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This programme contains some strong For the next three weeks the Review | :00:15. | :00:20. | |
Show will bring you the best, the weirdest and rudiest of what the | :00:20. | :00:26. | |
festival has to offer. Live as usual, and joined by a studio who | :00:26. | :00:34. | |
couldn't get into any other show! On tonight's show, we explore three | :00:34. | :00:38. | |
fringe productions of experimental theatre. Two in unusual locations | :00:38. | :00:42. | |
and one which virtually does away with actors all together. We also | :00:42. | :00:46. | |
throw ourselves into the best of the Edinburgh Art Festival, with | :00:46. | :00:51. | |
new exhi bigs from Tony Cragg, Robert Rauschenberg and the force | :00:51. | :00:54. | |
of nature, David Mach. Put Mark Almond and Mark Ravenhill together | :00:54. | :01:00. | |
and the result is one of the hottest tickets of the week so far. | :01:00. | :01:06. | |
A song-cycle collaboration, Ten Plagues. With 941 comedy acts | :01:06. | :01:10. | |
jostling for attention, we ask if there are any tab boos left, | :01:10. | :01:15. | |
looking at four comics, whose acts are trying to push the boundaries. | :01:15. | :01:25. | |
:01:25. | :01:27. | ||
Asian people don't have a lot of So, here we are in our new home for | :01:28. | :01:35. | |
the month, slap bang inside the castle. Joining me to discuss | :01:35. | :01:38. | |
everything are writer and Edinburgh resident Hannah McGill. Author and | :01:38. | :01:42. | |
critic Natalie Haynes and the novelist Hari Kunzru, whose latest | :01:42. | :01:47. | |
book is hot off the fress. Before we get going -- press. Before we | :01:47. | :01:53. | |
get going we thought we should give you a taste of the atmosphere. We | :01:53. | :02:03. | |
:02:03. | :02:07. | ||
asked Tom Allen to lead us in. With 41,689 performances of 2,542 | :02:07. | :02:13. | |
across 258 venues using 21,192 official performers, the figures | :02:13. | :02:16. | |
for Edinburgh continue to be as baffling as ever. The numbers are | :02:16. | :02:21. | |
up on last year. It is still the world's largest arts event. This | :02:21. | :02:25. | |
year the big four are closer together. | :02:25. | :02:30. | |
George square gardens has been taken over. The weather has | :02:30. | :02:36. | |
nominated the conversation. John Malkovich has his own show. The | :02:36. | :02:40. | |
Edinburgh International Festival, known to comedians like me, as the | :02:40. | :02:46. | |
posh one, draws inspiration from Asian culture. Shakespeare will be | :02:46. | :02:56. | |
:02:56. | :03:00. | ||
performed in Korean and man da drin -- mandarin. Phil Glass,vy never | :03:00. | :03:05. | |
met him, we are all friends here. I he is making his debut sound | :03:05. | :03:12. | |
tracking films. Then, there's the art festival. I know! Taking to the | :03:12. | :03:18. | |
street with Martin, David Mach tackles the king James's bible. And | :03:18. | :03:23. | |
Robert Rauschenberg - the first works for 30 years T book festival | :03:23. | :03:33. | |
:03:33. | :03:36. | ||
has welcomed a lot of book royalty. We hear about the new book, The Kid. | :03:36. | :03:40. | |
And the fringe. The venues continue to range from someone's front room | :03:40. | :03:45. | |
through to telecom mixs packing people in by the thousands. Last | :03:45. | :03:50. | |
year 2.74 million people visited the fringe. Stuart Leigh has sold | :03:50. | :03:55. | |
out previews at the stand. Joesy Long is more political than ever. I | :03:55. | :04:00. | |
have a chat show at the Gilded Balloon. And a stripper, through to | :04:00. | :04:05. | |
comedy for kids, showcasing comedians as young as 12. There is | :04:05. | :04:12. | |
something for everyone. Simon Callw has put on lipstick. -- Callow has | :04:12. | :04:16. | |
put on lipstick. Margaret Cho, we have not mentioned that picture of | :04:16. | :04:19. | |
the tattoo, the one at the castle. People love it so much, you cannot | :04:19. | :04:25. | |
get a ticket. I thought it was a bunch of soldiers mincing up and | :04:25. | :04:30. | |
down with bagpipes. It is just like Glastonbury but there is short | :04:30. | :04:34. | |
beard in the gift shop and you don't have to camp, not unless you | :04:34. | :04:43. | |
really want to! This is the see-through upon cho | :04:43. | :04:49. | |
festival. I have seen hundreds over -- poncho festival. I have seen | :04:49. | :04:56. | |
hundreds of them. I only own endless waterproof and thin layers | :04:56. | :05:03. | |
because of doing the show so many times. It is steamy. | :05:03. | :05:07. | |
All the comedy venues would say they are up. It is a good sign. | :05:07. | :05:11. | |
hope it is true. There are lots and lots of people who have been on | :05:11. | :05:14. | |
main-stream TV shows and they have massive venues, so the numbers go | :05:14. | :05:20. | |
up every year. I am not sure it is easy to be a new act here. You are | :05:20. | :05:25. | |
appearing here on the Review Show, but you are at the book show at the | :05:26. | :05:30. | |
festival? Looking at the international festival, it is | :05:30. | :05:34. | |
looking towards Asia this year? Fascinating. The range of stuff on | :05:34. | :05:39. | |
there is extraordinary. You get caught up with the fringe at the | :05:39. | :05:43. | |
beginning. You forget there is still the book festival, still the | :05:43. | :05:47. | |
international festival. Hopefully the rain will ease off. | :05:47. | :05:51. | |
International Festival, what has come up this year is the Art | :05:51. | :05:56. | |
Festival. There is lots to see. Masses and masses. We will review | :05:56. | :06:00. | |
some tonight. Let's dive head-long into the festival, starting the | :06:00. | :06:05. | |
fringe. Travelling minute strels, cameramen, there is no shortage of | :06:05. | :06:14. | |
weird and sometimes wonderful settings for the experience. | :06:14. | :06:18. | |
The Edinburgh Fringe has been the place to experiment. We asked our | :06:18. | :06:24. | |
three guests to try out some very different theatrical experiences. | :06:24. | :06:29. | |
Ranging from performances in a constructed child's bedroom to a | :06:29. | :06:38. | |
performance in their own living room. The Lounge Room are happy to | :06:39. | :06:45. | |
tell theiral tales. The thin air was lost. All of its passengers | :06:45. | :06:51. | |
were never seen again. The two are making their Edinburgh Fringe debut | :06:51. | :06:57. | |
after a sell-out tour in Australia, where they won two Adelaide Fringe | :06:58. | :07:03. | |
awards already. They are armed with a guitar and props. They weave | :07:03. | :07:07. | |
together Gothic stories, set everywhere from your lower intest | :07:07. | :07:14. | |
tins to an unusual morgue. I opened my eyes and I noticed I was back in | :07:14. | :07:18. | |
