TRAGEDY OR COMEDY?
We were walking along Princes Street today, after grabbing a bit of shopping, and found it increasingly difficult to get through the crowds on the pavement. Now this is Edinburgh, in August, the Festivals are still running at full speed, and one of our major shopping streets is always going to be busy in the early afternoon. But this was different, people stopping dead in their tracks and looking to the sky - and a bit of sunshine in Scotland isn't quite as rare as rumour would have it so it wasn't just the shock of that big yellow thing being there.
The centre point of all the attention was the top of the Scott Monument where a man was hanging on to the outside of the topmost viewing platform. Down below the police had cordoned off the surrounding area, up top one of their number was there, doing his best to convince the man not to jump.
A tragic situation, and not without precedent at this landmark. No surprise then that people would at least want to take a quick look and confirm the situation with their own eyes. But what are you hoping to gain from standing there watching it all unfold? Hopefully the relief of seeing the man climb back to safety.
But what were all those people doing pointing their phones skywards, taking photos of the incident? With so many people now displaying a constant need to share their every movement on social media, how many of these photos were then winging their way on to Facebook or Instagram or Twitter? And why? Is this how ghoulish we've become?
Later on I heard the good news that the poor man had been persuaded to come back inside and was brought back down to earth.
For us personally there was the irony of coming across this scenario after recently seeing a Fringe show that had at it's heart a decision on whether or not to commit suicide. I can only hope that the man today manages to find his own reasons to live just like our comedian did.
Thursday, 27 August 2015
Sunday, 9 August 2015
How to laugh at a Fringe show
HOW TO LAUGH AT THE FRINGE
It's been a few years since we got to one, but we were in the audience for several recordings of the classic Radio Four comedy series, I'm Sorry I Haven't a Clue. In his introductory remarks the producer always tells the crowd that there may be times when you hear one of the panel say something and you're not sure if it's funny or not. If this happens, give them the benefit of the doubt....
Of course he wants us to do this so there's a good laughter track for the radio show, audience reaction being a critical element in a decent aural comedy. (The cynic in me thinks it's also to save a bit of extra work in the editing....) Plus it's true that the more you laugh, the more likely you are to continue laughing, and the noise gives added inspiration to the comedians themselves, a true virtuous circle.
Much the same applies to being in a Fringe audience, and even more so if the number of you sitting facing the person behind the mike has failed to climb above single figures. So there are two types of laughter you need to have ready. There's the genuine, just-can't-stop-myself, hilarity induced laugh. The one you go to comedy shows to experience, the one that releases all those lovely endorphins and gives you a high, the one that results in you walking out of the room clutching your chest because it hurt so much to laugh.
Then there's the other kind. The benefit-of-the-doubt kind. When you can see that the person up there is really, really trying and just needs a bit of encouragement to get into their funnybone rhythm. When you can feel that something went a bit amiss with the joke but it really could have been good enough. When you can't help but like them even though they're not making you laugh. When it gets so bad you just have to laugh out loud to try and get through it....
And if the total of number one type laughs exceeds the number twos then you're laughing. But too many number twos, as with other areas in life, is a sign all is not well.
So far so good for our Fringe to date. Only one show so far where the number twos threatened to overwhelm the ones (that may be an image you won't want to dwell on), and even that had enough moments to feel like it had been just about enjoyable enough. Tonight we know not what laughing challenge we face. The comedian approached us a couple of days ago, we got chatting, and she said we were just the kind of 'jolly people' she needed at her show when the reviewers were in. (Yes, I do know she says that to everyone, but, hey, we got a free ticket. And we're easily flattered.) In return for the ticket we are there to give her a few number twos and help loosen up the audience, in case they are one of those crowds that feel they need permission to laugh. We're there to give our friendly comic a boost when she hears our amusement at her lines. We're there because - did I mention the free ticket?
Will it be a show dominated by twos or ones? You can find out when I write my review on here later today.
It's been a few years since we got to one, but we were in the audience for several recordings of the classic Radio Four comedy series, I'm Sorry I Haven't a Clue. In his introductory remarks the producer always tells the crowd that there may be times when you hear one of the panel say something and you're not sure if it's funny or not. If this happens, give them the benefit of the doubt....
Of course he wants us to do this so there's a good laughter track for the radio show, audience reaction being a critical element in a decent aural comedy. (The cynic in me thinks it's also to save a bit of extra work in the editing....) Plus it's true that the more you laugh, the more likely you are to continue laughing, and the noise gives added inspiration to the comedians themselves, a true virtuous circle.
Much the same applies to being in a Fringe audience, and even more so if the number of you sitting facing the person behind the mike has failed to climb above single figures. So there are two types of laughter you need to have ready. There's the genuine, just-can't-stop-myself, hilarity induced laugh. The one you go to comedy shows to experience, the one that releases all those lovely endorphins and gives you a high, the one that results in you walking out of the room clutching your chest because it hurt so much to laugh.
Then there's the other kind. The benefit-of-the-doubt kind. When you can see that the person up there is really, really trying and just needs a bit of encouragement to get into their funnybone rhythm. When you can feel that something went a bit amiss with the joke but it really could have been good enough. When you can't help but like them even though they're not making you laugh. When it gets so bad you just have to laugh out loud to try and get through it....
And if the total of number one type laughs exceeds the number twos then you're laughing. But too many number twos, as with other areas in life, is a sign all is not well.
So far so good for our Fringe to date. Only one show so far where the number twos threatened to overwhelm the ones (that may be an image you won't want to dwell on), and even that had enough moments to feel like it had been just about enjoyable enough. Tonight we know not what laughing challenge we face. The comedian approached us a couple of days ago, we got chatting, and she said we were just the kind of 'jolly people' she needed at her show when the reviewers were in. (Yes, I do know she says that to everyone, but, hey, we got a free ticket. And we're easily flattered.) In return for the ticket we are there to give her a few number twos and help loosen up the audience, in case they are one of those crowds that feel they need permission to laugh. We're there to give our friendly comic a boost when she hears our amusement at her lines. We're there because - did I mention the free ticket?
Will it be a show dominated by twos or ones? You can find out when I write my review on here later today.
Thursday, 6 August 2015
Let down at not being let down by the Fringe
DISAPPOINTED AT NOT BEING DISAPPOINTED
Partly as a hobby, partly as a bit of a challenge, I decided, earlier this year, that I'd have a go at writing a review of every gig, show, play and film I go to, and post them on my other blog. Knowing that, once August arrived, I would be committing myself to a fair bit of 'work'.
