, beautiful film, and it's definitely going in my DVD collection when it's out.
Paranoid Park info at IMDB.com.
Paranoid Park delves into the lives of teen skaters in Portland, Oregon, following a young skater "Alex" after he is involved in the accidental death of a security guard.
Co-Cinematographer Christopher Doyle was at the showing, introducing the film as "teen art", and then we settled in to watch. And such a beautiful film - it evokes memories of the casual style of Kids, more following the actors around rather than directing the action. All of the actors in Paranoid Park had never been in a film before, and this shows on a couple of the parts, but certainly not the lead "Alex", played wonderfully by Gabe Nevins.
This film doesn't seek to justify the lives of skaters, the accident that occurs, or in my opinion even celebrate the lives of skaters, merely lift the lid a bit and reveal the culture therein. It's such an easy film to watch - just sit back and let the ideas and visions wash over you. It's filmed in a format reminiscent of Super 8 - a square format, with a very early technicolor feel to it, evoking memories of the first family footage on video cameras, which certainly assists in the relaxed manner this film was shot. Christopher Doyle makes fantastic use of light throughout the film, there is a scene in the film where "Alex" showers after the death of the security guard - it's quite a long scene in the scheme of things, but it's utterly entrancing. No, not like that - you only see his head and upper shoulders, the shot is enhanced completely by the sound and light choices, it's fantastic.
One of the things I think they did so well in this film was give the audience time to think for themselves. So many films drag the audience along in the story without stopping for breath. Paranoid Park has so many points where you've really nothing else to do but consider the situation at hand - it's a little uncomfortable to begin with, as audiences are not often asked to get involved like that - but by the end of the film you're thankful for those moments where you're left with beautiful imagery and time for your own thoughts.
It's a brilliant, beautiful film, and it's definitely going in my DVD collection when it's out.
Paranoid Park info at IMDB.com.
Fringe Review: Eurobeat - Amost Eurovision
Eurobeat - Almost Good.
Eurovision is certainly an institution to the Europeans, but to a downunder Aussie like me, it's a mystery. I never "got it". I'd see the English go nuts every year, I'd hear Brits talk about it incessantly, about who they'd chosen to represent them, but I could never understand what all the hype was about.
Apparently Eurovision is already a parody of talent. Eurobeat then is a parody of a parody, and to someone uninterested in the original franchise, this show doesn't rise above the fact that it's just tacky. I can understand why the performers in Eurobeat were performing badly, but without that love of Eurovision, this is just a collection of bad songs.
Yes - the performers did well, the dancing is energetic (if a stereotype of already bad dancing), and their voices, yes, are very good. The production values are high - it's a good set, and the pre-show entertainment certainly turn the whole event into a spectacle.
Glynn Nicholas plays one of the Eurovision hosts, seemingly doing the only character I've ever seen him do. Not very inspiring, and cynically I would say he fits into the category of those who have to produce shows to cast themselves in as they're not talented (or versatile) enough to other people to want to cast them. I knew he was involved in the show, but was honestly disappointed to see him on stage. I was unaware of the fame of the other co-host, so the pair were remarkably unfunny to me.
I won't say that this is a terrible show - I'd say it's probably an excellent show for those people who love Eurovision. I'm just not one of those people.
Eurobeat - Almost Eurovision plays at the Pleasance Courtyard (around the side) until August 27.
Eurovision is certainly an institution to the Europeans, but to a downunder Aussie like me, it's a mystery. I never "got it". I'd see the English go nuts every year, I'd hear Brits talk about it incessantly, about who they'd chosen to represent them, but I could never understand what all the hype was about.
Apparently Eurovision is already a parody of talent. Eurobeat then is a parody of a parody, and to someone uninterested in the original franchise, this show doesn't rise above the fact that it's just tacky. I can understand why the performers in Eurobeat were performing badly, but without that love of Eurovision, this is just a collection of bad songs.
Yes - the performers did well, the dancing is energetic (if a stereotype of already bad dancing), and their voices, yes, are very good. The production values are high - it's a good set, and the pre-show entertainment certainly turn the whole event into a spectacle.
Glynn Nicholas plays one of the Eurovision hosts, seemingly doing the only character I've ever seen him do. Not very inspiring, and cynically I would say he fits into the category of those who have to produce shows to cast themselves in as they're not talented (or versatile) enough to other people to want to cast them. I knew he was involved in the show, but was honestly disappointed to see him on stage. I was unaware of the fame of the other co-host, so the pair were remarkably unfunny to me.