the morgue. She lies neck tot me. I am scared to touch her cold, dead | :07:19. | :07:24. | |
body. I notice she is breathing. I put my hand on her bottom. It's | :07:24. | :07:34. | |
:07:34. | :07:41. | ||
warm. It's a warm bottom. It's a sexy one. | :07:41. | :07:46. | |
Also embracing an experimental approach to performance is a | :07:46. | :07:50. | |
journey played out in an iPad within a child's bedroom. Each | :07:50. | :07:56. | |
person enters alone and the story unfolds on their hand-held screen. | :07:56. | :08:01. | |
Lasting 20 minutes. It offers a child's eye view of the world in an | :08:01. | :08:08. | |
unusual space. I'll sit on the bed. The viewer is encouraged to move | :08:08. | :08:12. | |
around the specially constructed white room, directed by the action | :08:12. | :08:22. | |
:08:22. | :08:23. | ||
in the film. The fringe is the perfect place to | :08:23. | :08:28. | |
have a piece like this. There are a lot of audience members who are | :08:28. | :08:31. | |
really open to different experiences. They are not worrying | :08:31. | :08:34. | |
about exactly what it would be. They want to see something | :08:34. | :08:39. | |
different. Also offering something different | :08:39. | :08:43. | |
from the more traditional theatre is a Belgium company, who have | :08:43. | :08:47. | |
returned to the fringe this year w a piece that promised to celebrate | :08:47. | :08:53. | |
us, the audience. I guess there's nothing else I can | :08:53. | :08:58. | |
do. All the faces before me. I'm waiting to hear what you'll say | :08:58. | :09:08. | |
:09:08. | :09:09. | ||
about me! Turning the cameras on to the seats, they take handbags and | :09:09. | :09:13. | |
ask about individuality. I want to create something which will make | :09:13. | :09:17. | |
people have an opinion and make people react to that. We all look | :09:17. | :09:24. | |
at each other and we adapt. What is wrong with that? It is beautiful! | :09:24. | :09:34. | |
:09:34. | :09:34. | ||
Let's take you back to the Contrabulators. Did it fall into a | :09:34. | :09:38. | |
different kind of production, or do you feel you have seen this before? | :09:38. | :09:42. | |
I don't know if I have seen it before in the fringe. I am | :09:42. | :09:46. | |
essentially charmed by the idea these two guys will turn up and | :09:46. | :09:51. | |
make a space out of theatre. They bring a carpet. A very small carpet. | :09:51. | :09:55. | |
They unroll it. They kind of make a little space for themselves and all | :09:55. | :10:03. | |
their props are in a case. They - I found - you have lots of footage in | :10:03. | :10:09. | |
that package of me looking grumpy. That's my happy face. That is your | :10:09. | :10:14. | |
"I better not give away what I think face!" They are engaging | :10:14. | :10:24. | |
:10:24. | :10:26. | ||
performers. It was a sweet show. was like travelling - kind of mis- | :10:26. | :10:29. | |
firing tales. It was not their fault we had them during the day, | :10:29. | :10:34. | |
with telly lighting on. I could have gone a little more horror. It | :10:34. | :10:39. | |
has a strange tonal clash that you get often with Australian comedy, | :10:39. | :10:43. | |
of having incredibly glory or gruesome and then really volume ger. | :10:43. | :10:52. | |
They smash into each other. No, -- vulgar. They smash into each other. | :10:52. | :10:58. | |
I kind of want to see the next one more than I wanted to see this one. | :10:58. | :11:02. | |
Underbelly, a huge sensation in Melbourne and in Adelaide. They are | :11:02. | :11:07. | |
charming. Do you agree with Natalie they are not dark enough? I could | :11:07. | :11:12. | |
have gone darker. What I had problems with, like Hari I liked | :11:12. | :11:17. | |
something coming to your house. When you have Fringe fatigue and | :11:17. | :11:21. | |
you are in venues too hot or too cold t idea of having someone come | :11:22. | :11:31. | |
:11:32. | :11:33. | ||
to perform to you, it is like being spoilt. It had a child-like quality. | :11:33. | :11:39. | |
I mean, I can take a lot of flimsy, I liked the little characters. | :11:39. | :11:45. | |
had to say, the lighting, we had bright lights on them. They have a | :11:45. | :11:51. | |
shadow puppet we had to imagine really. The stories take on a life | :11:51. | :11:54. | |
of their own and change in the retailing. You can imagine it | :11:54. | :12:00. | |
happening every day as they do it differently. The nearest is the | :12:00. | :12:05. | |
village in India. The guy turns one the puppets and the back lights. It | :12:05. | :12:10. | |
is a traditional form of story telling. Moving on to the product | :12:10. | :12:17. | |
of bang new technology was the iPad experience of being in a little | :12:17. | :12:22. | |
white room. Were you disconcerted? I don't like interactive things. | :12:22. | :12:26. | |
This is the most I have spoken to other people in about a month. If I | :12:26. | :12:30. | |
am honest I am finding it disturbing now. It looks | :12:30. | :12:37. | |
interactive, but it isn't. For me, the fact it was in an enclosed | :12:37. | :12:40. | |
space is more harrowing. Did you think the child was going to come | :12:40. | :12:45. | |
through the window. When it did not happen, weirdly because I would | :12:45. | :12:49. | |
have skwarked had it happened, I was disappointed. There is a moment | :12:49. | :12:52. | |
you walk into this empty white room. You look at the empty white room on | :12:52. | :12:57. | |
the iPad. You are in there. And you look on the iPad and two pairs of | :12:57. | :13:01. | |
shoes had appeared. And the thing is that awesome thing does not come. | :13:01. | :13:07. | |
It is charming, but it is never thrilling. If I am honest! They | :13:07. | :13:11. | |
were all about narratives, a weaving narrative. This was about | :13:12. | :13:19. | |
imagination. What did you make of the way it was filmed The music and | :13:19. | :13:26. | |
cinema was gorgeous. There was some pretentious art-class cliches. I | :13:26. | :13:30. | |
didn't know what was going on. The same as Natalie. There is a | :13:30. | :13:35. | |
disconcerting n a lovely way, you walk in, you are holding the thing, | :13:35. | :13:39. | |
you can see the door and a real door. You want more of that to run | :13:39. | :13:43. | |
through it. You end up sitting on the edge of a bed thrsm is a bit n | :13:43. | :13:48. | |
the film she --. There is a bit in the film she looks under the bed | :13:48. | :13:53. | |
and finds something. I wish there had been more interactivity. | :13:53. | :13:58. | |
performance by the six-year-old, I thought was mesmerising. She's a | :13:58. | :14:04. | |
very compelling little girl, isn't she? She is the best thing about it. | :14:04. | :14:08. | |
It looks great. The set that they have built for you to have this | :14:08. | :14:18. | |
