Edinburgh Festival - Part 3 The Review Show

This programme contains strong language.

Tonight we are cutting a swathe through the Edinburgh Festival. The

Mirror Mir has a ball with Cinderella. Tangled lives in Zadie

Smith's latest novel, NW, that launched at the book festival.

Through a glass darkly, Vanishing Point's menacing new drama explores

internet porn. There is art everywhere. Symbolism at the

National Gallery. The new sound of the One o'Clock Gun. Happenings at

the surprise venue, Summerhall. All that and Dylan's new album,

Tempesst. We will have live music from the

fringe tribute of Christine Bovill to Edith Piaf. Joining me the

doyenne of stage, Maureen Lipman, writer and critic, Paul Morley, and

Sarah Crompton, arts editor of the Telegraph, who does a sports column

for the paper on the side. The Mirror Mir from St Petersburg is

the company that gave us Nureyev, and Pavlova back in the day. They

are here with a staging of Cinderella. The current Artist-in-

Residence with the American Ballet Theatre, Alexei Ratmansky. We

filmed at their dress rehearsal. Cinderella has long been a staple

of the ballet world. But it has taken ten years for Alexei

Ratmansky's interpretation of this ration to riches story to reach

audiences in Britain. For these performances, Prima ballerina takes

the role. The renowned Valery Gergiev directs the score.

director is an extraordinary conductor, he's known around the

world. He does very nice music. He doesn't

conduct so often with the ballet. Because it is a bit different. You

have to go with the ballerina, with the soloist, or the ballet, and he

plays more sim phonic. When he conducts it. You have to keep up

with his tempos. The Ugly Sisters, and evil stepmother, are

traditionally played as grotesques, but putting graceful ballerinas in

the roles, Ratmansky has a different take on the villains.

this special performance, the stepmother was made on a young

She could be the wife of the Prince. The thing is, I think it is special

for the Mirror Mir, they are more different in movement and classical,

-- the Mir theatre, they are more different in movement and classical.

It has a more dance style. A lot of A lot of people know this ballet,

but Ratmansky's also quite a classical choreographer. But it

seems to be quite different from what you would think of a classical

ballet? It is very modern and updated and bare in the way it is

set. The thing about Ratmansky is he's based in the classical steps.

He's interested in different moments, quirky movement. He

creates a classical ballet. Where nobody just dances, everybody has

something to say. And He's wonderful, the whole

characterisation of the stepmother as Mary Portis. The seasons done as

punk, it is Ratmansky from ten years ago. He has said himself, he

wasn't asked to do the staging of it, he said he would change it and

is changing it as we speak? doing the same things we did ten

years ago -- he did ten years ago he has to amend to be up to speed.

It is hard to know the language going on. At times I swerved all

over the place with it. At times I thought it was a weird Opening

Ceremony for when Victoria Beckham goes to buy shoes. And then an

inordinate amount of detail for a fairytale, and sticking on the

clownness and the mime, break ago I way from the classical steps,

verging on -- breaking away from classical steps. After a long

evening, I missed some of the characters, 86 people on stage, it

is energetic, once you breakthrough the formality, it is very moving.

Long the way did you miss the sign posting? We know Cinderella goes to

the ball in a pumpkin, there is no mice, no fireplace. The fairy

godmother is bag lady, bent double. It is gorgeous, I had a wonderful

time, if I didn't know the story of Cinderella. The wonderful thing is

we were lucky, we heard Gergiev conducting, which makes the music

glisten. The other thing that is wonderful about the production is

how responsive it is to the music. It has a melancholy undertow. I

loved the final pas de deux, it is touching happiness, notes grabbing

it. When the Prince comes on and he's vain, and he's a bit full of

himself. Then he's totally taken over by that wonderful girl. Isn't

she, she's made of steam and breath and gossamer, just wonderful.

What about the fact that Gergiev was there conducting. It gave the

music a prominence that often, when I go to a bl let, I'm so stuck on

the -- ballet, I'm so stuck on the ballet, I was listening for more

the music? That was interesting, there was a power coming from a

discreet place that you couldn't ignore, that is why, occasionally

it felt like the music was the lead, and what was happening on stage was

secondry it was discreet and humble, almost. I felt after the third or

fourth interval he definitely had a lick of paint in his hair. There

was a discreet performance going on down there. That was what was

ultimately powerful beyond the kitschness of the performance. The

orchestra was incredible. They suddenly went to Spain and they had

those dancing boys as Aryan blonde boys, what was that to Cinderella.