There's no pretence I have any degree of expertise in any of the fields I'm critiquing, these are just my views on what I've seen. I've tried to be as honest as possible, even if that meant being heavily critical of someone I might like as a person. If just a few people find one of these posts helps point them towards something new they'll enjoy, or helps them avoid something awful, then I'll feel it's been of use.
So it's important that I do reflect the negative as well as the positive. Nobody is going to place any trust in a review blog that simply heaps praise on each and every event covered. Last night I wrote about Nina Conti, a show that was hilarious overall, but had a couple of weak spots and I made sure I mentioned them too.
But what to write on a day like today. Three shows, three great experiences, three I'd happily see again. I can make minor carping noises about one, because it was the first performance and clearly it needed a little more familiarity, but that will be there within days. Otherwise.... it was all just bloody brilliant. Honest.
Roll on the day when I see something a bit shit again and I can regain some credibility.
What a fabulous day,
All warm and sunny,
Three great shows,
They were all very funny
Though I would look better
And less of a tit
If even one
Had been just a bit shit
Partly as a hobby, partly as a bit of a challenge, I decided, earlier this year, that I'd have a go at writing a review of every gig, show, play and film I go to, and post them on my other blog. Knowing that, once August arrived, I would be committing myself to a fair bit of 'work'.
There's no pretence I have any degree of expertise in any of the fields I'm critiquing, these are just my views on what I've seen. I've tried to be as honest as possible, even if that meant being heavily critical of someone I might like as a person. If just a few people find one of these posts helps point them towards something new they'll enjoy, or helps them avoid something awful, then I'll feel it's been of use.
So it's important that I do reflect the negative as well as the positive. Nobody is going to place any trust in a review blog that simply heaps praise on each and every event covered. Last night I wrote about Nina Conti, a show that was hilarious overall, but had a couple of weak spots and I made sure I mentioned them too.
But what to write on a day like today. Three shows, three great experiences, three I'd happily see again. I can make minor carping noises about one, because it was the first performance and clearly it needed a little more familiarity, but that will be there within days. Otherwise.... it was all just bloody brilliant. Honest.
Roll on the day when I see something a bit shit again and I can regain some credibility.
What a fabulous day,
All warm and sunny,
Three great shows,
They were all very funny
Though I would look better
And less of a tit
If even one
Had been just a bit shit
Saturday, 1 August 2015
It's August, in Edinburgh, I'm excited.
WITH ONLY DAYS TO GO....
I first started going to Fringe shows back in 1974. Sadly my long sojourn down south means that it didn't become the annual event I'd have loved it to be, but I've been to a fair number of shows over the decades, and the number has increased greatly since we retired. Last year we hit sixty events, of one sort or another, over the three weeks. But instead of getting blasé about the whole thing I find myself feeling just as excited as ever that August is finally here and our first shows are just a few days away.
Of course the posters have been going up, and the physical preparation of the city taking place, for a few weeks now. So the sense of anticipation starts to grow as the face of Edinburgh slaps on the makeup and gets ready to prostitute itself to the masses once more. Many residents hate it of course, for the huge disruption it brings to their daily lives. And the killjoy tendency has always had a strong Calvinist following up here. I have never been one of them and, despite the over-commercialisation that is synonymous with the twisted society we find ourselves in, still find myself childishly delighted at the prospect of three weeks of shows, fliers and confused looking crowds.
The planning of our Fringe is largely complete, with thirty shows booked so far, plenty of Free Fringe shows still to be slotted into the schedule, and a list of 'possible' to fill in those free moments. Just to make it interesting we have three different groups of people coming to stay with us at various times. But they can find their own shows to go to....
So what do I find myself looking forward to the most? Inevitably there are a few old reliable favourites we'll be back to see again, and who I know won't be a disappointment. That includes just a few names who people might know off telly or radio. And topping that list has to be Mark Thomas. Every year he comes up with something new, something brilliant, that's moving, funny, meaningful, funny, thought provoking and funny. To us he's become unmissable.
I'm excited to be going back to see Stewart Lee, because there's nobody else quite like him as a storyteller, or at highlighting simple truths in a new framework. Plus he despises ukip, so he's definitely one of the good guys.
There are also a few less well known acts that we've been to see before and wouldn't consider not returning to. Austentatious put on an improvised play based on a spoof Jane Austen title put forward by a member of the audience. Obviously they must have some stock routines and situations to fall back on and form the core of that day's production, but it's still impressive the way they take a title they've never heard of before and carry it through the hour. And very funny, especially when things go a bit wrong.
Also the same but different, we'll be back to see Tourette's Hero, aka Jess Thom, delivering Backstage in Biscuit Land. Even if the basic outline of the show won't have changed much Jess' condition guarantees it can never be the same show twice. A major highlight of our 2014 Fringe.
And then there's the Return of the Danish Bagpipe Comedian, one Claus Reiss, with a title that describes exactly what and who he is, and yet manages to still be more eye catching than the myriad contrived names on offer. Lovely guy too. As is Chris Coltrane and sharply political , the Free Fringe answer to Mark Thomas.
And then there's Aidan Goatley. Or as he's also known, Aidan Who? Renowned on the Fringe as the man who is bringing back the same show for the fifth year running. Which either indicates a very serious lack of imagination, or a show that audiences mysteriously fall in love with. It may help that 10 Films With My Dad is a pretty good title. Or that he keeps getting excellent reviews for it, and even invited to put it on in various parts of the globe. But he has promised (again) that this will be it's final year of life. Quite right too, or he may find himself featured in The Archers. He's got another show too, something about goats. Anyone not like goats? Seriously though, he's a lovely man, very funny, and if you don't go and see him (twice) then it's only yourself you're fooling.
I'm also excited about some shows by people who will be entirely new to us. Hannah and Hanna looks like an intriguing take on bigotry and racism in Britain, rather timely given the baying headlines of the media in blowing up events in Calais. Barluath are a band we haven't come across before and look good on YouTube. Last year we were delighted to discover the fabulous Dallahan at the same venue, so here's hoping we are similarly impressed. And Hotel Paradiso is something a bit different, a masked theatrical performance from Germany that looks like providing a sophisticated form of slapstick.
Oh, and George Egg, a man who cooks a meal using items that can be found in a hotel room, and Simon Caine who has another one of these intriguing titles which may or may not be reflected in reality. Anyway, I've just been talking to him on Facebook so I couldn't really leave him out. No pressure Simon.
Finally, there's an aspect of 2014 I'll miss. With only weeks to go before the fateful date of 18 September the Fringe featured several shows giving some take on the referendum to come. We saw several great Indy themed shows, all with a strong Yes bent. That's in the past, but two of the artists we saw dealing with the subject last year, Bruce Fummey and Vladimir McTavish, have shows in which they explore the history of our country and how that reflects on our present. The independence theme is still alive and well....