:14:18. | :14:20. | ||
experience in is also great. Then The mother becomes a ginger bread | :14:20. | :14:28. | |
woman. I'm not convinced it's ginger bread. The dough can't make | :14:28. | :14:35. | |
that baked item. This is not Masterchef. Let's move to a | :14:35. | :14:38. | |
performance group who have been here before and they ultimately | :14:38. | :14:42. | |
have said right, OK, it's down to the audience, but except it's not | :14:42. | :14:45. | |
because we're going to turn ourselves on you and make you do | :14:45. | :14:48. | |
things. Never hand over your coat and bag to an actor when you walk | :14:48. | :14:54. | |
into a show. Did you do that? Is it the whole idea is that they | :14:54. | :14:56. | |
take very kindly your coat, bag, whatever you have and then what | :14:56. | :15:01. | |
they do is reveal it on stage. Of course none of us were stupid | :15:01. | :15:06. | |
enough. I live with an actor. I'm not an idiot. Then they train the | :15:06. | :15:12. | |
camera on the audience. You get voices going "Oh, I'm so self- | :15:12. | :15:16. | |
conscious." That's sweet for a while. Then it becomes nasty. | :15:17. | :15:20. | |
the message? Their trouble is they've co-flaited the idea of an | :15:20. | :15:24. | |
audience with the idea of a crowd. By the end of it they're flowing | :15:24. | :15:28. | |
everything at the wall like the Nuremberg rallies and vi a dream. | :15:28. | :15:33. | |
We know a lot of things about being in crowds and being in an audience | :15:33. | :15:38. | |
is a specific thing. They started to play with that. I felt it was an | :15:38. | :15:41. | |
undercooked show. It was like if they'd really focused on what they | :15:41. | :15:45. | |
wanted to tell us a bit more, it could have been good. Of course, | :15:45. | :15:51. | |
what they had was this scene where, well, the moment where they abuse a | :15:51. | :15:53. | |
member of the audience, because everyone is savvy, you don't know | :15:53. | :15:56. | |
whether it's a member of the audience or the cast. Yes and | :15:56. | :15:59. | |
they're doing this thing in the wrong town. What you get is people | :15:59. | :16:03. | |
going, here's the things, we as actors have realised that the | :16:03. | :16:06. | |
audience, like you, are not completely passive. We can interact | :16:06. | :16:11. | |
with them. Yeah you're in a mate with nearly a thousand stand-up | :16:11. | :16:14. | |
comedians. Even the ones doing a free show have thought more about | :16:14. | :16:17. | |
going through a fourth wall than you have, honestly. What about the | :16:17. | :16:22. | |
whole idea of immersion, not you because I know you're in hives | :16:22. | :16:27. | |
already, what about being involved? You like it or you don't? Generally | :16:27. | :16:34. | |
I hate it. I think it's nice if it's a connection, it's nice if | :16:34. | :16:38. | |
they're nice to you. I like the fact the performers are making | :16:38. | :16:42. | |
contact with you. What the audience show did that was offensive was | :16:42. | :16:46. | |
kind of going, you're all so passive sitting there judging us. | :16:46. | :16:50. | |
It's like you came to your show. That's what you want. I don't see | :16:50. | :16:55. | |
where this big ref latory thing about the bad audience. You pay | :16:55. | :17:00. | |
your audience to be entertained. have a lot of time for beingents | :17:00. | :17:06. | |
taind after a hard day's work. their job. When anyone welcomes the | :17:06. | :17:11. | |
Nazis as a retorical point, we should be able to go home. The idea | :17:11. | :17:16. | |
that the crowd goes to a nightclub with the Mexican wave at a football | :17:16. | :17:22. | |
match, With fascism. If you want details on that, you can find them | :17:22. | :17:28. | |
on our website. From staink theatrical experiences to the more | :17:28. | :17:30. | |
recognisable setting of the art gallery and our selection of three | :17:30. | :17:35. | |
big exhibition that's are very hard to miss. | :17:35. | :17:38. | |
This year's Edinburgh Art Festival is the most ambitious yet, with | :17:38. | :17:44. | |
major work from world renowned artists and sculpt Tors. Robert | :17:44. | :17:52. | |
Rauschenberg is at Inverleith House, a posthumous exhibition of his work, | :17:52. | :17:55. | |
Botanical Vaudeville focuses on work from the latter part of his | :17:55. | :18:01. | |
career, from large-scale scuppure to intricate painting. Turner Prize | :18:01. | :18:04. | |
winner Cragg considering's first museum show for more than a decade | :18:04. | :18:13. | |
is at the Scottish modern gallery of modern art. At the City Art | :18:13. | :18:18. | |
Centre, Professor of sculpture at the Royal Academy David Mach has | :18:18. | :18:21. | |
taken up residence. This is his biggest solo show and perhaps his | :18:22. | :18:25. | |
most important ever. It is absolutely massive, spread over | :18:25. | :18:31. | |
four storeys of the City Art Centre, everything from colossal kolaudges | :18:31. | :18:35. | |
to soaring sculpture, it's all inspired bit King James version of | :18:35. | :18:39. | |
the Bible. What Mach has done is take biblical stories and set them | :18:39. | :18:44. | |
in a modern context. I had thought about the King James Bible maybe | :18:44. | :18:47. | |
ten, 12 years ago. There's the place where all the stories are, | :18:47. | :18:52. | |
all the love and pest lens, the heat, famine, sex, jealousy. It's | :18:52. | :18:57. | |
got everything you know. When you have people standing in front of | :18:57. | :19:01. | |
judgment day, it means different things to different people but what | :19:01. | :19:05. | |
do you want people to think when they're looking at this? I want you | :19:05. | :19:09. | |
to look. I want you to feel. I want you to use this. I want you to use | :19:09. | :19:13. | |
that. I want you to use your stomach, all the thing that's | :19:13. | :19:16. | |
you've got to figure out what it is that you're looking at. You want to | :19:16. | :19:25. | |
suck people in. When you move to the sculptures you have golgopha. | :19:25. | :19:30. | |
needed to tease the hooks for spikes. The hairs on your body | :19:30. | :19:35. | |
standing on end. It's a coat hanger. It sounds naff. But when you see it, | :19:35. | :19:41. | |
it's a powerful thing. There's an insulation, which is essentially | :19:41. | :19:46. | |
your studio. A kolage has a mood. It has a feeling, a message, a | :19:46. | :19:51. | |
story, it has colour, size, shape. You're busy using those things. I | :19:51. | :19:55. | |
mean thousands of those things together, you're weaving them | :19:55. | :20:00. | |
through and trying to get some kind of collective idea of a story. | :20:00. | :20:04. | |
construction of the satan's head to be burnt, tell me, how did you go | :20:04. | :20:09. | |