That is Professor trying to make a ballet sequence of variations,

where he travels the world. The sort of thing you had in classical

ballet. For all the choreographers who have tackled it, it is a

problem, the story stops. If you were to place the Mirror Mir ballet

now, what -- miornmiornmiorn ballet now, what would you say -- ballet

company now what would you say? They reflect they are amazing, they

have loads. Have you ever seen arms like that. Their physical presence

was incredible, it is like they were bred in some laboratory for.

That I'm talking about the men. There are two more performances of

Cinderella tomorrow in Edinburgh. Life in London has an enduring

appeal for novelists, earlier this year John Lanchester published

Capital, which we discussed in March. Now Zadie Smith returns to

the streets of her manor, where she was for White Teeth.

NW is about a group of thirty- somethings, all trying to find

their way in the capital. Zadie Smith's first novel, White Teeth

was published in 2000, when she was 24. It won a number of major awards,

she was hailed as a precocious literary talent. Set in the streets

of Willesden, the book explored roots, religion in a multi cultural

neighbourhood in London, and subsequently adapted for Channel 4.

I'm from the Cricklewood kingdom, where we the witness of Jehova, are

waiting for the Lord to come with his presence, bringing with them

the three-fold Armageddon. Now she The novel follows four characters,

now in their 30s, whose lives have taken very different paths since

their upbringing on a council Zadie Smith explores form and

chronology, and brings patwah that elect fies the dialogue. Is she

looking at North West London from afar, or is she, once more, happy

to be home. She makes you work hard on this

story, did you feel you were working hard? Very hard. It says

curl up with it, sail vour every sentence, turn around and re-read

it. That is precisely what I had to do. I felt very alienated by the

style. The writing is diamond brilliant, the dialogue, in fact,

it is probably more of a film script than it is a novel. It is

straight from the page to the screen. All the characters are very

well delinyailted. Because it keeps -- delineated, just it keeps

chopping and changing in characters, just when you get interested in

someone you go on to another one. Because you get cuts and flashbacks,

lots of dialogue, quotation marks and without dash, you don't know if

they are speaking or not. Because that have it is jagged, it is very

savage, this book. You meet Lea and Natalie, late on, reversing through

their lives, you get all the codas to explain what is going on. We

were talking about the dialogue, mixed in with the description and

the pat what and everything else. She rewards -- patwah and

everything else, she rewards you after a while of reading, you

suddenly know what is going on? could enter the book at any stage,

when you do finish it you really want to begin it again, you realise

you can come in at any point. What I loved about it, where it made up

for John Lanchester's Capital, it is an experimental book. The whole

point of living and getting on in London, you have to have a

experimental personality. A great London novel, it might not be "the"

great one, but it is in the top ten. You never know where you are. Where

she goes from one to 185, that is where it started to sink. These are

the lists? It is random, it takes detours, it is like a walk around

London. It is information about what is happening? It was a map

about North West London t transcends it, it could be about

anywhere, it is about getting on in a city. There are four main

characters, Felix, Nathan, Lea and Natalie, and one called Keisha, she

nails female friendship in a way. She's happiest concentrating on her

two characters? I adored it, I couldn't put it down. I was

absolutely engrossed in it. She's so brilliant, observationally, on

what Poundland is like, and people eating outside. The women inhabit

that world. She gets into their mind brilliantly. I thought she

wrote about women and children better than anyone I can think of

recently. How they navigate their lives in relation to her. She's

very harsh on them sometimes. Zadie Smith, I have read, said she

doesn't actually like Natalie, in the sense that Natalie is not a

likeable person. It is a real accomplishment to get to you like

Natalie, or get you into that book? You admire her in way, you can see

where she's come from. She does occasionally patronise her

characters. How do you mean about children, mothers and daughters she

gets quite well with Natalie and, with Leah and her Irish mother, and

the way Leah sends up her mother, but actually is very reliant on her.