Roll on Wednesday and out first show. Just need to complete a bit more stamina work first.
PS I'll be attempting to post a review of every show I go to on my other blog so if you're coming to Edinburgh this month and want to know what I've seen that's good, or bad, then do give me a follow. I'll also be posting links to the reviews on my Facebook and Twitter accounts.
I first started going to Fringe shows back in 1974. Sadly my long sojourn down south means that it didn't become the annual event I'd have loved it to be, but I've been to a fair number of shows over the decades, and the number has increased greatly since we retired. Last year we hit sixty events, of one sort or another, over the three weeks. But instead of getting blasé about the whole thing I find myself feeling just as excited as ever that August is finally here and our first shows are just a few days away.
Of course the posters have been going up, and the physical preparation of the city taking place, for a few weeks now. So the sense of anticipation starts to grow as the face of Edinburgh slaps on the makeup and gets ready to prostitute itself to the masses once more. Many residents hate it of course, for the huge disruption it brings to their daily lives. And the killjoy tendency has always had a strong Calvinist following up here. I have never been one of them and, despite the over-commercialisation that is synonymous with the twisted society we find ourselves in, still find myself childishly delighted at the prospect of three weeks of shows, fliers and confused looking crowds.
The planning of our Fringe is largely complete, with thirty shows booked so far, plenty of Free Fringe shows still to be slotted into the schedule, and a list of 'possible' to fill in those free moments. Just to make it interesting we have three different groups of people coming to stay with us at various times. But they can find their own shows to go to....
So what do I find myself looking forward to the most? Inevitably there are a few old reliable favourites we'll be back to see again, and who I know won't be a disappointment. That includes just a few names who people might know off telly or radio. And topping that list has to be Mark Thomas. Every year he comes up with something new, something brilliant, that's moving, funny, meaningful, funny, thought provoking and funny. To us he's become unmissable.
I'm excited to be going back to see Stewart Lee, because there's nobody else quite like him as a storyteller, or at highlighting simple truths in a new framework. Plus he despises ukip, so he's definitely one of the good guys.
There are also a few less well known acts that we've been to see before and wouldn't consider not returning to. Austentatious put on an improvised play based on a spoof Jane Austen title put forward by a member of the audience. Obviously they must have some stock routines and situations to fall back on and form the core of that day's production, but it's still impressive the way they take a title they've never heard of before and carry it through the hour. And very funny, especially when things go a bit wrong.
Also the same but different, we'll be back to see Tourette's Hero, aka Jess Thom, delivering Backstage in Biscuit Land. Even if the basic outline of the show won't have changed much Jess' condition guarantees it can never be the same show twice. A major highlight of our 2014 Fringe.
And then there's the Return of the Danish Bagpipe Comedian, one Claus Reiss, with a title that describes exactly what and who he is, and yet manages to still be more eye catching than the myriad contrived names on offer. Lovely guy too. As is Chris Coltrane and sharply political , the Free Fringe answer to Mark Thomas.
And then there's Aidan Goatley. Or as he's also known, Aidan Who? Renowned on the Fringe as the man who is bringing back the same show for the fifth year running. Which either indicates a very serious lack of imagination, or a show that audiences mysteriously fall in love with. It may help that 10 Films With My Dad is a pretty good title. Or that he keeps getting excellent reviews for it, and even invited to put it on in various parts of the globe. But he has promised (again) that this will be it's final year of life. Quite right too, or he may find himself featured in The Archers. He's got another show too, something about goats. Anyone not like goats? Seriously though, he's a lovely man, very funny, and if you don't go and see him (twice) then it's only yourself you're fooling.
I'm also excited about some shows by people who will be entirely new to us. Hannah and Hanna looks like an intriguing take on bigotry and racism in Britain, rather timely given the baying headlines of the media in blowing up events in Calais. Barluath are a band we haven't come across before and look good on YouTube. Last year we were delighted to discover the fabulous Dallahan at the same venue, so here's hoping we are similarly impressed. And Hotel Paradiso is something a bit different, a masked theatrical performance from Germany that looks like providing a sophisticated form of slapstick.
Oh, and George Egg, a man who cooks a meal using items that can be found in a hotel room, and Simon Caine who has another one of these intriguing titles which may or may not be reflected in reality. Anyway, I've just been talking to him on Facebook so I couldn't really leave him out. No pressure Simon.
Finally, there's an aspect of 2014 I'll miss. With only weeks to go before the fateful date of 18 September the Fringe featured several shows giving some take on the referendum to come. We saw several great Indy themed shows, all with a strong Yes bent. That's in the past, but two of the artists we saw dealing with the subject last year, Bruce Fummey and Vladimir McTavish, have shows in which they explore the history of our country and how that reflects on our present. The independence theme is still alive and well....
Roll on Wednesday and out first show. Just need to complete a bit more stamina work first.
PS I'll be attempting to post a review of every show I go to on my other blog so if you're coming to Edinburgh this month and want to know what I've seen that's good, or bad, then do give me a follow. I'll also be posting links to the reviews on my Facebook and Twitter accounts.
Wednesday, 29 July 2015
Of Salmond and Corbyn
POLITICS FOR PEOPLE WHO DON'T UNDERSTAND POLITICS
I'm back to having a rant again, this time about two aspects of current political discourse which are really getting my goat.
Yes, Alex Salmond did, quite clearly, say that last year's Indy Referendum was a 'once in a lifetime opportunity'. A fact which gets trotted out by unionists again and again as evidence that there should be no further reference to the matter for at least twenty five years, and that Salmond and other SNP leaders suggesting a further Indyref appears inevitable within a much shorter timescale shows them out to be the most pernicious of liars and totally untrustworthy.
How many of those same people have been quick to condemn David Cameron for stating that there will be no Indyref before 2020, despite Ruth Davidson saying, in the run up to GE2015, that she had consulted with her Westminster leader and could say categorically that the possibility of a future referendum would not be ruled out at any point? Do I here shouts of "liar, liar" from those self same unionists? Apparently not.
It turns out that politicians, whenever they are seeking our votes, will often indulge in a practice known as 'hyperbole'. Leading to, post ballot, another phenomena known as 'broken promises'. Apparently politicians, and not just from the SNP, have been found exaggerating a wee bit, or even telling outright porkies, just to convince us to vote the way they'd like us to. Who knew, eh?
So maybe it's best if people try not to draw too deep an inference from a single sentence uttered up by a single politician on one particular single occasion. Because if that's how you gather evidence to back up your opinions then there's a fair chance that you'll end up sounding like a complete arse.
