No. It's tint that )nu'\e mettlnsed nII tlte l'estival (It any thing else for that matter but the gtittar \\ hich l’aul (ialbtatth tises Ieal|_\ (Ines ha\ e eight strings Instead nI~ the Usual sI\. l'tiique III the \\()I'ltl. the Instrument has been (lexelnped III collaboration v. uh Instrument maker par e\cel|etice l)a\ ltl Rubin. and is \\ll.ll makes (ialbraith's perl'ni manee
of his ms ll transcription of
the complete snln \ inlin unrks by Bach possible. ‘I'II al\\a_\s \santetl In till the llach. \\lllc'lI l see as‘ a single \\nrk lrnm beginning to end] he says. ‘bnt \\Illl a sl\- stringed guitar It would mean Ints nl Ietunmg and stopping and staitIIIg.' .\'amed the 'llt'ahms (iuttat '. because of the huge estent tn \\ Inch II opens tip Iepertoit'e. It has become (ialhraith's trademark. Ktttmtt Inn for his striking pnstuI‘e Ill playing the gttttat like a cellist. this past Young Musician ()I'The Year's \ Isit Is a rate one In his uatne lithnburgh before he departs for me Ill Ilia/II. ((‘ainl Mam) I Paul Galbraith Classical Guitar I l‘rmge) (hey that's Kttk t\'eune lil ) ()(i7 3l7ll. l7 Aug. 3.45pm: l.\' Aug. 7.30pm. Ur I L5).
wnose SOLO Is IT ANYWAY?
Sutel} some nustake’ I.\ei_\l\ntl} kunus that
nintlein |.I// Isa seitnns husiness. sn \\ hat Is It (Inutg Iticketl aha} III the g‘ttll‘ nl the l'.ItIIIIIIs ( iltttl\L‘
llnuse l’ltklllll'k' ' \\el|. III llIC clt\t'ttl llfhl\i .\Itht /\ // .lmum ’. l'nni Haneinlt
.llltl his shitting east nl
thnnsands t\\ ell. (pitte a le\\ ) manage the delicate business of ha\ mg the” cake and eating II. ()Iigmalh (lensed for «me (Il 'l'tIIII's RttIIIslIIII'II Theatre e\IIa\ag.uI/as III the (ilasgtm .|a// l‘eslt\'al. ll lime .Sulu ls /! .l/II uue’ Is \eI} Innse|_\ based on ('hannel J's nupim Isetl coined} shim ll'lmu' IJIII' /\ /I .l/II um' ’ 'l'eattts ol- .tce IIItIsu a! Iinpim |\C|\ - Including the nnIIIIIabIe Hill} .lenkins. Holland's .lnnst llins. 'I’nmmy Smith. Marlyn Bennett and lots ntnte respond In manic Impinxisatinnal challenges. \\ Illl the help (2’) nl' comedians from the I-rmge. and (ind lsllt)\\'\ \\ lIt) k'l\L'. l'IIIIII llIt'l’c‘. anything can happen. but .i Int nl da//liIIg music emerges ltnni the mayhem (Kenn) ;\l.tllIIL‘\(III) I Whose Solo Is It Anyway? Il-ruige) l-amous (itnuse llouse (Venue i-I) :30 Soho. 30-25 Aug.
IlpnI. Ur (L'J).
THE BEGOAH’S OPERA
Shifting the prologue of John Gay's tale of highwaymen and whores to the concrete corners of London‘s South Bank complex in I996 provides the perfect bridge for modem audiences into the speciﬁcally stylised world of the 18th century ballad opera. Some of the non- stop puns and complaints about the trials of love and lust fall flat 270 years on. but the short songs that regularly punctuate the dialogue are as Iunefully populist as ever. Skilfully designed and colourfully costumed. this is a lively show front the soon-to-be-stars of the National Youth Music Theatre. A couple of the
solos are a little shaky. but
when the ensemble
Standtng and dellverlng: IIYMT lII Beggar’s Opera
numbers begin. the stage truly bursts into life. (Alan Morrison)
I The Beggar’s Opera (Fringe) National Youth Music Theatre. George Square Theatre (Venue 37) 650 2001. l6. l7. I9. 21. 23. 25 Aug. 6.45pm; I9. 21. 22. 24. 26 Aug. 3pm. £8.50 (£5.50).
but the male lead Wits tacky. strutting like a Chippendale in tartan drag. As a spectacle it looked as if it was organised by the Tattoo in conjunction with the London branch of the Scottish Tourist Board. ()h. and the audience loved it! (Norman Chalmers)
I Rhythms Of The Celts (Fringe) Edinburgh Celtic Gathering. The Waverley (Venue I90) until I8 Aug. 8pm (3pm. l7. IRHLIS (I: III).