But children? I think where the relationship, the way that lowia

decides she doesn't want children. -- Leah decides she doesn't want

children. The assumption that everything is her moving towards a

fulfilled life with children. She rejects that, her ambivalence about

the definition of that, then as you come back later in it, Natalie has

similar ambivalence but similar journey, that is not written about,

women not wanting children. thought she was quite judgment

mental, and also I found the characters, like the wonderful

junkie, absolutely wonderful. the actress on the roof and Felix's

lover? We haven't been able to talk about him, because he's a third

character. I love how she manages to do a 25 years of the 21st

century, and what happened to the different sensibility we have as

things change. We don't want to give away what happens, you are

right about Felix, he's a promising character, I felt cheated I didn't

know him better? We are pulled up short. It is very jagged. But you

do love him. He actually, in some ways, I have said the women

characters are better drawn. He has got the great comic vignette, where

he sells a car to another posh drugy, and that's brilliantly done.

You are with him in the pub, with the used money in his hand. I loved

it. It is impressionist. The way she talk about it, in the book,

hearing a conversation outside Poundland in Kilburn, she as a

great antenna for conversations, picking them up on our behalf.

seems pretty extraordinary to me this is not on the Booker long

list? It makes you think the novels must be brilliant if it is not

considered. It has a wildness about it, that is not in the tonal

blandness that is required. That is what I loved about it so much, it

didn't have that control. It is wild. It makes you work hard.

a proper novel. There is alienation, and this stream of consciousness,

Joycey and Virginia Woolf thrown in. It has warmth, which is rare in a

structural complicated novel. a great balance. Decide if it

should be in the Booker long list. We interrupt the festival programme

to bring you something special. There was excitement in the Review

office when Bob Dylan's next album was delivered to the BBC. Would

Tempest, his new self-produce the record hit us like a Hurricane.

While much of Dylan's recent output has received warm reviews, a new

release always creates a fever of specktation. Some pundits suggested,

that Tempest was to be dill Dylan's swan song. Dylan has quashed these

rumours saying he has no intention of laying down his guitar.

Listen to that Duquesne Whistle blowing.

Sue fused with dark themes, from a blow-by-blow account to the

assassination of his friend, John Lennon, and love stories that end

in death and destruction. The cast of musicians is familiar

from Dylan's recent albums, and Tempest is self-produced under his

occasional pseudonym, Jack Frost. Fans can catch a glimpse of the

ageing Troubadour in the video of the new single Duquesne Whistle, a

grand old ramp on railroad songs. # Listen to the Duquesne Whistle

blowing # Blowing like she never blowed

before # Blue light rigging

# Red light blowing # Blowing like she's about to take

the door Paul, you have been listening all

day, we have all been listening all day. Did it catch you off guard?

have been searching for praises, to sing -- phrases to sing its praises.

I don't know if there is an original line, riff or phrase on it,

it is unbelievably original. Because it is Bob Dylan's fifth

album, it doesn't matter most things are nicked or stolen. It is

extraordinary, it is a double album. I don't know if anyone knows what

that means, if it was like the old days it would be Blonde on Blonde,

I would put it up there with it, it is extraordinary. For a number of

reasons, not least that because 20 years ago we thought he was on the

way out. The fact he has come alive, about the idea that he might be

dying, it is clearly not, it is his most confident album. His voice is

spectacular, I have heard it speaking, his voice is glorious?

is kind of controlled growl, really. It is wonderful sound. The band is

amazing. The sound of it, it has got this madden ghee, and you can't

believe he's 7 -- maddener ghee, you can't believe he's 71.

voice is now, I thought it was Louis Armstrong, he loves the way

he sounds now. That's what's happened to him. He has come round

full circle, he's doing chaingang songs, sea shanties. It is so

blokeish. He's loving the voice, he has the voice he has always wanted,

fantastic, he's trying to get the by star sound now, Scott Lit, he

has done REM albums, and the steel guitar is amazing. Dylan is a

psycadelic historian, he's wonderful at raiding history and

putting it together. He's telling us history of all sorts of things.

It sounds ancient but incredibly contempry one of the most exciting

things about it, here is the guy that almost started the very idea

of what a long-playing record of, here at the end of what that

history is, there he is again, telling us what this thing is, it

is a work of art. It is a work of art and he's telling us for the

35th time that it is a work of art. He's telling us stories again, of

Titanic, in his way? Leonardo DiCaprio is in with the historical

thing. It is so dirically rich. You have a -- lyrically rich, you have

a Sutton Who line, you have this wonderful creativity with words.