And on to rant part two, again focusing on a phrase that seems to be doing the rounds of all those with a singular fixation. In this case, on the electoral chances of one Jeremy Corbyn. The man who has been the surprise hit of the Labour leadership campaign, despite having been included either to demonstrate the breadth of opinion within the party, or as a token to keep the more left thinking elements in their place.
But Corbyn and his supporters haven't read the carefully prepared neoliberal script that was supposed to anoint the coming of the second Blair. Far from being the token entry he has suddenly become the bookies favourite to win, and the Red Tory faction of the party are furious. "Corbyn is unelectable" they say, appearing to forget that he's looking a strong possibility to win this thing they're having called an election....
But no, this time they mean he couldn't lead the party majority in a Westminster election, because he's too 'left wing' for the electorate. And here's the bit that inspired this rant. "Look what happened in '83" they'll say - that proves it. Really? So '83, '83, '83 is being trotted out everywhere.
If a week is a long time in politics what does that make three decades? The world is a very different place to the one that saw off Michael Foot. Who, even five years ago, would have predicted the rise of Syriza and Podemos? Who, less than twelve months ago, would have predicted the landslide SNP victory in May which returned the 56 MPs who appear to be having to act as the opposition in Westminster, since Labour have all but given up?
The SNP campaigned on anti-austerity platform, similar to Mr Corbyn, and did very. very well out of it, thank you very much. To the point where there were many voters in England wished they had the chance to vote for the party. And let's not forget who was the star of the party leaders' debates, and the only one of the bunch to have positive personal approval ratings going into the election. One Nicola Sturgeon of course. OK, so Jeremy may lack the First Minister's charisma, but much of the public would warm to a conviction politician who knows what direction he wanst to take and speaks up on behalf of the oppressed classes.
If Corbyn is genuinely unelectable it isn't because of his policies. A huge proportion of the population support rail renationalisation for instance. No, the real enemy he would be fighting isn't voter opinion as such. It's the ways in which that opinion will be twisted against him by an almost entirely right wing press. I couldn't put it any better than Frankie Boyle does : "It’s worth remembering that in the press, public opinion is often used interchangeably with media opinion, as if the public was somehow much the same as a group of radically right wing billionaire sociopaths."
You can see it happening already. Even the Guardian feels a need to mention that Corbyn has been seen wearing a 'Lenin Cap'. Wasn't that the same cap the Beatles wore on an early album cover? Why isn't it a Beatles cap? Or, more to the point, what's his bloody cap, whatever shape it might be, got to do with his politics? Nothing is the answer, so why does it get a mention? Because sneaking in words like Lenin or Marx, however inappropriate the context, is the media version of going "look out or the bogeyman will get you" and hoping the children are scared into being good. Except that we're supposed to be the children....
If Jeremy Corbyn is considered unelectable, as they put it, doesn't that highlight the most serious flaw in our political process? The main stream media is the greatest democratic deficit we face. In Scotland that's been partially overcome through the development of online news and opinion sources that cover a wider spectrum of views. England could do with much the same.
Turns out this rant had three targets to go for!
Saturday, 25 July 2015
Creative by proxy.
THE VICARIOUS LIFESTYLE
Try, try and try again.
Or, alternatively.
Recognise your limitations.
Ambition versus pragmatism, desire placed against common sense, devil may care or down to earth?
I sometimes think that it's a shame I never got the chance to take any music lessons at school. Maybe I'd have unlocked a talent that has, instead, now been dormant for decades. And then I remember my efforts to learn musical instrument. Several efforts, over several years. And I know you can't describe as 'dormant' something which doesn't exist.
The sad fact is that, no matter how much I might try, no matter how much I might want it to be true, I could no more be a musician than Dudley Moore's one legged man could have landed the role of Tarzan. (With apologies to younger readers....)
I did spend several years treading the boards, putting myself in front of audiences and pretending to be someone else. I quite liked appearing as someone, anyone, else, because they were usually an improvement on who I felt I was. There were plenty of roles I took on, even the occasional lead. But small amateur dramatic groups are always notoriously short of youngish men, so my successes were largely by default. When I later joined a much larger group, playing to much larger crowds, the bigger parts were suddenly that bit less available to me. I could blame the fact that I was no longer one of the youngsters, as middle age suddenly seemed imminent, but I know that's not the reason. I simply wasn't good enough. Competent, reasonably reliable at this level, but that was it. Recognise your limitations.
I enjoy writing (or why else would I be sticking these posts up in public?). Far more than was the case with music, I have made countless efforts to turn myself into the writer my imagination tells me I could be. Deserve to be, if I'm having a good day. Creative writing courses came and went. The search for subject matter has ebbed and flowed like the tides down in Newhaven Harbour. There have been countless beginnings, the occasional middle, and hardly a single ending. And those felt imposed rather than natural. If I open up the folder with stories I've begun and never completed there's a lot of scrolling through screens to do.
I can manage to knock out a reasonable bit of comic poetry for special occasions when required. Very much written to be spoken rather than read though. It made an amusing alternative to the usual boring speeches and contrived jokes that other managers delivered at leaving dos and the like. (I had plenty of contrived jokes too, but you can get away with them when they rhyme!) But personalised poems are dead and buried after their one-off performance.
Visual arts? Ha, ha, not a chance. Even my stick men look as if they have life threatening injuries.
No, I have come to accept that I am not, despite wishes to the contrary, a truly creative person. Which is why living in Edinburgh is such a compensation. If you can't be creative yourself, the next best thing is to satisfy your craving watching people who are genuinely talented. I have become the vicarious creative.
From house concerts to folk clubs to concert venues to theatres to comedy clubs to street acts of all kinds. Not to mention the galleries and arthouse cinemas. There's something going on here all through the year and I intend to make the most of it. Compensation (for being me?).
Then there's the chance to overdose every once in a while. So many events surrounding Xmas and, especially, New Year. The Leith Festival. The International Film Festival. The Meadows Festival. The Jazz & Blues Festival. And, starting in just a couple of weeks from now, the biggest arts festival on the planet.
I might not be creative, but I can create my own happiness from those who are.
From house concerts to folk clubs to concert venues to theatres to comedy clubs to street acts of all kinds. Not to mention the galleries and arthouse cinemas. There's something going on here all through the year and I intend to make the most of it. Compensation (for being me?).
Then there's the chance to overdose every once in a while. So many events surrounding Xmas and, especially, New Year. The Leith Festival. The International Film Festival. The Meadows Festival. The Jazz & Blues Festival. And, starting in just a couple of weeks from now, the biggest arts festival on the planet.
I might not be creative, but I can create my own happiness from those who are.
Thursday, 23 July 2015
Climbing on to the wagon?
WHAT'S THE PROBLEM WITH ALCOHOL?