about doing all that? The devil took about three-and-a-half, four | :20:09. | :20:15. | |
months to work. It's mad work. they're going to be burned? Yeah, | :20:15. | :20:20. | |
in a couple of days we will burn the devil. What you get is a 30 | :20:20. | :20:25. | |
second, 40 second ludicrously powerful performance, where this | :20:25. | :20:28. | |
thing flares up. Stand back, if you do it inside, it would burn the | :20:28. | :20:33. | |
house down. Of all the stars on this year's art festival stellar | :20:33. | :20:41. | |
programme, who lives up to their illustrious billing? | :20:41. | :20:44. | |
Let's start with Precious Light on the anniversary of the King James | :20:44. | :20:49. | |
Bible. Do you think this was simply a vehicle for David Mach, I don't | :20:49. | :20:55. | |
mean that disparagingly or is it something more epic, not in a | :20:55. | :21:00. | |
religious way, but epic as the stories in the Bible are. | :21:00. | :21:05. | |
certainly has captured a stale in these pieces. They're enormous | :21:05. | :21:09. | |
pieces. They're busy. You can dive into them, all these tiny figures | :21:09. | :21:13. | |
doing them. They are a lot of them very powerful. The one that's work | :21:13. | :21:19. | |
less well for me shade into the weird aesthetic of Jehovah's | :21:19. | :21:23. | |
Witness literature, where you get pandas and multiethnic people happy | :21:23. | :21:28. | |
in a garden. I would split the show down the middle. The works are by | :21:29. | :21:34. | |
and large fantastic. The sculpture is awful. Really, the tank traps? | :21:34. | :21:41. | |
The weird horror movie Christ thing I got nothing from it. And the | :21:41. | :21:45. | |
strange pop Jesus and pop devil as well. It didn't relate very well to | :21:45. | :21:49. | |
the other work. It made it slightly unbalanced show for me. Natalie, | :21:49. | :21:55. | |
what did you think? I quite liked the sculpture. I liked the scary | :21:55. | :22:03. | |
devil. I didn't realise, I had a catalogue, but I was so wet, I | :22:03. | :22:08. | |
couldn't view it. When I saw the devil's head, it's burned now. I | :22:08. | :22:12. | |
thought how smart the devil is burned out. And look, lovely Jesus | :22:12. | :22:16. | |
who is lovely matches. It was one of those things going, I see that | :22:16. | :22:19. | |
the subtitle of this exhibition is the celebration of the King James | :22:19. | :22:22. | |
Bible and I wonder if that stopped people who really like the Bible | :22:22. | :22:27. | |
from really hating you, because vi to admit there were moments when I | :22:27. | :22:33. | |
was going, these sculptures are properly horrifying. This is a cues | :22:33. | :22:38. | |
fix... He looks like he was made out of cake. He's going to be | :22:38. | :22:44. | |
burned as well at the end. crucified Jesus is, it reminds you | :22:44. | :22:50. | |
that the crucifix is an instrument of torture. I'm blanking on the | :22:50. | :22:55. | |
horror movie when the guy has... Hell raiser. The idea that David | :22:55. | :22:59. | |
Mach moved his entire studio up here. What the audience can do when | :22:59. | :23:02. | |
they go there is they can watch everybody working, cutting out | :23:02. | :23:06. | |
commando comics, cutting out woman and homes, cutting all these things | :23:06. | :23:11. | |
and there are stacks of moxs of things like women kneeling, frogs | :23:11. | :23:17. | |
jumping that have been collected over the years. The idea that it's | :23:17. | :23:19. | |
like Victoriana. I love that there's a huge exhibition, over | :23:19. | :23:23. | |
five floors. A lot of them, I mean, some of them I found compelling and | :23:23. | :23:27. | |
some of them I thought it's more of the same, there's so much material | :23:27. | :23:30. | |
on the walls. But when you get up to a certain level and you see him | :23:30. | :23:33. | |
doing it, that's wonderful. That's moving and it reminds you that this | :23:33. | :23:37. | |
is a real craftsman and actually, one of the things that's nice about | :23:37. | :23:45. | |
it... With assistance. Yes! Cutting out parrots all day. It's been | :23:45. | :23:51. | |
built by hands, it's not photo shop. It's been layered. If these scraps | :23:51. | :23:55. | |
are incredibly fine, Tony Cragg has got the completely material, this | :23:55. | :23:59. | |
is massive stuff, working with a lot of assistance as well, created | :23:59. | :24:03. | |
a bronze, muscular stuff, but feeling very fluid wha. Due make of | :24:03. | :24:08. | |
that? It's the solidity and fluidity that's beautiful. The | :24:08. | :24:13. | |
scale of it is great. It's just something that you can wonder | :24:13. | :24:18. | |
around and gaze upon. It doesn't have forceful meanings. It's | :24:18. | :24:23. | |
beautiful images of mofl caught. You want to touch them and you | :24:23. | :24:29. | |
can't. You'll not damage a bronze to stand and stroke it. Really | :24:29. | :24:32. | |
properly passive aggressive. Even clean hands can cause damage. | :24:32. | :24:36. | |
though. I know it's true. I take it all back. I didn't touch anything | :24:36. | :24:41. | |
and I walk round with my hands like that. The wooden ones look so | :24:41. | :24:45. | |
tactile and they are just, I really loved them. They are slightly more | :24:45. | :24:48. | |
than opt cull illusions I think. You walk round them and suddenly | :24:48. | :24:52. | |
these things which look like random collections of discs on top of each | :24:52. | :24:56. | |
other, suddenly a face appears. You walk past and it disappears. It's | :24:56. | :25:01. | |
there from one side or both. There's lots of space to walk round | :25:01. | :25:05. | |
things. He's a Turner Prize winner, but this show is his biggest in a | :25:05. | :25:08. | |
decade. And a lot of this work has never been seen in this country. | :25:08. | :25:12. | |
Did you feel that you were kind of, in the presence of something | :25:12. | :25:21. | |
masterful? He's a serious modernist sculptor. He's making references to | :25:21. | :25:26. | |
thradigs. These fluid movement works are nods to futurist | :25:26. | :25:32. | |
sculpture and he's also making gestures towards St Ives, Barbara | :25:32. | :25:38. | |
Hepworth and Garbo. He's into his Chinese scholars rocks, the natural | :25:38. | :25:42. | |
form that's he's copying in some of these things. There's earlier work | :25:42. | :25:45. | |
where, which is completely different. It's odd to see it in | :25:45. | :25:50. | |
this show, next to the fin shalled, polished sculpture on plinths. | :25:50. | :25:55. | |
Things are on the floor, with humble materials, raw. It's the | :25:55. | :26:00. | |
phase he was in in the 70s and 80s. It's odd to show the two things up | :26:00. | :26:03. | |
against each other. The third thing in the show, which I think is | :26:03. | :26:08. | |
beautiful, are wonderful, delicate water colours that, you know, I | :26:08. | :26:12. | |
