:00:15. > :00:18.saturation of an Edinburgh summer. We are here at the world's greatest
:00:19. > :00:24.arts Festival and I will bring you the finest comedy, cabaret and
:00:25. > :00:32.musical performances. Behind me is the world's most frightening photo
:00:33. > :00:55.bomb ever! APPLAUSE
:00:56. > :02:11.A big thank to Te Waka Huia. He is from New Zealand. Frightened and
:02:12. > :02:15.aroused! Coming up, the international flavour continues with
:02:16. > :02:21.dancing from Brazil, music from South Africa and exotic comedy from
:02:22. > :02:24.West Bromwich. Please welcome a raw unknown who we have discovered this
:02:25. > :02:28.year and we are hoping for big things this year. Please welcome
:02:29. > :02:43.Frank Skinner! APPLAUSE
:02:44. > :02:52.Hello, darling. Budget cuts! They said you wanted a dry our! We have
:02:53. > :02:57.taken you literally. Frank, I never thought this, but it has been seven
:02:58. > :03:03.years since you were in Edinburgh. Yes, doing a solo show. Yes,
:03:04. > :03:08.standing up there on my own, it has been seven years, so I am doing the
:03:09. > :03:15.whole festival, three weeks, no nights off, and I am going to kill
:03:16. > :03:20.myself! Surely this is the time to spend three weeks away from home. I
:03:21. > :03:28.have brought my family with me. There are people staying there,
:03:29. > :03:41.though! If only you had Haka staying there! They were extraordinary. I
:03:42. > :03:48.was dancing to that. It was a good dance. I saw your groin and move! In
:03:49. > :03:57.a very confined area. That was unexpected. Let's take a look at you
:03:58. > :04:03.in 1991. This is one of your earlier forays. This might be the statue
:04:04. > :04:12.they made of you. That is when I won at the Perrier music award. --
:04:13. > :04:18.comedy award. It was very, very exciting. In those days, it if you
:04:19. > :04:25.won it, a flash mob would arrive at the gig on the night. The judges
:04:26. > :04:32.would storm on stage with the award, flowers and champagne and there
:04:33. > :04:38.would be a cavalcade! It was fantastic. It is now done at a
:04:39. > :04:43.formal dinner. I was giving a man in the front row some terrible stick
:04:44. > :04:47.that night. When I was presenting the champagne, I was a reformed
:04:48. > :04:58.alcoholic so I thought it was inappropriate so I gave it to him in
:04:59. > :05:04.the front row. You are still abusing members in the front row in your
:05:05. > :05:09.show, Man In A Suit. I am gentle. There was a lot of emphasis on the
:05:10. > :05:13.man's short trousers. There was a man with very, very short trousers
:05:14. > :05:19.and was sitting like this for the whole thing. You know when you look
:05:20. > :05:22.through the hole in the curtain to see the audience, that is all I
:05:23. > :05:31.could see. I thought there was an alien in the front row! I referred
:05:32. > :05:42.to it because it would upset me later in the evening. Over 20 years
:05:43. > :05:47.on, what has changed for you about the Edinburgh experience? I have my
:05:48. > :05:53.family with me. I used to get up at 4am, get up at 11am, and go and
:05:54. > :05:58.season comedians who I could have seen in London. That is how the day
:05:59. > :06:14.went. Now I go and see the amazing double man. Is that a euphemism? No,
:06:15. > :06:20.no! I go to the museums. So, you see a bit of Edinburgh rather than just
:06:21. > :06:26.the bar. I have never looked at the children's' fringe, there is lots of
:06:27. > :06:34.weird stuff going on. Any recommendations for those with
:06:35. > :06:40.children? Most of the shows for children over the age of three and
:06:41. > :06:46.then I found one for children who are over two years of age. It said
:06:47. > :06:55.it was about a dog who made an unlikely friendship with Death. It
:06:56. > :07:01.is a personification of death. I am holding back on that! It seems a
:07:02. > :07:07.little young to introduce people to the concept of mortality. I was
:07:08. > :07:14.frightened about the write up myself! May be children are
:07:15. > :07:23.different now. They love death! You talk about this in your show, but
:07:24. > :07:27.how does your partner deal with it? My girlfriend is a comedy agent so
:07:28. > :07:38.she is up here looking for fresh, good-looking talent. Not to replace
:07:39. > :07:42.me at home! I do not think! That would be terrible! Going to
:07:43. > :07:51.Edinburgh to look for a new partner! Yes, she told me about it and I paid
:07:52. > :07:55.for her aeroplane fare. You often reference your relationship. Yes,
:07:56. > :07:59.but I express my love for her as well as the conflict we find
:08:00. > :08:09.ourselves embroiled in. I will leave you with that court. Will you stay