There are a lot of different answers to that question of course. The addiction, the violence, the loutish behaviour, liver damage. All sorts of reasons why alcohol is a problem in our society, all sorts of reasons for regarding it with suspicion.
Despite which it has always played a reasonably significant role in my life. Not a major role, but I've come to enjoy a decent wine, developed a taste for real ale, have often been tempted by a wee dram in the evening. Without alcohol I often feel I would barely function at social occasions. It's been important occasionally, even something of a crutch during a stressful period at work in '99, and has always been around, to some degree or other.
That's now changed, to the point where I almost find it hard to enjoy drinking. This change has only come about this year, and the extent to which I have altered my habits surprises me. It began with the gout. There have been two attacks this year, both early on.
The first was by far the worst, especially as, at the time, I didn't know what the problem was, or how to treat it. Eight days housebound, a week walking with a stick, a further week with a limp that gradually faded away. Three weeks of not being myself, not having the mobility I usually take for granted. And uncertainty over the cause.
I had recovered sufficiently just in time to drive down to Southport for three nights, although pressing the clutch pedal still hurt a bit. The limp only vanished while we were down there. On the first night we ate at the house of friends, and plenty of wine was consumed. The next night we went to the gig that had brought us down there in the first place. A couple of beers with dinner, a couple at the gig itself, and a couple with the band after the show. It was the last occasion this year (and possibly ever?) when I felt a bit pissed.
On the final night we went a house warming party, but I was aware I had the long drive back the next day and limited myself to three beers. So I stayed reasonably sober, especially as there was plenty to eat, and was ready to come home.
The drive back was fine. But the now recognisable symptoms returned the next day. This attack wasn't as bad as the first, but I was still housebound, forced to sit with my foot raised, for three days.
Then I got myself to the doctor for the results of my blood test, and went complete with walking stick and pronounced limp. He told me that I almost certainly had gout, explained what that involved, what can cause it, and how to treat it. I then spent a lot of time on the web reading as much as I could about the condition.
For all that it's been know about for centuries, there seems to be very little in the way of scientific knowledge about living with the ailment. It's caused by a build up of uric acid in the body. When that gets too much for the system to deal with it crystallises, usually in the toes and feet, which can result in a lot of pain. And, potentially, if left untreated, a lot of damage to joints.
So what's the treatment? The one thing that science does know is that dehydration is the great enemy. Drink water, drink water, drink water. Then pee out that intake and it's the urination which is lowering the uric acid levels in the body. So I went on a new regime. Drink at least five pints of water per day. Doesn't sound a lot, but it certainly is when taken day after day. Since I began I've maybe only had one or two nights where I've managed to sleep through for five hours or more. Most nights I'm up between three and four am, desperate to relieve my bladder. But that seems a small price to pay compared to what could happen. I'll do whatever I can to avoid any more attacks. They're not only painful, they're bloody inconvenient when you're trying to get out and enjoy life!
So I've followed some of the anecdotal web suggestions as well. Cherry juice, nutmeg and red fruits feature more prominently in my diet (fortunately all things I like). I've cut back on red meat, tried to limit my offal intake, and generally avoid most seafood (although it's scallops which are reputed to be the worst).
And I cut back, drastically, on having the worst possible thing to take when you want to avoid dehydration - alcohol. I have no way of proving it, but it felt like those three nights in a row spent drinking may have been at least partially responsible for that second attack.
So I take my water and I stay off the booze. I've never had a whisky since then, and even though the thought crosses my mind from time to time it never forces itself upon me to the extent that I give in and have a dram. My wife likes the odd glass of wine with some meals, so I join her in a drop. But I have the smaller glass, I fill it less, and sip slowly. Because I'm always drinking water as well, so there's less need to go swilling it down in the way I would have done only a few months ago.
If I do have a pint when I'm out it's now always accompanied by a pint of water. And, having already been drinking water throughout the day, that's enough to fill me up. The only time I've managed more was in a pub in London when we were drinking with friends. And there I struggled to finish off three pints - as much as anything because that meant three pints of water as well....
When Barbara is away I no longer treat myself to the occasional pint in a pub, or a gin and tonic at home. When I go to House Ggigs I no longer take any beer along. When we do have wine I find myself less and less able to drink it. On succeeding days I avoid it, which has sometimes meant a bottle lasting three days. Unheard of in the old days (of 2014....) when I doubt an opened bottle would ever last three hours.
I stop drinking it for several reasons. Obviously I want to avoid any risk that I wake up with a painful foot. But I am also finding that, because my intake has reduced so greatly, I get light headed that much quicker, and it's no longer a feeling I like. But the biggest change, one that is worrying considering how much wine remains in the rack and the number of bottles in the cupboard behind me, is that I no longer actively enjoy drinking.
It's OK with food. But as soon as the meal is over I find it hard to continue. It doesn't even taste nice. Tonight I served up the final bottle of what has been my favourite wine for several years, Petillant de Syrah. It tasted good. To start with. I didn't drink it at the rate I used to (when it almost went down like water), and once the food was gone I found I was actually having to force myself to drink it. The taste no longer pleases me.
Is this a permanent state? It's hard to imagine otherwise, because I suspect I'm going to remain on this five pints of water a day lark for the rest of my life. Unless I get a blood test result that says I'm 'cured - but I'm not sure if such a thing is actually possible.
What a peculiar outcome to an illness.
Sunday, 19 July 2015
Saxophone fail?
CITY OF FESTIVALS, CITY OF RAIN
Following on from yesterday's Mardi Gras, today saw the Festival Parade come down The Mound to a Princes Street lined with spectators. Although we've already had the Film Festival, and the Jazz Festival has just got under way, this event is a kind of marker to recognise the Festival season in the city. With the big one just a few weeks away now.
The colourful line up took about forty minutes to shimmy past our viewing spot, and included drumming bands, samba bands, jazz bands, dancers, acrobats, a lengthy Chinese dragon and an aggressive looking bunch in lemon pyjamas. All ages were included and it had a strong community feel to the activities. Spectacular colours in costumes and make up, flamboyance a given, even a bit of decent music thrown in. And if some of the costumes had an amateurish feel to them that only added to the sense that this was an event that people wanted to be a part of, not just some marketing person's notion of a good time.
Best of all, the event began in strong sunshine, succumbed to a bit of crowd cover, but with no hint of rain. Yet.
For the rest of the afternoon we planned to take in some of the free outdoor jazz available around town. In the Grassmarket we came across a raucous young band playing a mix of jazz, latin, ska and rock and roll. Rumba de Bodas are a seven piece Italian group fronted by a Mediterranean version of Imelda May. What a fabulous strong voice.