haven't seen these water colours of his at all. And some of these | :26:12. | :26:17. | |
wonderful drawings, intimate drawings with zeros and ones. | :26:17. | :26:21. | |
drawings are quite strange. There's something obsessive about the | :26:22. | :26:27. | |
doodles. There's metal work transforming form. You mention the | :26:27. | :26:29. | |
Italian movement using cheap material. Robert Rauschenberg | :26:30. | :26:33. | |
followed that tradition as well when he moved into pop art. His | :26:33. | :26:36. | |
show is a late show at Botanical Vaudeville. Did you like it or did | :26:37. | :26:41. | |
you think you were at the fag end of a career? A little bit of the | :26:41. | :26:46. | |
latter. If you put it in the botanic gardens you already get | :26:46. | :26:49. | |
three stars from me. It is gorgeous. Even though it was pouring with | :26:49. | :26:53. | |
rain when I went, it's still beautiful. So the Rauschenberg | :26:54. | :26:58. | |
there's a video down stairs on a 60 minute loop, which is really | :26:58. | :27:01. | |
interesting. I was glad I went to that, because otherwise I'm not | :27:01. | :27:06. | |
sure I would have enjoyed the exhibition as much. I think the | :27:06. | :27:12. | |
found object pieces of roadsides I liked much less than the strange | :27:12. | :27:18. | |
metal etching pieces. Beautiful fossil with the lace. Incredible | :27:18. | :27:22. | |
silver, aluminium. You look at it from one side and you go this is | :27:22. | :27:27. | |
pretty. Then you see a peacock or Egyptian king appear out of it. | :27:27. | :27:36. | |
Things like idle speed no wake, is like Ian Hamilton Finlay. Those as | :27:36. | :27:40. | |
found objects were wonderful. Harked to a depression era in | :27:40. | :27:44. | |
America, which we are in again almost. This is my problem with it. | :27:44. | :27:48. | |
This is isn't the Rauschenberg of the 50s and 60s which transformed | :27:48. | :27:52. | |
American art, who made the combines out of these kind of materials. | :27:52. | :27:55. | |
This is him being asked to dot same thing by wealthy collectors going | :27:55. | :28:00. | |
again and again and again. They are works made in the 80s but they have | :28:00. | :28:04. | |
a look of stuff that's 30 years previously. The whole thing has | :28:04. | :28:10. | |
been faked up to look like his earlier work the -- work. The newer | :28:10. | :28:15. | |
style, the shiny stuff, makes a vague go at saying something about | :28:15. | :28:18. | |
luxury and the shininess of the 80s, but he's trailing in the wake of | :28:19. | :28:23. | |
other people by that point. It was a sad show for me. If any of those | :28:23. | :28:26. | |
have taken your fancy, find details on the website or tweet us and | :28:26. | :28:30. | |
we'll let you know. Now before we come to the | :28:30. | :28:33. | |
seriousness of the new muedsical from Marc Almond and Mark Ravenhill, | :28:33. | :28:41. | |
something light hearted. Joining us now the YouTube hit that has set | :28:41. | :28:48. | |
them stratfeerk, the one and only fascinating aida. # We received an | :28:48. | :28:50. | |
invitation in the post one Monday morn, | :28:50. | :28:53. | |
# To attend our cousins wedding in the town where we were born, | :28:54. | :28:57. | |
# The do was back in Kerry, so wishing to be frugal | :28:57. | :29:00. | |
# We trawled the net to find some decent travel deals on Goole | :29:00. | :29:03. | |
# Cheap flights, cheap flights as cheap as they can be, | :29:03. | :29:07. | |
# Bedad we found an airline selling flights for 50p. | :29:07. | :29:13. | |
# Diddly aiden daidin daidin dai # Well, we clicked onto the website | :29:13. | :29:16. | |
# And were mightily surprised, # To find the actual cost | :29:16. | :29:18. | |
# Wasn't quite as advertised # We'd forgotten airport taxes, had | :29:18. | :29:21. | |
also to be billed # But a bargain is a bargain and | :29:21. | :29:24. | |
begorrah we were thrilled # Cheap flights, cheap flights | :29:24. | :29:33. | |
# Stansted to Trelee # Ah, it isn't every airline offers | :29:33. | :29:38. | |
flights for 50p. # Diddly aiden daidin daidin dai | :29:38. | :29:41. | |
# After studying the website we decided it was best | :29:41. | :29:45. | |
# To pay priority boarding so that we'd sit three abreast | :29:45. | :29:50. | |
# Three abreast, that's the best # And of course we'd all have | :29:50. | :29:53. | |
luggage so that's an extra cost # And then we paid insurance in | :29:53. | :29:56. | |
case our cases might get lost # Our cheap flights, chips flights | :29:56. | :30:01. | |
# It's obvious to see # There must be extra charges when | :30:01. | :30:09. | |
the flights are 50p # Minya, minya, minya, key change | :30:09. | :30:12. | |
# At last the flight was booked, with all of the additions | :30:12. | :30:16. | |
# We'd read the reams of small print of terms and conditions, | :30:16. | :30:20. | |
# And then picked up the charge for using visa which was drastic '# Cos | :30:20. | :30:24. | |
how the feck are you supposed to pay if not with fecking plastic? | :30:24. | :30:27. | |
# Cheap flights, cheap flights # We paid the fecking fee | :30:27. | :30:30. | |
# Because by now we were committed to the flights for 50p | :30:30. | :30:40. | |
:30:40. | :30:48. | ||
# Diddly aiden daidin daidin dai # Ochone, ochone aah | :30:48. | :30:50. | |
# Now I don't if you've tried locating | :30:50. | :30:53. | |
# Stansted on a map # But checking in at 5am is a load | :30:53. | :30:56. | |
of fecking crap, # You's are banjaxed if you tried | :30:56. | :31:00. | |
to catch a train or underground # So a taxi to the arse of the | :31:00. | :31:02. | |
world was more than �100s. # Cheap flights, cheap flights, we | :31:02. | :31:06. | |
should have gone by sea # There's no such fecking thing as | :31:06. | :31:08. | |
a fecking flight for 50p # Feckity, feckity, feckity, | :31:08. | :31:10. | |
feckity, feck, feck, feck # Feckity, feckity, feckity, | :31:10. | :31:17. | |
feckity, feck, feck, feck # Then at last we reached the | :31:17. | :31:21. | |
airport where we had to pay a fine, # The fecking feckers charged us | :31:21. | :31:24. | |
'cos we hadn't checked in online # And finally aboard the flight | :31:24. | :31:26. | |
there's an extra charge of tax # 'Cos the fecking, fecking, | :31:26. | :31:29. | |
feckers charge to use the jacks. # Cheap flights, cheap flights, | :31:30. | :31:33. | |
# I think you must agree # That only fecking gobshites think | :31:33. | :31:36. | |
there's flights for 50p # Feck, shite, feck, shite, feck, | :31:36. | :31:40. | |
shite, arse # Feck, shite, shite, feck, feck, | :31:40. | :31:48. | |
arse Sad verse, # Well finally we landed and tried | :31:48. | :31:55. | |
to shuffle up the aisle # But the steward sent us down to | :31:55. | :32:01. | |