:08:10. > :08:17.with us? Yes, it is a lovely sober. As the dehydration bites, take it
:08:18. > :08:22.easy. -- sofa. We cannot squeeze everyone into the BBC tent, but we
:08:23. > :08:31.have tried! The Green room is bursting at the seams. I have my
:08:32. > :08:37.very own shoulder, at the comedy coalface, with people dressed as
:08:38. > :08:41.medieval milkmaids or a giant parsnip. Here is Mark Watson looking
:08:42. > :08:51.at the weird and wonderful world of the Fringe. Edinburgh is in full
:08:52. > :08:56.swing with its chaotic and rambunctious glory! One thing that
:08:57. > :09:03.emerges is that pretty much everybody here is here for the love
:09:04. > :09:09.of it. Even if they can get carried away. One couple, David and Carol,
:09:10. > :09:15.are so in love with comedy that they have committed to watch 300 shows
:09:16. > :09:23.over 27 days. They want to break the record. This is them here. You
:09:24. > :09:27.should get cracking! Hurry up! The city is busting with love all around
:09:28. > :09:34.us. Onstage and off stage. There was a piece called Love, which Thomas is
:09:35. > :09:39.to embrace the audience with the arms of the performers. -- which
:09:40. > :10:00.promises to embrace. A comforting date of human contact
:10:01. > :10:09.is what is needed after a hectic week. Other shows get up close and
:10:10. > :10:14.personal in a more unsettling way. This comedian actress is doing one
:10:15. > :10:22.of the smallest shows in the Fringe. It is in her own car. She is
:10:23. > :10:34.desperate for the audiences affections.
:10:35. > :10:41.So, that is a sign that love can very easily turn into something
:10:42. > :10:53.intense and disturbing. I think I need to be somewhere else! And love
:10:54. > :10:56.takes a darker turn in the Dark Room where the passion for video games is
:10:57. > :11:01.turned into a black-hearted cult show. The audience chooses their own
:11:02. > :11:26.adventure but then that leads them to bed doom. -- to their doom. You
:11:27. > :11:29.die! In the The Generation of Z, they are scaring the audience in
:11:30. > :11:33.their zombie world. There you go, in Edinburgh, even though shows that
:11:34. > :11:38.delve into the macabre recesses of the human soul are done with such
:11:39. > :11:44.excitement that they are a celebration, even in the midst of
:11:45. > :11:49.death. There is still life and love. OK, Edinburgh is great,
:11:50. > :12:01.goodbye! APPLAUSE
:12:02. > :12:05.Well, fortunately, Mark was not killed by a zombie. He sustained a
:12:06. > :12:10.flesh wound so he is fine. Apparently, according to management,
:12:11. > :12:20.I have to keep 28 pages away from him as he joins us now. -- paces.
:12:21. > :12:24.Mark Watson, everybody! Sorry, it is like a health and safety being. It
:12:25. > :12:33.is a bit demeaning. I would be so cosy on the settee. Yes, but there
:12:34. > :12:39.is no water. There is no excuse now. It is not contagious. You survived
:12:40. > :12:44.your first week. Yes, but it was strange. I have had mixed feelings.
:12:45. > :12:51.On one hand, I was chased by zombies but I was also hoped by those cool
:12:52. > :12:54.people. I do not know what I preferred. When we filmed that
:12:55. > :12:58.thing, this local bloke came up and said, is this real?
:12:59. > :13:04.thing, this local bloke came up and said, is Yes, we are in the midst of
:13:05. > :13:10.a zombie apocalypse! How the anxiety levels going into the second week? I
:13:11. > :13:14.am struggling a little bit. It is quite easy to get over anxious
:13:15. > :13:20.during the Fringe, and you lapse into these habits. Last year, I had
:13:21. > :13:36.anxieties and I was drinking before the show. I was like a shopaholic
:13:37. > :13:43.but with alcoholic! Get the hugs and zone out the zombies. It is not as
:13:44. > :13:48.everywhere you go in Edinburgh, there are people foaming at the
:13:49. > :13:54.mouth for you! There are no zombies here. I should hope not. It says
:13:55. > :13:57.something about and read that you can be pursued by monks, people
:13:58. > :14:04.dressed as Hitler, basically anything! OK, it is time for me to
:14:05. > :14:18.go. They are coming from a! They like the taste of you, I think.
:14:19. > :14:23.APPLAUSE Mark left to soon, it was only Nancy who arrived a little too
:14:24. > :14:29.early for her own show! Mark will be back next week and you can catch in
:14:30. > :14:36.at the Pleasance with his stand-up show, Flaws. I next guest is an
:14:37. > :14:39.actress, comedian, clinical psychologist and now, following an
:14:40. > :14:45.appearance on Strictly Come Dancing, she's written and produced
:14:46. > :14:59.a spectacular dance show. Please welcome Pamela Stephenson Connerly!