A rocking good time under the shadow of the castle was spoiled a bit by arrival of a few drops of rain. Swiftly followed by a downpour. The trees provided a bit of cover, but not enough and much of the crowd headed for the pubs and cafes around. The band saw through their set, but further acts were denied their opportunity. Probably a wise move with all that electrical gear and only a flimsy canopy over the stage.
Still it was fun while it lasted, and it had felt a bit too hot earlier on - there were ginger locals in peril from that burny yellow thing in the sky. So a bit of refreshment was probably overdue. This city likes to provide a good mix of everything.
Following on from yesterday's Mardi Gras, today saw the Festival Parade come down The Mound to a Princes Street lined with spectators. Although we've already had the Film Festival, and the Jazz Festival has just got under way, this event is a kind of marker to recognise the Festival season in the city. With the big one just a few weeks away now.
The colourful line up took about forty minutes to shimmy past our viewing spot, and included drumming bands, samba bands, jazz bands, dancers, acrobats, a lengthy Chinese dragon and an aggressive looking bunch in lemon pyjamas. All ages were included and it had a strong community feel to the activities. Spectacular colours in costumes and make up, flamboyance a given, even a bit of decent music thrown in. And if some of the costumes had an amateurish feel to them that only added to the sense that this was an event that people wanted to be a part of, not just some marketing person's notion of a good time.
Best of all, the event began in strong sunshine, succumbed to a bit of crowd cover, but with no hint of rain. Yet.
For the rest of the afternoon we planned to take in some of the free outdoor jazz available around town. In the Grassmarket we came across a raucous young band playing a mix of jazz, latin, ska and rock and roll. Rumba de Bodas are a seven piece Italian group fronted by a Mediterranean version of Imelda May. What a fabulous strong voice.
A rocking good time under the shadow of the castle was spoiled a bit by arrival of a few drops of rain. Swiftly followed by a downpour. The trees provided a bit of cover, but not enough and much of the crowd headed for the pubs and cafes around. The band saw through their set, but further acts were denied their opportunity. Probably a wise move with all that electrical gear and only a flimsy canopy over the stage.
Still it was fun while it lasted, and it had felt a bit too hot earlier on - there were ginger locals in peril from that burny yellow thing in the sky. So a bit of refreshment was probably overdue. This city likes to provide a good mix of everything.
Saturday, 18 July 2015
Saxophones keep the rain at bay
NEW ORLEANS COMES TO EDINBURGH
Yesterday (the 17th) the 2015 Edinburgh Jazz & Blues Festival began, and it runs until 26th July. Today the Grassmarket was turned over to the Mardi Gras, a three hour celebration of music.
Despite forecasts of storms across Scotland the event was favoured with near ideal conditions. A stiff breeze kept the clouds scudding across the skies, giving long spells of blue and plenty warmth. The thousands who turned up could be entertained and sunned simultaneously.
Three stages and a marching band area made for plenty choice, as did the variety of musical styles on offer. My favourite were a group of fruitcake Italians who played with the crowd, got them involved, and provided almost as much laughter as foot tapping.
And the whole event was covered by one of my favourite words. Free.
Yesterday (the 17th) the 2015 Edinburgh Jazz & Blues Festival began, and it runs until 26th July. Today the Grassmarket was turned over to the Mardi Gras, a three hour celebration of music.
Despite forecasts of storms across Scotland the event was favoured with near ideal conditions. A stiff breeze kept the clouds scudding across the skies, giving long spells of blue and plenty warmth. The thousands who turned up could be entertained and sunned simultaneously.
Three stages and a marching band area made for plenty choice, as did the variety of musical styles on offer. My favourite were a group of fruitcake Italians who played with the crowd, got them involved, and provided almost as much laughter as foot tapping.
And the whole event was covered by one of my favourite words. Free.
Friday, 17 July 2015
Thinking of coming to The Fringe?
FIRST TIME FRINGING
A few people have been asking my advice about coming to the Edinburgh Fringe for the first time and, having provided a load of (hopefully) useful information I thought it might be of interest to others making their way here for their first August.
I'm not going to touch on accommodation since, as a resident of the city, I have no experience of what's what. My only suggestions would be to book as many months ahead as possible, and try not to stay too far away from the centre, budget permitting.
And I'm going to stick to talking about The Fringe, with no reference to the International Festival, the Book Festival, or the Politics Festival (or even the Fringe by the Sea a few miles along the coast in North Berwick!). But much of what I'm setting down here applies anyway.
Of course what kind of Festival experience you end up having depends on a huge variety of factors. Your own tastes, budget, the number of days you are able to spend here and how adventurous you are. But if you're baffled where to even begin then the following might just give you a starting point.
WHAT TO SEE
All good things must have a beginning and the best way to plan your time here is to get your hands on the Fringe Programme as early as possible. It comes out in early June.
Which can immediately paralyse the decision making processes. At over 400 pages, and with up to a dozen shows on each page, the first question is usually 'where do I start?'. There are over 3,000 shows scattered across more than 300 venues so paucity of choice is not a problem.
There's also the Fringe website, which begins listing some shows in Spring, so you could choose to book some early and spread the cost of tickets. The website allows you to search for acts if you know some key words for the kind of shows you want to see. Whereas the paper version is probably a better bet if you want to browse and see what catches your eye.
If comedy is your thing you're both in and out of luck, because it's by far the largest section in the programme. You'll see names in there you recognise off the telly, and/or radio, but don't let them distract you too much. Have a look for shows that sound interesting and do a bit of research about their past reviews, maybe see if they're on YouTube.
The Fringe has venues dotted about the city, but the vast majority are in three adjoining areas of the centre. Going from north to south these are
1. The New Town, centred on George Street and Saint Andrews Square. (It's New in that it only dates back to the late 18th century.)
2. The Old Town, centred on the Royal Mile between the Castle and Holyrood.
3. The University district, usually centred on Bristo Square, although for 2015 that's less the case as there's a lot of redevelopment work taking place there. Which means even more activity in George Square than usual.
If you're planning your days I'd suggest trying to stick to shows in one of those areas on each day. Less hassle having to rush from one venue to another. But more on that below.
It all depends on how hard core you want to be - I've known people to do ten shows a day - but cramming shows into every waking hour is only worth the effort if you're here for a couple of days at most. Not only does it become exhausting, but you miss out on so many other aspects of the Fringe experience if you adopt that approach. So I'd recommend only pre-booking a couple of shows each day, some of them from people you have never heard of, and letting fate take a bit of a hand the rest of the time.