There are all these little samplings of little people that are

made into ballads. It's like he waited and this is the moment he

wants to talk about John Lennon. That comes after a huge pause,

Titanic goes on for three years. verses. Then there is a long pause,

then I thought that is going off, on came John Lennon, Godliness me.

You sink the Titanic, and then there is more, the John Lennon is

very beautiful and he's acknowledging the end of a life.

There is a line about the last heart beat and what a moment that

was. It is a bit like being trapped in a cellar somewhere with 15

Irishmen. Listen, let's have another quick burst of Duquesne

Whistle. # Listen to that Duquesne Whistle

blowing # Blowing like she's blowing right

Tempest will be relosed on the 10th of September -- released on the

10th of September. Glasgow may be the breeding ground for Turner

Prize winner, but in August the Edinburgh Art Festival is an

explosion of installations and happenings. Now in its ninth year,

the Edinburgh Art Festival collates a packed programme, with 51

exhibitions in 30 venues across the city. Encompassing everything from

Picasso to paintings by Harry Hill. The festival's flagship commission

this year is a new sound work from Susan Philip, who won the Turner

Prize in 2010. Timeline reflects the history of one of Edinburgh's

most sonic landmark, the One o'Clock Gun. Timeline is a sound

intervention that cuts through the city in a straight line from six

different locations. I discovered this time gun map that showed you

how long it took for the sound of the gun to travel across the city.

That made me think about sound in a city wide scale.

It is my own voice, where I'm singing three harmonising notes,

from all of these six locations. The former veterinary college of

the university of Edinburgh, has been reinvented as Summerhall, a

venue for fringe performances and art. There are key couture pictures

and headwear, photographed by rank kin.

There is an exploration of the body politics in video. Belgian artist,

Jean Pierre Muller, uses sculpture and sound in a street scape to tell

the story of some of the 20th century's greatest producers and

musicians. At the Scottish National Gallery Van Gogh to Kandinsky.

"Don't paint the thing you paint but the thing expected" proved

inspiration. There was Monet, gauing again, and lesser known

artists like Walter Crane and others. The show presents symbolist

painting as a frame of mind, rather than a district style or artistic

movement. This idea of a frame of mind. Do

you think the exhibition hangs together as a prop gaigs. I think

it -- proposition? I think it does, but I don't agree with it. There is

a lot of paintings from people you don't see much. It is exciting. You

go around having an argument in your head, if the idea of the

symbolism is about the idea, and the mood, not the thing, is Monet

is a symbolist, does he pay haystacks because he wants to paint

mood or see what the light did. I'm inclined to think it is the latter.

I liked how it made you argue with yourself on the way round. It has

my favourite painting, the Van Gogh, reaper in the field. I thought it

was a symbol of him imposing order on the world, he paints it from the

asylum window. Then I thought maybe it is about death. You have this

conversation. That is the proposition put forward in the

exhibition? You have the conversation with yourself is, I

found that utterly fascinating. have looking Asim bowlism as a

cultural bulwark, with the Finnish artists - as symbolism as cultural

bulwark, with the Finnish artists they were using it as a symbol of

Finnish culture. That was a thread running through. The artist on the

cover, that was extraordinary? were, when you come to the palace

with the horse and the statue, and he's turning away, is that to do

with the end of the Hamashoy, or is that just what he wanted to paint

that day. The intensity, particularly the intensity that is

just about catching that moment in the evening. Capturing that scene,

not as a naturalist scene, but as what it made you feel inside?

yes. Go on. You're too polite, Paul! It makes you follow a story

it has decided to tell. Sometimes you yes or no for a break up of

chronology, a break up of not following a certain thesis, it is

too academic for the minds and mentality and the paintings in it.

It is glorious, and fantastic stuff, I love the Scandinavian moments

that throw up. They branded it to get you in. But it is some of the

more obscure artist that is are more exciting? Van Gogh and

Kandinskys, there is two Mondrians, and that response he had to Steiner,

about atmosphere and colour, in terms of psychology. I sometimes

wished there was more, a more abstract way of compieming some of

this material, because it -- compiling some of the material,

because it doesn't flow. Six or seven great rooms with fantastic

paintings in, but the curating idea that it is carrying a narrative

annoys you, you want a wildness that represents the spirit of some

of those paintings. They give you some amazing paintings. And to see

the Van Gogh is unbelievable, with music. There was the Kandinsky

together saying the music and colour tonally was incredible.

the end you could see paintings as a score, which is Majestic to see

that moment happen. Let's talk about Susan Philips, the Turner

Prize winner. It is what she regards as being her own voice on

the One o'Clock Gun, a bit like the Duquesne Whistle! I would imagine.