I won't say that this is a terrible show - I'd say it's probably an excellent show for those people who love Eurovision. I'm just not one of those people.
Eurobeat - Almost Eurovision plays at the Pleasance Courtyard (around the side) until August 27.
Monday, August 20, 2007
Fringe Review: Out of the Blue
Wow, what a lively show. The boys are constantly moving, living and dancing from within their music. What seems slightly over-exuberant at the start of the show is completely natural by the end of it - these guys love their music so much, it's like you're seeing what they're like when they're alone in their rooms and singing just for the love of it. As I say it's slightly odd at the beginning, but it gets you hooked.
I've heard the music of Out of the Blue for a few years now, but as the group is constantly cycling as people graduate out of university, it's always good to revisit them from year to year.
There are no real suprises in the show, no innovative staging or tricks, just excellent voices and a great selection of songs, some songs only appearing as they're weaved subtly into other songs.
Nothing much else to say really, except that these boys certainly do justice to the already renowned name of their group. Voice highlights include Calum, Will and Joe. I had the pleasure to sit next to Calum's mum, she was a hoot, I can see where Calum gets it from.. [chuckles]
Out of the Blue plays at "C" Venue until August 27th.
I've heard the music of Out of the Blue for a few years now, but as the group is constantly cycling as people graduate out of university, it's always good to revisit them from year to year.
There are no real suprises in the show, no innovative staging or tricks, just excellent voices and a great selection of songs, some songs only appearing as they're weaved subtly into other songs.
Nothing much else to say really, except that these boys certainly do justice to the already renowned name of their group. Voice highlights include Calum, Will and Joe. I had the pleasure to sit next to Calum's mum, she was a hoot, I can see where Calum gets it from.. [chuckles]
Out of the Blue plays at "C" Venue until August 27th.
Fringe Review: Corpus Christi
Ah, Corpus Christi. I first saw this play in Melbourne, probably in 1999. At the time it was causing a lot of controversy - I had to avoid the picketing mob who I assume were Christians, cursing me for going to a play they'd probably never seen or read.
But first, this performance. What a great job - the acting was superb, the ensemble work very tight, and a pleasure to watch. A lot of the simple staging is inherent in the script, but this adaptation seemed to flow so smoothly and subtly behind the ongoing dialog and action. For such a large cast, there were no weak points, it was a pleasure watching all speak and perform their assigned parts.
Corpus Christi flits between a high school in modern-day Texas, and 2007 years ago in Galilee. It makes the obvious (yet controversial) analogy between the treatment of homosexuality in Texas, and the oppression that Jesus would (may?) have received in his time. I believe this is the nature of the Christian's upset at the play - is the playwright Terrance McNally suggesting that Jesus was gay? I don't believe he was, I'm happy to believe in the analogy alone. The audience are even told that it's supposed to be a willing suspension of disbelief. And again, at the end of the play they ask again not to be offended; what we have just seen is simply a version, their version of an ancient and often-told story.
The play takes us through the meeting of the disciples, his miracles, the relationship between himself and Judas, right through to the crucifiction.
I love this play. I'm gay, anti-religious, so this play would seemingly have been written just for people like me. I also love theatre, and I also love scripts that ask the audience to suspend their disbelief. Theatre can be so much more powerful than simply an accurate representation of an event - whilst the audience is suspending disbelief that a piece of furniture which started as bleachers at an American football match, can be turned sideways and become the truck of a cab, whilst the audience is working with the cast members, why not ask for a little more? I love scripts like that.
I love this play, because to me, it's pro-faith. Sure, it challenges the notion of organised religion, much in the same way the Kevin Smith film Dogma does, but (I believe) like Dogma, this script has a very pro-faith message. It creates sympathy and understanding for Jesus and his disciples. It looks again at the nature of the relationship between Jesus and Judas, why was his fate sealed with a kiss? Did Jesus want Judas to betray him? Did Judas know what he was doing? Was he a willing patsy for the cult of Jesus? Corpus Christi doesn't seek to answer any of these questions explicitly, it merely presents the story in a different fashion, giving audience members the chance to consider the questions themselves.
This cast does a stirling job with this. You immediately feel part of the ensemble cast as they are mingling in the foyer before the show starts (I didn't realise that until I saw them onstage later), and start the show in such a casual way that your theatrical defenses are down right from the start. The dialogue flows so effortlessly and is a joy to watch. This show will push all your buttons - if you're a die hard homosexual who hates religion, you'll find yourself strangely sympathetic with Jesus' plight. If you're a Christian it'll challenge you to rethink what you thought you knew about the gospells. If this play doesn't affect you in one way or another, you must be dead.