Fate can hit you in several ways. You should, at least once while you're here, go for a daytime walk down the High Street, in the pedestrian area running from George IV Bridge down to the Tron Kirk. (This is also where you'll find the Fringe office, so you may be drawn there naturally.) Do plan to allow yourself a bit of time. You'll need it. Because unless the heavens have opened you will be faced with a sizeable crowd, few of whom are looking where they're going. (If you don't like crowds this may not be the place to go, but if you don't like crowds what on earth are you doing in Edinburgh in August?) You will also be confronted by a small army, many of them in outlandish costumes, brandishing fliers at you. You'll be tempted to ignore them. Don't. They are working their butts off to try and get people along to their shows, so at least take the proffered flier, and talk to a few of them along the way. The results can be extremely funny, and fate may feel like nudging you in the direction of their show.
This area also hosts several outdoor stages and performance areas. On a couple there are casts doing short acts aimed at tempting you to come and see their full length offerings. There are music stages with a huge variety of acts appearing, many of them making their living from busking (so don't forget to donate something if you enjoy the performance). And professional street entertainers, usually doing some form of physical comedy. There are a few who do something really spectacular (look out for a Canadian called Stickman), but after years of Fringe going I have decided that there are only so many fire-eating, unicycling jugglers I can take!
Then there are the various Free Fringes running under the overall Fringe banner. Some of their shows are in the big programme, but not all. The two most important are PBH's Free Fringe and the Laughing Horse Free Festival. Although the shows are on their websites it's a good idea to get to one of their venues as soon as you can and pick up their paper programmes.
'Free' is a misnomer of course. It's free to get in the door, but there's a bucket to pay into when you leave, and you put in what you feel the show was worth. So you know the performer(s) will be trying their hardest to entertain you. There's a certain amount of snobbery attached to the Free Fringe from people who say you'll find nothing decent to watch there. Nonsense. In my experience the range of quality, from simply superb to catastrophically crap, is little different from that you'll find in the ticketed shows. I've been to see Phill Jupitus on the free fringe, and this year one of Scotland's top comedians, Janey Godley has chosen this route rather than feeling she's getting ripped off again by one of the big venues. We've found some of our favourite acts this way and the likes of Aidan Goatley, Kelly Kingham and Chris Coltrane are often far funnier than "that guy we know from off Mock the Week". And how you could resist going to see "The Danish Bagpipe Comedian"? (Recommended!) So make sure you leave time to go see some of these people. Oh, and the PBH Fringe also has one of the best venues in the city to visit, the Voodoo Rooms.
Finally I'd suggest a visit to the half price ticket hut on Princes Street. There's a big display showing what's available later that day and it's a good way of discovering someone you never knew you liked.
If I was to distil all this into one aphorism it would be "Don't try to enjoy yourself all the time". Which might sound like strange advice. The fun of the Fringe is finding stuff you never even knew existed. As a rule of thumb I'd say that if at least 10% of what you end up seeing wasn't to your taste, or proved too hard to understand, or was just a bit shit, then you probably haven't been doing it right. Take a few risks in your choice of shows and you'll get a lot more out of your time. Trust me.
Throughout the Fringe period I'll be posting reviews of shows I've seen on my Go Live blog, so if want some recommendations....
GETTING AROUND
Walk. As much as your feet and health and stamina allow. There's a lot to see and some of it might surprise you. Just accept that everywhere you go it will be uphill and into the wind. Even on the way back.
But if you're staying out of town you're lucky that Edinburgh has one of the best bus services around. Worth having a look at the Lothian Buses website before you come and check out which services will be of use - and if your accommodation has a night bus service near by.
The bit that catches out most newcomers is that no change is given on the buses. So you may want to come armed with a good supply of pound coins and 50p pieces. A single fare (any distance) is £1.50, a day ticket allowing unlimited usage on the day) is £4. So if you think you'll take more than two buses that day then grab the second option.
There are a couple of options that can save lugging all that change around. If you have a smartphone there's an app that allows you to buy tickets and flash your phone at the driver as you get on board. Minimum purchase is £10 and you can buy both single and day tickets. This is the Android version. There's also a great app that lets you see how long you will have to wait for the next bus to turn up (although the same info is displayed on Tracker boards at many stops in the city centre). Once again, here's the Android version.
If you're going to be here for five days or more it may be worth going into one of the Lothian Buses Travelshops and getting a Ridacard. A seven day card costs £18, plus £3 for the card itself and having your photo taken. For twenty eight days the charge is £54. You can do the sums yourself. It's the most hassle free way to travel, and you get to keep the card for your next visit (you'll be back).
And when you go to get the card remind yourself this isn't a passport - you're allowed to smile in your photo.
A couple of bits of bus etiquette. Stick your hand out to get your bus to stop or you may see it fly past. And the locals, well most of us, are in the habit of saying thanks to the driver as we get off. It's just what we do here. Join in.
AND FINALLY
Although your main reason for being here is to get to those shows, take a bit of time to find out why Edinburgh is a big tourist attraction throughout the year.
Stand at one of the junctions on George Street and look north to see the Forth glistening and hills of Fife in the distance.
Go and see the Floral Clock (on Princes Street, on the other side of The Mound from the Art Gallery).
Go up Calton Hill for the views (and to stand on the spot where TV journalists love to interview politicians), or climb up the steps inside the Scott Monument.
Walk down Victoria Street, that steep curving chunk of old architecture that seems to feature in every film drama set in the city.
Have fun.
A few people have been asking my advice about coming to the Edinburgh Fringe for the first time and, having provided a load of (hopefully) useful information I thought it might be of interest to others making their way here for their first August.
I'm not going to touch on accommodation since, as a resident of the city, I have no experience of what's what. My only suggestions would be to book as many months ahead as possible, and try not to stay too far away from the centre, budget permitting.
And I'm going to stick to talking about The Fringe, with no reference to the International Festival, the Book Festival, or the Politics Festival (or even the Fringe by the Sea a few miles along the coast in North Berwick!). But much of what I'm setting down here applies anyway.
Of course what kind of Festival experience you end up having depends on a huge variety of factors. Your own tastes, budget, the number of days you are able to spend here and how adventurous you are. But if you're baffled where to even begin then the following might just give you a starting point.
WHAT TO SEE
All good things must have a beginning and the best way to plan your time here is to get your hands on the Fringe Programme as early as possible. It comes out in early June.
Which can immediately paralyse the decision making processes. At over 400 pages, and with up to a dozen shows on each page, the first question is usually 'where do I start?'. There are over 3,000 shows scattered across more than 300 venues so paucity of choice is not a problem.
There's also the Fringe website, which begins listing some shows in Spring, so you could choose to book some early and spread the cost of tickets. The website allows you to search for acts if you know some key words for the kind of shows you want to see. Whereas the paper version is probably a better bet if you want to browse and see what catches your eye.