the back # With never a hint of a smile | :32:01. | :32:07. | |
# And as we heard this announcement # Our hearts gave a terrible thump | :32:07. | :32:09. | |
# If you haven't prepaid to use the steps | :32:09. | :32:12. | |
# You'll have to fecking jump # Cheap flights, cheap flights | :32:12. | :32:15. | |
# Your harking onto me # You're an eejit if you think a | :32:15. | :32:25. | |
:32:25. | :32:49. | ||
Fascinating Aida there with a look into the world of low-cost travel | :32:49. | :32:56. | |
or not. Now to as dark as it gets. Mark Almond, the eighties synth pop | :32:56. | :33:06. | |
:33:06. | :33:12. | ||
supremo has delved into history 30 years on from his hit song | :33:12. | :33:16. | |
Tainted Love, Mark Almond has swapped pop music for a song cycle, | :33:16. | :33:21. | |
with an emotionally and musically challenged score. It tells a tale | :33:21. | :33:27. | |
of one man's journey through plague-ridden London. Now I am | :33:27. | :33:33. | |
getting into the swing of it, I find the whole piece is like a | :33:33. | :33:37. | |
rollercoaster,. Once you start it the words and music take you from | :33:37. | :33:41. | |
one place to another. Working a fantastic director like Stewart | :33:41. | :33:46. | |
Laing. It was strange for me. I only worked with directors on a | :33:46. | :33:49. | |
small scale. He has guided me through the whole piece. Made me | :33:49. | :33:53. | |
see it in different ways. It brought things out of me that I | :33:53. | :33:59. | |
never realised I could do. That is interesting. I think of Mark as a | :33:59. | :34:03. | |
bigger project, playing rock concerts. I was looking to see what | :34:03. | :34:09. | |
Mark could bring to the project. I see what Mark is, he's a fantastic | :34:09. | :34:13. | |
storyteller, through song. Mark Ravenhill, better known for his | :34:13. | :34:17. | |
plays, wrote Ten Plagues especially for Mark Almond, along with | :34:17. | :34:21. | |
composer Conor Mitchell. balance is writing something that | :34:21. | :34:25. | |
Mark as a performer can log into, without it being out of his range, | :34:25. | :34:32. | |
and also to hand over a mellodic line to Mark and see what he -- | :34:32. | :34:37. | |
melodic line to Mark and see what he does with it. This whole piece | :34:37. | :34:43. | |
has been emotional for me. I cried a few times when I performed it. I | :34:43. | :34:48. | |
kind of felt the songs like Farewell and Seeing You, where he | :34:48. | :34:56. | |
sees his dead lover in the pit and sees the bodies. | :34:56. | :35:00. | |
Obviously I have feelings to mind like grieving and loss. I can bring | :35:01. | :35:05. | |
so many of my own experiences, thingsvy been through through my | :35:05. | :35:09. | |
life, so I have lots of experience to draw on. One week in, and | :35:09. | :35:13. | |
reviews have been favourable. However, on opening night, there | :35:13. | :35:19. | |
was one voice of dissent. We did get booed. I work a lot in opera. | :35:19. | :35:25. | |
Booing is big in opera. It is like you feel like you have not done | :35:25. | :35:31. | |
your job properly unless you get booed. If we wanted to please | :35:31. | :35:36. | |
everybody we would be doing Mamma Mia!. | :35:36. | :35:42. | |
You know it was a big ask, it was, I know he has done rock concerts, | :35:42. | :35:50. | |
out on stage, on his own with a pinnist. Did he have this -- | :35:50. | :35:55. | |
pianist? Did he have this? One of the problems with it is his voice | :35:55. | :36:00. | |
is not there. You feel a bit pained. He has to keep singing and keep | :36:00. | :36:06. | |
singing. I feel conflicked about it. I admire the fact they did | :36:06. | :36:10. | |
something deliberately divisive and different. It does feel original | :36:10. | :36:13. | |
and it is very creative. We were talking about reading this thing on | :36:13. | :36:17. | |
the page, which is a different experience. The text is interesting. | :36:17. | :36:21. | |
Having it presented in such a stark way with one person's voice the | :36:21. | :36:27. | |
entire way through is moments of comedy I felt were miss judged. I | :36:27. | :36:34. | |
felt it didn't quite connect how they wanted it to. There were many | :36:34. | :36:39. | |
different things there. It is moving about the plague. You get | :36:39. | :36:43. | |
all senses of different plagues, including AIDS. There is the thing | :36:43. | :36:50. | |
about survivor guilt. Did you feel he invested enough of himself in | :36:50. | :36:58. | |
that? I did. I know an opera singer would sing better. His voice may be | :36:58. | :37:05. | |
radleed by the end of this -- radled by the end of this run. I | :37:06. | :37:10. | |
found him the most compelling. There are moments he stands on | :37:10. | :37:17. | |
stage and the lighting falls on him, suddenly you can see 30 years ago | :37:17. | :37:22. | |
Mark Almond. The light changes and he looks haggarded and the idea of | :37:22. | :37:26. | |
this man becoming more and more raddled by his survival as people | :37:26. | :37:34. | |
around him drop, I found him absolutely astonishing. It did | :37:34. | :37:39. | |
mirror what happened during the plague, Defoe and Pepys, the ones | :37:39. | :37:43. | |
who stayed and survived. The others fled and came back. There was a | :37:43. | :37:47. | |
huge division. That comes out in this? Mark Ravenhill knows his 18th | :37:47. | :37:57. | |
:37:57. | :38:02. | ||
century. He has worked with that used that plague-ridden city - he's | :38:02. | :38:11. | |
made a very claust introduce phobic world. I would say it is -- class | :38:11. | :38:20. | |
tro phobic world. He has guided Britain through AIDS | :38:20. | :38:26. | |
until now. This is a piece about AIDS. | :38:26. | :38:35. | |
Mark Almond, as this di va figure, and the way that he performs is | :38:35. | :38:39. | |
very very important in the atmosphere of this. What do you | :38:39. | :38:43. | |
feel about how he inhabited that stage? It is difficult when you | :38:43. | :38:46. | |
don't have furniture. Instead of furniture what they have is music | :38:46. | :38:50. | |
stands. Then they have this wonderful projection. How did you | :38:50. | :38:54. | |
feel about the music stands and him having to weave around them? They | :38:54. | :38:57. | |
needed something for him to do physically, so he can move around a | :38:57. | :39:02. | |
bit and you have something to look at. The set is beautiful. I think | :39:02. | :39:08. | |
the use of projection is very clever and elegant. It gives him | :39:08. | :39:12. | |
someone to interact with. I am interested to know if you connected | :39:12. | :39:17. | |
with the character or not. I didn't know who he was at all. He was a | :39:17. | :39:26. | |
void to me. I felt he was Mark, basically. This was a piece for a | :39:26. | :39:31. | |