The sound that starts the Dylan album, it shows you how amazing a

sound can be to start a moment in history. Not that I heard this one.

You have to be incredible alert, it is a very quick sound. I thought

one advantage was it made you look at things in Edinburgh I had never

looked before, which is the ball falling on Nelson's monument. I

thought it was, it is so fleeting almost it is not to be there.

fast. But the sight of the three of us standing in a cemetery. Full of

David Hum, he's grave, trying to hear it. I like t a lot of the work

is about the dispersal of songs and sound into an inaudible hum. I

thought it was meant to be that way. It is Majestic. That is very

symbolistic. You saw Edinburgh unfold again, and the hidden

corners you don't know until you are reminded. Another hidden corner

is Summerhal, people talking about the festival becoming slicker and

slicker, then the wildness and craziness of 500 rooms at Summerhal.

I loved it, I'm so happy someone has taken an old building and made

it relevant and interesting and community centre. Completely mad,

the operating rooms are still there, there is bits of old animal on the

wall. It is fantastic. Palm Hoggs, amazing couture, slightly bondage,

is in a room where they were clearly hanging horses and

dissecting them until a year ago? There is crazy energy about this

programme tonight, and Summerhal a wonderful place. You go in and feel

inspired by all the things. The fact it is dispersed, it is over

two-and-a-half acres, you fall across things all the time. You are

constantly turning corner noose rooms where you think you will --

corners into rooms where you think you will come across the skal

velvet Underground playing. It is great because the previous

exhibition didn't have it. When you talk about the Velvet Underground,

when you look what was happening? Some decrepit rooms and you stumble

into them, they haven't been done you have at all, you have a

brilliant artist and fantastic pieces that spring from room-to-

room. You see Emin has come, Sturnham Barley, you loved that,

you really find out for you -- yourself. You have the David

Micolet room, the room is a installation of slowed down images

he made of naked people, mainly against black, high-definition -

moving, it goes to seven minutes. He has made a piece called Slow

Dancing, that is also on. He's a brilliant artist, it is not just

the trick of slowing down the motion, it is how he then arranges

it. He makes a trip-tick of motion. It speaks across the screens. He's

a really significant artist, and clever Summerhall, they

commissioned him, he's not commissioned in this country. That

is another tick, bringing in this work. You sit on bean bag, except I

was too rivets to sit. And you watch these beautiful, beautiful

bodies. You could do a programme on what you see in Summerhall, every

city should have one. I read about Karen, she ice-skates naked with

her cat it is said, I thought, that will be a laugh! Another role for

you! Do not fear, because the exhibitions at Summerhall are open

to the end of September. The Scottish National Gallery continues

until the end of the October. The Edinburgh International Festival

brings work from all around the world to the city stages, but gives

a platform for work from Scotland. One of the premiers come from the

theatre company, Vanishing Point, it may have the whimsical-sounding

title, Wonderland, but it is for adult eyes only.

Please, help me, I'm scared. I just want to go home. Wonderland was

inspired, in part, by a documentary, about a young British woman's

experience in the American porn industry. Working without a script,

director Matthew Lenton began by exploring the reasons why people

make and watch pornography. The air feels thicker. Your skin feels

sticky. Something stinks. The play uses live projections, as well as

an inner stage, encased in glass, to present a multilayered approach,

to the moral questions raised by violent pornography. This is how

you say hello, is it. No handshake. This is the way we do business.

watch Alice, a young girl who gets given the name Heidi, and who may

or may not be lost in the world of sado-masochistic skin flicks.

really don't want to do it now. are beautiful, take off your

fucking bra. We also see John, sometimes known as Michael, a

family man, who slips out to watch extreme porn while his wife sleeps.