If comedy is your thing you're both in and out of luck, because it's by far the largest section in the programme. You'll see names in there you recognise off the telly, and/or radio, but don't let them distract you too much. Have a look for shows that sound interesting and do a bit of research about their past reviews, maybe see if they're on YouTube.
The Fringe has venues dotted about the city, but the vast majority are in three adjoining areas of the centre. Going from north to south these are
1. The New Town, centred on George Street and Saint Andrews Square. (It's New in that it only dates back to the late 18th century.)
2. The Old Town, centred on the Royal Mile between the Castle and Holyrood.
3. The University district, usually centred on Bristo Square, although for 2015 that's less the case as there's a lot of redevelopment work taking place there. Which means even more activity in George Square than usual.
If you're planning your days I'd suggest trying to stick to shows in one of those areas on each day. Less hassle having to rush from one venue to another. But more on that below.
It all depends on how hard core you want to be - I've known people to do ten shows a day - but cramming shows into every waking hour is only worth the effort if you're here for a couple of days at most. Not only does it become exhausting, but you miss out on so many other aspects of the Fringe experience if you adopt that approach. So I'd recommend only pre-booking a couple of shows each day, some of them from people you have never heard of, and letting fate take a bit of a hand the rest of the time.
Fate can hit you in several ways. You should, at least once while you're here, go for a daytime walk down the High Street, in the pedestrian area running from George IV Bridge down to the Tron Kirk. (This is also where you'll find the Fringe office, so you may be drawn there naturally.) Do plan to allow yourself a bit of time. You'll need it. Because unless the heavens have opened you will be faced with a sizeable crowd, few of whom are looking where they're going. (If you don't like crowds this may not be the place to go, but if you don't like crowds what on earth are you doing in Edinburgh in August?) You will also be confronted by a small army, many of them in outlandish costumes, brandishing fliers at you. You'll be tempted to ignore them. Don't. They are working their butts off to try and get people along to their shows, so at least take the proffered flier, and talk to a few of them along the way. The results can be extremely funny, and fate may feel like nudging you in the direction of their show.
This area also hosts several outdoor stages and performance areas. On a couple there are casts doing short acts aimed at tempting you to come and see their full length offerings. There are music stages with a huge variety of acts appearing, many of them making their living from busking (so don't forget to donate something if you enjoy the performance). And professional street entertainers, usually doing some form of physical comedy. There are a few who do something really spectacular (look out for a Canadian called Stickman), but after years of Fringe going I have decided that there are only so many fire-eating, unicycling jugglers I can take!
Then there are the various Free Fringes running under the overall Fringe banner. Some of their shows are in the big programme, but not all. The two most important are PBH's Free Fringe and the Laughing Horse Free Festival. Although the shows are on their websites it's a good idea to get to one of their venues as soon as you can and pick up their paper programmes.
'Free' is a misnomer of course. It's free to get in the door, but there's a bucket to pay into when you leave, and you put in what you feel the show was worth. So you know the performer(s) will be trying their hardest to entertain you. There's a certain amount of snobbery attached to the Free Fringe from people who say you'll find nothing decent to watch there. Nonsense. In my experience the range of quality, from simply superb to catastrophically crap, is little different from that you'll find in the ticketed shows. I've been to see Phill Jupitus on the free fringe, and this year one of Scotland's top comedians, Janey Godley has chosen this route rather than feeling she's getting ripped off again by one of the big venues. We've found some of our favourite acts this way and the likes of Aidan Goatley, Kelly Kingham and Chris Coltrane are often far funnier than "that guy we know from off Mock the Week". And how you could resist going to see "The Danish Bagpipe Comedian"? (Recommended!) So make sure you leave time to go see some of these people. Oh, and the PBH Fringe also has one of the best venues in the city to visit, the Voodoo Rooms.
Finally I'd suggest a visit to the half price ticket hut on Princes Street. There's a big display showing what's available later that day and it's a good way of discovering someone you never knew you liked.
If I was to distil all this into one aphorism it would be "Don't try to enjoy yourself all the time". Which might sound like strange advice. The fun of the Fringe is finding stuff you never even knew existed. As a rule of thumb I'd say that if at least 10% of what you end up seeing wasn't to your taste, or proved too hard to understand, or was just a bit shit, then you probably haven't been doing it right. Take a few risks in your choice of shows and you'll get a lot more out of your time. Trust me.
Throughout the Fringe period I'll be posting reviews of shows I've seen on my Go Live blog, so if want some recommendations....
GETTING AROUND
Walk. As much as your feet and health and stamina allow. There's a lot to see and some of it might surprise you. Just accept that everywhere you go it will be uphill and into the wind. Even on the way back.
But if you're staying out of town you're lucky that Edinburgh has one of the best bus services around. Worth having a look at the Lothian Buses website before you come and check out which services will be of use - and if your accommodation has a night bus service near by.
The bit that catches out most newcomers is that no change is given on the buses. So you may want to come armed with a good supply of pound coins and 50p pieces. A single fare (any distance) is £1.50, a day ticket allowing unlimited usage on the day) is £4. So if you think you'll take more than two buses that day then grab the second option.
There are a couple of options that can save lugging all that change around. If you have a smartphone there's an app that allows you to buy tickets and flash your phone at the driver as you get on board. Minimum purchase is £10 and you can buy both single and day tickets. This is the Android version. There's also a great app that lets you see how long you will have to wait for the next bus to turn up (although the same info is displayed on Tracker boards at many stops in the city centre). Once again, here's the Android version.
If you're going to be here for five days or more it may be worth going into one of the Lothian Buses Travelshops and getting a Ridacard. A seven day card costs £18, plus £3 for the card itself and having your photo taken. For twenty eight days the charge is £54. You can do the sums yourself. It's the most hassle free way to travel, and you get to keep the card for your next visit (you'll be back).
And when you go to get the card remind yourself this isn't a passport - you're allowed to smile in your photo.
A couple of bits of bus etiquette. Stick your hand out to get your bus to stop or you may see it fly past. And the locals, well most of us, are in the habit of saying thanks to the driver as we get off. It's just what we do here. Join in.
AND FINALLY
Although your main reason for being here is to get to those shows, take a bit of time to find out why Edinburgh is a big tourist attraction throughout the year.
Stand at one of the junctions on George Street and look north to see the Forth glistening and hills of Fife in the distance.
Go and see the Floral Clock (on Princes Street, on the other side of The Mound from the Art Gallery).
Go up Calton Hill for the views (and to stand on the spot where TV journalists love to interview politicians), or climb up the steps inside the Scott Monument.
Walk down Victoria Street, that steep curving chunk of old architecture that seems to feature in every film drama set in the city.
Have fun.
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