RHYTHMS OF THE BELTS
This unashamed Riverdattcc rip-off is a low-brow. big bucks skitc through Scottish history. poorly staged and with an unintentionally hilarious and mawkish narrative by
Scot FM’s Scotty McClue.
Irish stepping mixes with Highland dance routines which the dancers cope well with arid the band. which includes some line traditional players. confidently negotiates a complicated score. But there are some awful songs. The young woman singer has a nice voice.
‘—" top blues and W D%:|U I I E ballad singer performs songs
from his new CD and from as
wide a range as Bob Dylan, Leonard Cohen and Muddy Waters. respected bluesman is joined by Fraser Spiers (harmonica) and Neil Warden (guitar).
Tam, a greatly
9 Hunter Square, High Street (20 steps down from the Fringe Office). 18, I9, 21, 22, 23( sold out), 25th at 10.30pm. Sat 24th
at 3.00pm £6 (£5)
MY FRIEND THE CHOCOLATE OAKE
While almost unkNown over here. M.F.T.C.C.‘s unclassifiable mix of lush. melodic textures. punchy beats and powerfully emotive songwriting has made them very hot news in their native Australia. Ringing the changes on a cornucopia of instruments. the six-piece carve out a hitherto uncharted territory between the Penguin Cafe Orchestra. Crowded House. Michael Marra
CLERK STREET EDINBURGH
each evening TiCkelS Queen’s Hall 8.0 Tel:0131 668 2019 Tel:0131 667 7776 Fringe Office Tel:0131 226 5138 Assembly Rooms Usher Hall
"' Temple Records Shillinghill, Temple Midlothian, EH23 45H Tel201875 830328
and Chuck Berry. Honest. And it works — David Bndie‘s clean. dusty- edged vocals backed by big rolling piano and sweetly swelling strings. or wending their measured way through lean. darkly haunting ' ballads; gorgeously coloured instrumentals. lavishly decorated with jazzy and classical tinges; the odd Hungarian wedding dance: their range is far too big for this wee space. but it‘s a memorably delicious melange. (Sue Wilson) I My Friend The Chocolate Cake (Fringe) Beck's Famous Spiegeltent (V‘nue 87) 558 l072. l5—l7 Aug. 20—24. 27. 28 Aug. 7pm; I8. 25. 2‘) Aug. 2pm. £7
The fusion of Ian snlniug \\Illl hip hop rhythms has nIten produced an llll\tlll\l.IL'II)I} hybrid Much has IIIII‘. ed less than absorbing on both (nunts 'l'he e\ceptinus.
|In\\e\ et. ha\ e (leIIInnstIated that the union Is a \ table one. and, (then done right. can
ptnduec compelling. higth energised music.
The llu/J. an ad line
gtnnptng put together b} 'l'oin llaneiol't and Iain (.IIPL‘ltllItl for the (ilasgow .la// l't‘slIMII. \\;Is one recent e\amp|e. autl l'thnbtngh band l-Iesh|_\ Stlttee/etl ate attntltet‘. The eight piece I-teshly Siltlt‘t‘letl Ilt‘lVL‘ IIIIII'L‘ deeply Into the hip hop end of the music. \\llll tappei' l'Inst .l and DJ lih" \\ uII' nn stage \\llll the band. .-\|e\ l-I.‘Imes handles sound (ltl'l'ustnn. Simon l’agelVlihotttpsott .IIIIl ,'\IltlIL'\\ :\lstlllc'\\ L‘ crank up the bass and drum department alongside guttaIIst |)a\ e Hnunell}. “.llllt‘ the limit \t‘clttttt Ul (icttt'gt' MacDonald (tenor s.I\ I. .\l.utin Keisha“ (alto sas) and Doug |)tIIIcaII Itintnpet I get thmn to some seIinns blms nig. IKL‘IIII_\' .\Iathtesnui I Freshly Squeezed Il-iIIIge) llemyis (‘ellat llar I Venue to); Ill l3.\‘.\'. |.\' 3| Aug. IIIpIn iam. £7 (to).
II t It II * Unmtssable t t t t Very good
i t It Worth seeing i t Below average It You've been warned
SEAMUS TANSEY - FLUTE
III-Immch I-I-E -IIJngDn Z-
Sunday ’" W 18th
ALISON KINNAIRD - HARP
“Scottish music of passion, energy, joy and inventiveness”
The List lo-ZZ Aug I996 83