star and it was a piece which worked because of this background | :39:31. | :39:36. | |
that he brings into it. If another unknown singer had walked on to | :39:36. | :39:40. | |
that stage and performed in the same way it would have felt | :39:40. | :39:44. | |
extremely flat. If they were not so well known I | :39:44. | :39:47. | |
think they would have had to perform in a better singing way. I | :39:47. | :39:54. | |
think that was the problem. He's not hitting the notes. He's | :39:54. | :40:02. | |
straining a lot doing that. There is an aesthetic failure in this. | :40:02. | :40:05. | |
His imperfection makes it very human. | :40:05. | :40:09. | |
That is true because his physical and vocal performance, he walks | :40:09. | :40:14. | |
around the flights of stairs with such caution. You remember that he | :40:14. | :40:22. | |
had a terrible motorbike accident. He was crippled and he has to -- | :40:22. | :40:28. | |
had to learn how to walk again. It is compelling to watch. The music | :40:28. | :40:34. | |
is fantastic. And the piano player is extraordinary and wearing a kilt. | :40:34. | :40:37. | |
Ten Plagues is playing throughout the festival. If Ten Plagues was | :40:37. | :40:42. | |
not a bundle of laughs we should send you into the wokend on a | :40:42. | :40:47. | |
lighter note. The most famous fringe, the comedy. Be ware some of | :40:47. | :40:55. | |
what you see contains extremely strong language. | :40:55. | :41:02. | |
We can rely on comedians to push the envelope, to try and shock and | :41:02. | :41:07. | |
court controversial with provocative material. This year is | :41:07. | :41:17. | |
:41:17. | :41:19. | ||
no exception. Torchwood actor Tom Price reveals intimate tales of his | :41:19. | :41:24. | |
mother's alcoholism and cerebral palsy. We arrive at the chemist. He | :41:24. | :41:29. | |
gives her medication. It is one of those bottles where you have to | :41:29. | :41:34. | |
squeeze. She cannot do that. She only has one hand. She is shaking | :41:34. | :41:44. | |
:41:44. | :41:50. | ||
it, going "I may be a locking ...." Ending racism in about an hour, | :41:50. | :41:59. | |
part stand-up, part social comedy, it proves that de-- despite | :41:59. | :42:08. | |
electing its first black President, racism is still there. There is a | :42:08. | :42:18. | |
:42:18. | :42:21. | ||
black President. I saw a woman cry. I was like, "Wow, first of all you | :42:21. | :42:29. | |
should never play Scrabble, because there's no U in America." Radical | :42:29. | :42:33. | |
comedian and recording artist Margaret Cho is back in the cap | :42:33. | :42:38. | |
follow for the first time in a decade with her show. I know that a | :42:38. | :42:41. | |
lot of Asian people don't have a lot of bush. I have all of their | :42:41. | :42:45. | |
bush. I carry the burden of my race! | :42:45. | :42:50. | |
Based on the recent Grammy nominated album of the same name t | :42:50. | :42:57. | |
by sexual American aims to shock with her treatment of sexuality, | :42:57. | :43:03. | |
which one critic said would make Richard Prior blush. They turn | :43:03. | :43:09. | |
around and their T-shirt says "Number one grandma." Almost a | :43:09. | :43:14. | |
quarter of a century since she first appeared on the Fringe, Ruby | :43:14. | :43:23. | |
Wax is back on stage, supported by singer-songwriter and close friend, | :43:23. | :43:29. | |
Judith Owen. I said if you have a disability, use it. I said "Get out | :43:29. | :43:39. | |
:43:39. | :43:39. | ||
of bed." Losing It is an autoby og graphal story of her mental illness. | :43:40. | :43:45. | |
It is one in four. It is one, two, three, four. Actually that whole | :43:45. | :43:51. | |
row is not well! Do these shows prove there are plenty of taboos to | :43:51. | :43:56. | |
be busted through comedy? Does comedy have the shower to shock, | :43:56. | :44:02. | |
provoke and challenge an audience? Let's begin with Ruby Wax, which is | :44:02. | :44:07. | |
a combination of stand-up comedy and personal pain. Does that give | :44:07. | :44:12. | |
it an added kick? It does and it doesn't. I have to be honest. I | :44:12. | :44:17. | |
think Ruby Wax is a massively inspirational figure to my | :44:17. | :44:22. | |
generation of comedians. It's no exaggeration to say I worshipped | :44:22. | :44:26. | |
her as a teenager, of course. My expectations were too high for this | :44:26. | :44:32. | |
show. I kind of assumed it would be a brutal unpicking of her nervous | :44:33. | :44:37. | |
breakdown, her time in The Priory. Strangely it feels like she has | :44:37. | :44:41. | |
backed off from writing that show. There are 40 minutes of | :44:41. | :44:46. | |
observational stuff about American people may not like English people, | :44:47. | :44:50. | |
English people might not like Scottish people. You think, OK, you | :44:50. | :44:54. | |
are better than this. Why are you here? When it comes to her | :44:54. | :44:58. | |
depression it is much more raw and much more painful. I am not sure | :44:58. | :45:02. | |
the first half of the show really needs to be there. Isn't it the | :45:02. | :45:07. | |
case to welcome the audience in you have to soften them up. Isn't that | :45:07. | :45:12. | |
the structure of the show? There are blows. I think what she was | :45:12. | :45:20. | |
celebrated for when she was.... She was kind of brutal. | :45:20. | :45:25. | |
She's been busy. She's been in The Priory. I forgive her! What I was | :45:25. | :45:29. | |
looking for was more of an attack. There is this kind of, some middle | :45:29. | :45:34. | |
of the road stuff in there. Maybe she did back off from revealing too | :45:34. | :45:43. | |
much about her -- herself. There are instrumental singer-songwriter | :45:43. | :45:49. | |
stuff about sadness. Do you think Judith Owen was there | :45:49. | :45:59. | |
:45:59. | :46:01. | ||
to have a foil for her to have I didn't think it fitted together. | :46:01. | :46:04. | |
Judith Owen starts talking seriously about tragic events in | :46:04. | :46:12. | |
her life. You're like, I don't this. It's weird to have suddenly | :46:12. | :46:15. | |
gone there. That was one taboo. Let's move on to Tom Price, who | :46:15. | :46:20. | |
talk abouts his own embarrassing story. He's referring to his mother | :46:20. | :46:25. | |
several times as a plastic and revealing a bit about her. I think | :46:25. | :46:28. | |
again it's a similar thing. Most of the show is very nice and you know | :46:28. | :46:34. | |
he's a very charming man. It's nice, friendly stand-up guy you want to | :46:34. | :46:40. | |
go for a drink with. The stuff about his mum, it was like you use | :46:40. | :46:45. | |
the word plastic when you're little. It didn't seem he dug deeply as to | :46:45. | :46:49. | |
whether what he was saying it true seasoned if it's what he felt about | :46:49. | :46:54. | |