:15:00. > :15:08.Incredible CV I've just listed. Who would have thought you would get the
:15:09. > :15:14.dancing bug? I really just wanted to be an air hostess! There's still
:15:15. > :15:18.time! You took the skills you learned in Strictly Come Dancing and
:15:19. > :15:23.you've created this extraordinary new show. It was so nice because I
:15:24. > :15:32.rediscovered my love of dancing and found my way to a wonderful
:15:33. > :15:39.Brazilian dance. Found your way! Turned left at the library. It's
:15:40. > :15:44.called Brazuca. Arlene Phillips directed it. You've seen it, did you
:15:45. > :15:51.like it? I loved it and so did the people there. It really is fun,
:15:52. > :15:57.wonderful dancing, great story. I'm very proud of the cast, who have
:15:58. > :16:03.come from social towns all over Brazil and the world and they are
:16:04. > :16:08.brilliant. You can tell just from Frank's body language how much he
:16:09. > :16:17.loved stance! I've never interfered with dance. You had to use that
:16:18. > :16:28.word. I associate it with rejection and embarrassment. This is the dance
:16:29. > :16:33.the U. - for you. I can walk up to other men and invite them to dance
:16:34. > :16:40.and he will say yes. No more hanging out by the walls of this goes. Not
:16:41. > :16:46.that discos exist any, kids! When I'm at the discotheque, I'm often
:16:47. > :16:54.against the wall. Don't hurt me. You can be at a club and now in Brasilia
:16:55. > :17:00.can just go up to somebody and not feel rejected. In some dances, some
:17:01. > :17:05.social dances, you feel like a wallflower. This way, women have a
:17:06. > :17:11.lot more control over the situation. For example, Frank, would
:17:12. > :17:26.you like to dance? There's an answer. He's going to dance with me.
:17:27. > :17:36.Where did you spring from? The great thing is, you dance with one and
:17:37. > :17:41.another guy comes. The lovely thing is they will do anything for
:17:42. > :17:50.attention. They get very dejected if you leave them.
:17:51. > :18:02.What's going on? Is this OK with health and safety? And getting
:18:03. > :18:10.involved with an audience member. Don't break her! Anything for
:18:11. > :18:49.attention. Stop it! Magnificent! Please tell us... My
:18:50. > :18:55.boys! I thought they were just members of the audience. My husband
:18:56. > :19:09.Billy calls them Brylcreem luff REO 's. I call them every single night!
:19:10. > :19:19.There are hundreds of comics currently... I will be trying it
:19:20. > :19:24.later. She can dance, she can tell me when I'm doing my job wrong and
:19:25. > :19:31.she can make me feel better for doing my job wrong! There are
:19:32. > :19:36.hundreds of comics in Edinburgh for a month of 12 hour days. One hour
:19:37. > :19:42.onstage, 11 hours wandering around drug telling anyone who will listen
:19:43. > :19:47.about that one hour onstage. Where do you go to escape the reviewers,
:19:48. > :19:58.the hecklers, the determined comedy groupies? Tony Law can show us.
:19:59. > :20:03.I'm Tony Law and I'm here at the end of broth fringe first of all and I
:20:04. > :20:13.laughed about a nickel gardens. I do. - I laugh the botanical Gardens.
:20:14. > :20:16.I'm in Edinburgh to do is show with my wife and director and our two
:20:17. > :20:44.trolls. There he goes. She sees art in what I do. My God,
:20:45. > :20:57.that's a big plant! Really massive. The sort of stuff feeds you, can you
:20:58. > :21:00.smell it? It's a bit prickly. I am genuinely looking forward to just
:21:01. > :21:10.connecting to people who want to come to my stupid, crazy show.
:21:11. > :21:22.Actually, it's quite sweet, but surreal and crazy at the same time.
:21:23. > :21:28.I crave his hair. I'm worried I'm going to get his beard. You can
:21:29. > :21:34.delve deeper into the strange mind of the Tone Zone at the stand. My
:21:35. > :21:39.final guest is proof that marrying Michael Douglas or Harrison Ford is
:21:40. > :21:43.a bad idea. She starred opposite them in Patriot games and Fatal
:21:44. > :21:50.Attraction, which earned her an Academy Awards nomination. Now she
:21:51. > :21:53.has taken to the stage in a play called The Trial of Jane Fonda.
:21:54. > :22:00.Ladies and gentlemen, please welcome Anne Archer!
