Thursday, 18 August 2011
Tim Cornwell's Festival Diary, Thursday 18 August
The front row at the Usher Hall was wetter than a dolphin show at Disneyland on Tuesday night as Chinese composer Tan Dun made a splash with his eccentric Water Concerto.
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Wednesday, 17 August 2011
Jon Rowe: 'The Royal Mile has a mad range of attempts to interest audiences. We went for a coffin'
As five first-time performers at the Edinburgh Fringe with the show Theseus is Dead, we have so far survived a whirlwind fortnight of rain, flyering, rain, fantastic shows and a bit more rain...
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Wednesday, 17 August 2011
Liz Merendino: 'I urge you to bring some tissues'
It may sound odd for a native New Yorker to say this, but arriving in Edinburgh reminds me of my childhood...
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Wednesday, 17 August 2011
Tim Cornwell's Festival Diary, Wednesday 17 August
Has the Fringe run out of cunning stunts? John Fleming, the driving force behind the Malcolm Hardee Cunning Stunt Award, handed out to the most outrageous publicity stunt at the Fringe, laments on his website that there is barely a single worthy contender this year.
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Tuesday, 16 August 2011
Jason Cook: 'The Fringe runs on alcohol and sometimes you can't avoid it'
This is an average Fringe comedian's day. Wake up with phone ringing to do interview you had forgotten about last night. Make it through interview while ONLY JUST remembering what your show is about and when and where it is.
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Tuesday, 16 August 2011
Tim Cornwell's Festival Diary: Morning glory
How to frame the perfect Fringe day? At 10:30am, From the Fire at Zoo Roxy, daily until just this Saturday. At 10:30pm, on seven nights between today and the 24 August, the continuing complete Beethoven string quartets, in Greyfriars Kirk.
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Monday, 15 August 2011
James Sherwood: 'flyering is the best warm-up for comedy'
I DO my own flyering. That will come as a surprise to you, what with me being really famous and all.
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Monday, 15 August 2011
Tim Cornwell: Eastern Promise | Winning line-up | Show time...
SET aside for a minute any concern about whether the Edinburgh International Festival's embrace of big state-funded spectacles from China or elsewhere has in anyway compromised its freedom of thought. Are the shows delivering the goods?
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