it. His mother as cerebral palsy, she's a single mother and alcoholic. | :46:54. | :46:59. | |
I felt she was more interesting than him. That's extremely | :46:59. | :47:04. | |
ungenerous. But for a show, I think it's incredibly charming. He's a | :47:04. | :47:09. | |
massively likeable performer. And the clunky direction in ruby's show | :47:09. | :47:13. | |
is not in his at all. There's so much narrative distance to make | :47:13. | :47:18. | |
sure you don't think he's being offensive. The word plastic is only | :47:18. | :47:22. | |
used in the context of my mother calls herself a plastic and other | :47:22. | :47:30. | |
people are upset by it. He goes, I would never say that, you go yes I | :47:30. | :47:36. | |
know that. He's shy ago way from taboo to bust it. Now let's move on | :47:36. | :47:40. | |
to WpsKamau Bell. What lovely is that he opens up with a clip of | :47:40. | :47:44. | |
himself on American television saying how much he loves Obama, but | :47:44. | :47:48. | |
Obama will never be President. Very good to fess up on his own mistake. | :47:48. | :47:52. | |
He's a very charming performer. He giveles us a tour of the current | :47:52. | :47:55. | |
state of race relations in the States. You know, I'm living in the | :47:55. | :48:02. | |
US, at the moment. A lot of that material is very familiar. I didn't | :48:02. | :48:06. | |
have a sense how it would play to the Edinburgh audience who aren't | :48:06. | :48:10. | |
quite engaged in the cultural wars in the same way as they are in the | :48:10. | :48:13. | |
States. There's something exciting about him. When you get stand ups | :48:13. | :48:17. | |
here from the US, they are bullet- proof. If the building caught fire | :48:17. | :48:22. | |
they would have a line. It's incredibly impressive but not | :48:22. | :48:26. | |
remotely scary. For somebody so competent, he was surprisingly | :48:26. | :48:30. | |
nervey the night we saw him. It made me like him so much more. At | :48:30. | :48:33. | |
one point he says smoking a fag that means something different here | :48:33. | :48:38. | |
from in America. You know, why I know, that joke needs cards and a | :48:38. | :48:44. | |
cake. Please don't do it. It is beneath you. What he had which | :48:44. | :48:48. | |
helped, is he had some furniture. He had the US census and UK census | :48:48. | :48:51. | |
and they're such a joke in themselves the way they address | :48:51. | :48:55. | |
race. I thought it was good. It gave shape to his show. What he did | :48:55. | :49:00. | |
say was white people have to re- examine the way they behave. | :49:00. | :49:04. | |
think that is interesting. You write a bit of research and a bit | :49:04. | :49:08. | |
of Powerpoint is right. He was partly nervous because there was | :49:08. | :49:12. | |
rioting going on. He was nervous about whether his material would be | :49:12. | :49:16. | |
more incendiary than it was. It was quite the opposite. It would have | :49:16. | :49:21. | |
been great if he had gone there. We were seeing it. What we've seen is | :49:21. | :49:25. | |
a lot of comedians going I'm shocking you, aren't I? Well | :49:25. | :49:29. | |
actually no. They were shocking and not really. Margaret Cho. Margaret | :49:29. | :49:33. | |
Cho did shock me. Margaret Cho there's nowhere Margaret Cho won't | :49:33. | :49:39. | |
go. That's part of the whole thing. She wants to overturn the idea. | :49:39. | :49:45. | |
Were you upset the fact she told you everywhere she's been. It's not | :49:45. | :49:50. | |
that the fact that the jokes are that funny, but it's that she's | :49:50. | :49:53. | |
actually saying these things. was really funny. She was the only | :49:53. | :49:58. | |
one who really got the laughs out of me. I couldn't tell when I was | :49:58. | :50:02. | |
laughing out of sheer shock and when I thought it was funny. That's | :50:02. | :50:06. | |
great. You can't believe she's doing that and the actions. There's | :50:06. | :50:16. | |
a lot of mime, yeah. She has wonderful confidence as a performer. | :50:16. | :50:21. | |
It's very funny, when she does her own parents... That's wonderful. | :50:21. | :50:25. | |
She takes the Michael out of her Korean parents, it's funny, but | :50:25. | :50:28. | |
it's like we're laughing at her parents. I felt fine about laughing | :50:28. | :50:34. | |
at her parents. They aren't, you can see them as individuals. She | :50:34. | :50:39. | |
also does her grandfather as well. There's a whole interesting family | :50:39. | :50:45. | |
dynamic. She has this thing that a lot of Asian women have of being, | :50:45. | :50:50. | |
as children being very, very talked down to, you're ugly, you're bad, | :50:50. | :50:54. | |
you're wrong by her mother and grandfather, seems to have been the | :50:54. | :51:00. | |
person who saved her, saying it's fine, I'm ugly too. I felt the Cho | :51:00. | :51:04. | |
familiar will were real to by the end of the show. Was that taboo | :51:04. | :51:10. | |
busting or just a really fine show? A fine show, but in a way retro and | :51:10. | :51:15. | |
therefore taboo busting. Jenny Eclair won the Perrier in 95 with | :51:15. | :51:20. | |
such a show of mind numbing vulgarity. It was I long time | :51:20. | :51:24. | |
before she was talking about, I can't even say it. It's like going | :51:24. | :51:28. | |
back in time. Wow remember when standups weren't all desperate to | :51:28. | :51:32. | |
be on the comedy road show and they were prepared to take a risk of | :51:32. | :51:35. | |
upsetting everybody in the building. She was thrilling in that reguard | :51:35. | :51:39. | |
and she mentioned Dancing With The Stars. It's not just The Review | :51:39. | :51:43. | |
Show which has taken up residence here for a movement you'll be able | :51:43. | :51:47. | |
to hear more of what's going on in the Culture Show Edinburgh special. | :51:47. | :51:51. | |
Here's Sue Perkins to give us a taster of what they have coming up. | :51:51. | :51:56. | |
On the Culture Show next week, Alastair Sooke meets Tony Cragg. | :51:56. | :52:00. | |
Book Festival regular, Ian Rankin investigates art theft. And we look | :52:00. | :52:09. | |
at the art of the comedy song. I'll be talking to American huem arist | :52:09. | :52:15. | |
David Sodarist. And the theatrical take of Murakami's cult novel of | :52:15. | :52:20. | |
the international festival. That's Thursday, 7pm on BBC Two. Thanks to | :52:20. | :52:25. | |
my guests, Natalie Haynes, Hannah McGill and Hari Kunzru and fatly | :52:25. | :52:30. | |
for putting herself through the trauma ever audience participation | :52:30. | :52:35. | |
again. Full details are on the website and a few added extras. | :52:35. | :52:39. | |
We'll tweet updates on the festival every day. Do tweet us back. We | :52:39. | :52:46. | |
have thick skins. Next we're week we discuss the winners of the James | :52:46. | :52:50. |