Blown up on a large screen, the audience sees what John sees and

more, blurring the boundaries between performance and reality,

and asking us to confront the complicity of the voyeur. Is that

what you want, Michael, you want me to be your little girl. And then

what? In private, whatever you like. Wonderland takes its audience on a

challenging adventure, but could this particular journey be a little

too dark for some? Maureen, as both a director and a performer, this is

such hugely ambitious work in terms of technically, and also an

ambitious subject? Let me start by saying that the acting is superb,

in my opinion. Particularly the leading lady, hums Hulse. The --

Jenny Hulse. The staging is behind a sort of box, we look into it,

again with the alienation, however, it was so hard-hitting and so well

done, I thought, that I couldn't watch. Actually the subject of the

pornography, and the way, at one point, we had something that looked

like it was going to be very graphic, I didn't know where to

look, it lost me there. But I have to say it was beautifully put

together. I thought it was just hell. You know, far from to say, I

thought it was a good idea with Alice being curious, about

curiosity in the modern world and where it takes you. I thought they

workshoped it and not got anywhere. Let's be clear about this. This was

an unscripted piece. It was a devised piece. I felt they hadn't

got far enough. What they ended up doing was simply putting images of

exploitation on to the stage. I agree it was well act, I thought it

did look wonderful. The lighting was fantastic. The way it looked

for me was more problematic, it sucked all the humanity out of it.

I felt it was exploitive, it was exactly the thing that it was

supposedly giving us a critque of. The sound was a one note of what

was on stage. No change of atmosphere? That is difficult, when

you tackle this subject you have to do it. The other difficulty is

tackling the Internet, which is a tricky thing to deliver. It is

something about the venue, there was many things about arriving at

it, it was old as an Alice in Wonderland, which it wasn't and a

famous celebrity. I wonder if it was at one of the dirtier rooms at

Summerhall it would have been better. A very important subject,

but you come away thinking it was an Opening Ceremony for wanting to

go home and have a damn good cry. He does say he wants to take you

further than he knows you want to go. That is the part of it that is

devised. The problem is devised theatre, they get a fantastic

amount of rehearsal time, they get 18 weeks, ten months, the rest of

us get three weeks and it is judged on the same standards. Do you think

the work, then, if it is collaborative, do you think in the

end it is a directed work, or is it the actors at play? You get great

performances and you never get a play. And I felt that if they were

going to do it, they should have used the rehearsal time to be

intellectually rigorous, to explain something, instead of simply

setting it before us, as a series of deeply unpleasant images. I

don't see how that justifies putting on a play of this sort.

needed to be immersed in it. It seemed to be one of the plays where

we needed to be involved in it some how. I think that comes back to the

staging. Behaves the Lyceum was a strange place to have -- by having

the Lyceum, it was a strange place to have it. You can't be led

everywhere though? They don't explain anything. For me the most

interesting character is the husband, who supposedly is a normal

man, and who is led into his deep e, darkest desires, but you don't know

anything about him, not a thing. I thought, come on, tell me something.

Did is matter if we didn't know whether the girl was his daughter.

You feel you were luck turd about anything that was bleeding obvious.

You nationwide -- you needed context about the subject.

mystified why you were prepared to make the journey with NW and this

one you find it difficult to accept a series of impressions, which is

all it is. For me, NW has more a richness and warmth towards it t

which this does not have. doesn't have warmth, because it is

not a warm subject. In 85 sections it did, it covered so much ground,

this didn't. It covers three pieces of ground. We have to agree to

disagree. That is the best way on the review show. My thanks tonight

to my guest. We will be back at the beginning of object. But we will

leave you with one of the Edinburgh fringe's big e hits. Here is

Christine Bovill with -- biggest hits, here is Christine Bovill with

her Edith Piaf. Le ciel bleu sur nous peut seffondrer Et la terre

peut bien secrouler Peu mimporte si tu maimes Je me fous du monde

entier Tant qulamour inondra mes matins Tant que mon corps fremira

sous tes mains Peu mimportent les problemes Mon amour puisque tu

Apology for the loss of subtitles for 46 seconds

#Jirais jusquau bout du monde #Je me ferais teindre en blonde Si tu

me le demandais #Jirais decrocher la lune #Jirais voler la fortune

# If one day we had to say goodbye # And our love

# Should fade away and die # In my heart

# You will remain Dear

# And I'll sing a hymn to love # Those you love

# Will live eternly # In the bloom

# Where all is harmony # With my voice

# Raised high # To heaven

# Just for you # I'll sing