It's my pick for the Fringe, go see it.
Corpus Christi plays at Bedlam Theatre until August 25th.
But first, this performance. What a great job - the acting was superb, the ensemble work very tight, and a pleasure to watch. A lot of the simple staging is inherent in the script, but this adaptation seemed to flow so smoothly and subtly behind the ongoing dialog and action. For such a large cast, there were no weak points, it was a pleasure watching all speak and perform their assigned parts.
Corpus Christi flits between a high school in modern-day Texas, and 2007 years ago in Galilee. It makes the obvious (yet controversial) analogy between the treatment of homosexuality in Texas, and the oppression that Jesus would (may?) have received in his time. I believe this is the nature of the Christian's upset at the play - is the playwright Terrance McNally suggesting that Jesus was gay? I don't believe he was, I'm happy to believe in the analogy alone. The audience are even told that it's supposed to be a willing suspension of disbelief. And again, at the end of the play they ask again not to be offended; what we have just seen is simply a version, their version of an ancient and often-told story.
The play takes us through the meeting of the disciples, his miracles, the relationship between himself and Judas, right through to the crucifiction.
I love this play. I'm gay, anti-religious, so this play would seemingly have been written just for people like me. I also love theatre, and I also love scripts that ask the audience to suspend their disbelief. Theatre can be so much more powerful than simply an accurate representation of an event - whilst the audience is suspending disbelief that a piece of furniture which started as bleachers at an American football match, can be turned sideways and become the truck of a cab, whilst the audience is working with the cast members, why not ask for a little more? I love scripts like that.
I love this play, because to me, it's pro-faith. Sure, it challenges the notion of organised religion, much in the same way the Kevin Smith film Dogma does, but (I believe) like Dogma, this script has a very pro-faith message. It creates sympathy and understanding for Jesus and his disciples. It looks again at the nature of the relationship between Jesus and Judas, why was his fate sealed with a kiss? Did Jesus want Judas to betray him? Did Judas know what he was doing? Was he a willing patsy for the cult of Jesus? Corpus Christi doesn't seek to answer any of these questions explicitly, it merely presents the story in a different fashion, giving audience members the chance to consider the questions themselves.
This cast does a stirling job with this. You immediately feel part of the ensemble cast as they are mingling in the foyer before the show starts (I didn't realise that until I saw them onstage later), and start the show in such a casual way that your theatrical defenses are down right from the start. The dialogue flows so effortlessly and is a joy to watch. This show will push all your buttons - if you're a die hard homosexual who hates religion, you'll find yourself strangely sympathetic with Jesus' plight. If you're a Christian it'll challenge you to rethink what you thought you knew about the gospells. If this play doesn't affect you in one way or another, you must be dead.
It's my pick for the Fringe, go see it.
Corpus Christi plays at Bedlam Theatre until August 25th.
Friday, August 17, 2007
Fringe Review: Songs for a New World
This was my first time seeing this show presented on stage, and to be honest I hadn't really given the soundrack much of a go before, having been given it about a year ago but only played it once or twice.
Songs for a New World is collection of roughly grouped songs, ostensibly about life in America. Probably why I never bothered listening to it much. What actually got me interested in listening to it again was the composer's new work. Jason Robert Brown's show The Last Five Years is absolutely brilliant, so going back to Songs for a New World I can now recognise his style.
In true Fringe style the staging is simple, yet works perfectly for the style of show. Originally written for two men and two women, director Russell Hope has stretched the songs out to a cast of seven. The ensemble work of this company is great, it's a pleasure to watch the cast work together as you can really feel the warmth between them.
There were two standout performances however, unfortunately I don't know their names, but the song was I'd Give It All For You. I'd noticed I enjoyed watching these two people more than the others, so when they had a song together I was quite expectant, and was not let down. They delivered a number far better and more emotional than the CD ever managed to achieve, I was incredibly touched by the chemistry between them; that moment lingered for me long after the show was over.
Other great numbers include a very funny Just One Step and the similar Surabaya-Santa. The girl singing Stars & The Moon has a great voice, she just needs to belt a bit more to bring out her voice. This version certainly does justice to the music, definitely worth seeing.