:22:01. > :22:19.Nice to see you, take a seat. A starlet is amongst us! Yes! We
:22:20. > :22:23.referenced a few of your films. Presumably the sort of rough cobbles
:22:24. > :22:29.and the tiny cramped spaces of Edinburgh, you aren't used that,
:22:30. > :22:34.coming from Hollywood. I think it's fabulous here, so beautiful. I'm
:22:35. > :22:41.sharing dressing rooms and having a whole new experience. It is strange,
:22:42. > :22:50.yeah. Codeword for I've seen a stranger's general tools up close! -
:22:51. > :22:59.genitals. What is the show that happens straight before yours? It's
:23:00. > :23:04.the show that comes after me. I'm sharing a dressing room with
:23:05. > :23:07.Michael, who is a friend. I miss the show before, I don't know who's
:23:08. > :23:14.there, but I know about the show afterwards. Do you get the odour of
:23:15. > :23:23.them? Oh yes. All the food and everything. The Trial of Jane Fonda
:23:24. > :23:26.is spectacular. It tells of it - very interesting story, and meeting
:23:27. > :23:32.between Hanoi Jane, as she was known, and some ex-Marines that
:23:33. > :23:37.served in Vietnam and the clash of opinions that happen in this church
:23:38. > :23:44.hall. Were you aware of the story before the play? Yes, I remember
:23:45. > :23:50.when she was meeting with them. She is known as an anti-war activist.
:23:51. > :23:55.Many vets hated her because she went to Hanoi and they took photographs
:23:56. > :23:59.of her in North Vietnam sitting on an anti-aircraft gun. There are a
:24:00. > :24:04.lot of reasons it happened and my husband did a lot of research and
:24:05. > :24:10.retraced her steps and found out the true story. A lot of lies have been
:24:11. > :24:15.told. We did a play that tells both sides of the story. The point of
:24:16. > :24:22.view of the vets and the anti-war movement, Jane being the leader of
:24:23. > :24:26.that anti-war movement. It's a pretty provocative,
:24:27. > :24:32.thought-provoking play. For America, it sets the record straight. America
:24:33. > :24:37.needs that. It feels like an untold story. Is it strange for you to play
:24:38. > :24:42.somebody who is still living and very much still in the public
:24:43. > :24:49.consciousness? It's hard. Usually they are gone. You can do whatever
:24:50. > :24:54.you like! She is very much in the public eye. She doesn't have any
:24:55. > :24:59.peculiarities or eccentricities in her mannerisms or her voice. You
:25:00. > :25:04.have to try and capture her being and her viewpoint and own it within
:25:05. > :25:10.yourself. I think it's working quite well. You didn't feel the need to do
:25:11. > :25:18.an impersonation as such? Pretty impossible. I don't think you could
:25:19. > :25:23.do that unless you were a mimic. I think I've captured her intonation
:25:24. > :25:28.and her voice patterns to a great extent. People are aware of your
:25:29. > :25:31.work. What they might not know it is you were involved in a pilot of a
:25:32. > :25:34.cooking show, very extreme cooking show, we have a clip. It didn't make
:25:35. > :26:01.it to air. Really? Everybody knows you should roast it
:26:02. > :26:07.first. The question I want to ask you about that particular film...
:26:08. > :26:13.I've heard there were two endings that were shot. Yes. We shot it with
:26:14. > :26:18.a very realistic ending. Probably most of you have seen it. Where he
:26:19. > :26:24.gets taken away, he is arrested for the murder of Alex. The audience
:26:25. > :26:29.wasn't satisfied because they felt my character should get her
:26:30. > :26:35.comeuppance against this woman who has destroyed our marriage. We went
:26:36. > :26:45.back several months later. The shoot had finished? Yeah. She has to get
:26:46. > :26:50.back in the bath? That was never in there! There was no bath in the
:26:51. > :26:54.original ending. Probably almost a year later because it had already
:26:55. > :27:02.been edited and screened and tested. They deseeded - decided they needed
:27:03. > :27:06.another ending. I was upset because I had some amazing stuff in the
:27:07. > :27:12.first ending. As it turned out it was such a huge hit, I thought, how
:27:13. > :27:17.can you be so upset? They are just filming a new version and they need
:27:18. > :27:23.you back. They are doing a Disney style version with a lot of show
:27:24. > :27:30.tunes! Round of applause for Anne Archer! Pamela Stephenson and Frank
:27:31. > :27:35.Skinner! We'll be back next week at the same time on BBC Two. The fund
:27:36. > :27:41.carries on in the tent right now and you can stay with us by pressing red
:27:42. > :27:45.at the end of the show. You can see more on BBC Four on Sunday and
:27:46. > :27:50.there's a new performance everyday online. Playing us out tonight, the
:27:51. > :27:52.magnificent Ladysmith Black Mambazo, who are performing at the
:27:53. > :27:56.international Festival. Good night.