Songs for a New World plays at Augustine's (lovely church on George IV), Aug 17-27 (except the 20th).
Songs for a New World is collection of roughly grouped songs, ostensibly about life in America. Probably why I never bothered listening to it much. What actually got me interested in listening to it again was the composer's new work. Jason Robert Brown's show The Last Five Years is absolutely brilliant, so going back to Songs for a New World I can now recognise his style.
In true Fringe style the staging is simple, yet works perfectly for the style of show. Originally written for two men and two women, director Russell Hope has stretched the songs out to a cast of seven. The ensemble work of this company is great, it's a pleasure to watch the cast work together as you can really feel the warmth between them.
There were two standout performances however, unfortunately I don't know their names, but the song was I'd Give It All For You. I'd noticed I enjoyed watching these two people more than the others, so when they had a song together I was quite expectant, and was not let down. They delivered a number far better and more emotional than the CD ever managed to achieve, I was incredibly touched by the chemistry between them; that moment lingered for me long after the show was over.
Other great numbers include a very funny Just One Step and the similar Surabaya-Santa. The girl singing Stars & The Moon has a great voice, she just needs to belt a bit more to bring out her voice. This version certainly does justice to the music, definitely worth seeing.
Songs for a New World plays at Augustine's (lovely church on George IV), Aug 17-27 (except the 20th).
Fringe Review: Company
Director Michael Strassen has trimmed the original show down into a tightly packed show, fit for a Fringe audience. I was disappointed to see some numbers passed over (such as Sorry, Grateful, one of my favourites), but you have to expect that otherwise the show is too long for most Fringe audiences.
The show started damn tight - excellent voices, great harmonies and a good balance of voices. The simple staging suited the transitions between couples nicely, and Antonio Mcardle plays the most laidback and comfortable Robert I've seen in years - a great contrast to the couples around him.
Marisa Leigh Boynton brings new laughter to Getting Married Today that is sure to have you in fits, and Maryanne McCormack does a brilliant emotional rendition of The Ladies Who Lunch.
I found myself wanting more guts to Mcardle's Being Alive as he delivers the song from 'underneath' I'd say, much like his characterisation throughout the rest of the show. I love the song so really wanted a lot more to it. It's probably fair enough that it was delivered emotionally rather than as in a concert, but I still wanted more from it.
Overall it's a great show, with no weak links at all, such a great cast!
Company is playing at the C venue in Chambers St, Aug 17 - 27.
Thursday, August 16, 2007
Half-time at the Fringe
Well, it's halfway through the Edinburgh Fringe, and I'm exhausted. Amusingly enough I'm not even halfway through the list of shows I'm seeing this year, but nonetheless it's been so busy.
In addition to Fringe-like activities, I have some new friends in Glasgow that I'm very pleased to have met, it feels like I'm now living the lifestyle I came here to have. I've been to and from Glasgow quite a bit over the last few weeks, and I must say I'm quite attached to the city now. It has wonderful architecture, a fabulous necropolis, good shopping, and well, fun people! My first main trip over there was for the Glasgow River festival, which was a lot of fun. The same weekend I met a ton of new friends, and it's been great since then.
Through one of these new friends, I'm now taking cello lessons. I'd always thought I'd self-teach myself the cello when I was 40+, but as circumstance would have it, the opportunity came up and I'm glad I've taken it. New cello sometime in the next week, and I'm set. Lessons have been great, David (the teacher) is a great guy, and yes of course it helps that he's very cute too. I'm looking forward to buying my cello and spending the hours practicing, I've missed having a musical instrument in my life.
The Fringe has been great so far - I've seen Simon Amstell's show (better than last year), and Songs for a New World (great to finally see it on stage). Last night I saw "The Best of Irish Comedy" which had me in absolute fits. Amusingly, the compere was funnier at times compared to a couple of the acts. He performed a short ditty about his "very minor super powers", which had us asking everyone all night to come up with their own minor super powers. Yet to see is a whole variety of stuff - Corpus Christi, a film, some authors in the Book Festival, another musical, and few more comedians, I feel very proud that I've crammed so much in this time around.
Watching Songs for a New World on Tuesday has made me obsess about the soundtrack again, god it's such good music. It's a nice change to change albums (if not composers), since I've been playing The Last Five Years to absolute death since Annie gave it to me back in June. I'm seeing TLFY next Wednesday so I'd best not play the soundtrack too much between now and then, I don't want to go in expecting the CD and get something different.
Even though I'm loving the Fringe, I am, as mentioned, exhausted. I think I'm doing something just about every night of the week. Tonight I have gym, two Fringe events Friday, more friends visiting for the weekend, shows on Saturday night, playing host Sunday, back to work on Monday, closely followed by yet more shows.
I think part of it is having a full house. Greg has been with me for a few months now, and will be here off and on for a while yet I imagine. Another friend Lindsey has been around since around mid-July. I'll have more guests this weekend, and even more guests the following weekend. It's very hard for me to relax when I have a house full of people. I didn't set out to fill my house with people; it's just happened that way. To top it off, I'm starting to spend some lovely moments with a very sweet guy, it'd be nice to have a bit more personal space around me, and to be a little less exhausted, so I can see where that leads. It's very nice, each time I see him is certainly a highlight.
We went to Roslin together for lunch on the weekend, had a lovely pub meal, and then strolled through the Roslin Chapel, which was better than I thought it was going to be. Dan Brown and thousands of American tourists aside, it's actually a very beautiful chapel in it's own right. It was a lovely relaxed afternoon, followed by dinner and DVDs. Bliss. Relaxing, sweet, and yes, certainly a highlight. I've no idea where it's going, kinda wish I did, but heck, it's lovely for now.
Well, enough for now, I'll attempt to report on some of the stuff I see during the Fringe later on in the month.
In addition to Fringe-like activities, I have some new friends in Glasgow that I'm very pleased to have met, it feels like I'm now living the lifestyle I came here to have. I've been to and from Glasgow quite a bit over the last few weeks, and I must say I'm quite attached to the city now. It has wonderful architecture, a fabulous necropolis, good shopping, and well, fun people! My first main trip over there was for the Glasgow River festival, which was a lot of fun. The same weekend I met a ton of new friends, and it's been great since then.
Through one of these new friends, I'm now taking cello lessons. I'd always thought I'd self-teach myself the cello when I was 40+, but as circumstance would have it, the opportunity came up and I'm glad I've taken it. New cello sometime in the next week, and I'm set. Lessons have been great, David (the teacher) is a great guy, and yes of course it helps that he's very cute too. I'm looking forward to buying my cello and spending the hours practicing, I've missed having a musical instrument in my life.
The Fringe has been great so far - I've seen Simon Amstell's show (better than last year), and Songs for a New World (great to finally see it on stage). Last night I saw "The Best of Irish Comedy" which had me in absolute fits. Amusingly, the compere was funnier at times compared to a couple of the acts. He performed a short ditty about his "very minor super powers", which had us asking everyone all night to come up with their own minor super powers. Yet to see is a whole variety of stuff - Corpus Christi, a film, some authors in the Book Festival, another musical, and few more comedians, I feel very proud that I've crammed so much in this time around.
Watching Songs for a New World on Tuesday has made me obsess about the soundtrack again, god it's such good music. It's a nice change to change albums (if not composers), since I've been playing The Last Five Years to absolute death since Annie gave it to me back in June. I'm seeing TLFY next Wednesday so I'd best not play the soundtrack too much between now and then, I don't want to go in expecting the CD and get something different.
Even though I'm loving the Fringe, I am, as mentioned, exhausted. I think I'm doing something just about every night of the week. Tonight I have gym, two Fringe events Friday, more friends visiting for the weekend, shows on Saturday night, playing host Sunday, back to work on Monday, closely followed by yet more shows.
I think part of it is having a full house. Greg has been with me for a few months now, and will be here off and on for a while yet I imagine. Another friend Lindsey has been around since around mid-July. I'll have more guests this weekend, and even more guests the following weekend. It's very hard for me to relax when I have a house full of people. I didn't set out to fill my house with people; it's just happened that way. To top it off, I'm starting to spend some lovely moments with a very sweet guy, it'd be nice to have a bit more personal space around me, and to be a little less exhausted, so I can see where that leads. It's very nice, each time I see him is certainly a highlight.
We went to Roslin together for lunch on the weekend, had a lovely pub meal, and then strolled through the Roslin Chapel, which was better than I thought it was going to be. Dan Brown and thousands of American tourists aside, it's actually a very beautiful chapel in it's own right. It was a lovely relaxed afternoon, followed by dinner and DVDs. Bliss. Relaxing, sweet, and yes, certainly a highlight. I've no idea where it's going, kinda wish I did, but heck, it's lovely for now.
Well, enough for now, I'll attempt to report on some of the stuff I see during the Fringe later on in the month.
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