Bean There, Done That: Edinburgh's Coffee Shops- Caragh Aylett

We know that finding plays to see at the Fringe is pretty hard, but what’s harder is finding the perfect coffee shop; who does the best flat white? Where can I gaze longingly out of the window? And where can I make sure that the Wifi always connects? Don’t worry, we’ve sorted it out for you, here’s our #PickOfTheFringe for coffee, because that’s more important.


1. Black Medicine

First things first, Black Medicine is pretty much everyone’s favourite. With its dream location in the centre of town, on Infirmary Street, and its beautiful take out cups, Black Medicine is the Instagramers dream. There’s a huge room downstairs where you can set up camp, connect to the wifi and while away the day alongside other festival goers. They also do amazing peanut butter brownies, I’d definitely recommend.

2. Brew  Lab

With its especially-for-the-Fringe pop up shop, Brew Lab is perfectly situated on the picturesque Victoria Street. The flagship site is nestled on South College Street, near local rivals Black Medicine. It has an extensive amount of cake on offer and the pop-up branch has a great rustic feel. blackboard csub . It’s also the place where we accidentally left our Ed Fringe Review whiteboard for several days, so they’re pretty good at lost and found.



Brew Lab, tucked away on South College Street (Image: STV Photos)

3. Elephants and Bagels

Not strictly a coffee shop but pretty good. Just off Nicholson Square, Elephants and Bagels is the perfect location for most Fringe venues, pop in after a show and refuel. They have a huge selection of pretty amazing bagels and the drawings of elephants on the wall are really cute, if you stay long enough you can even draw one yourself. My personal favourite was a drawing of ‘Donald Trunk’.


4. Hula

Good food and good coffee, what’s not to love? Hula holds a special place in my heart for two reasons. Firstly, it was the place I went to recover after seeing the worst play I’ve ever seen at the beginning of the Fringe last summer. Secondly, its lentil curry saved me from the most horrendous hangover at the end of last year’s Fringe. The coffee is pretty great and they do some incredible vegetarian food and if that isn’t enough for you, it’s right on the corner of Grassmarket so the perfect place to people watch during the festival.




5. Century General Store

Probably my favourite coffee shop of them all, Century General do great coffee and they even sell locally grown strawberries. Being on the Marchmont side of the meadows, it’s the perfect place to escape the crowds and there’s outdoor seating for when the Edinburgh rain lets up. They also have another, bigger branch on Montrose Terrace on the other side of the city.


So there you have it- our round up of the best places to grab your midday caffeine fix.

The boss of 'The Boss of It All' – New Perspectives at the Edinburgh Fringe

Imogen O’Sullivan interviews Jack McNamara, director and adapter of Lars von Trier’s ‘The Boss of It All’, and Artistic Director of New Perspectives Theatre Company


Speaking to Jack McNamara on the eve of the first preview of ‘The Boss of It All’, I’m struck by the impression of calm confidence he gives off. He has spearheaded this theatrical adaptation of a little known comedy by controversial Danish filmmaker Lars von Trier; the very first UK adaptation of his “domain” work, and this bold and ambitious decision deserves to put New Perspectives on the map.

I ask Jack why bachelor of pharmacy in canada he was so particularly taken with ‘The Boss of It All’, and he remembers watching it in 2006. Whilst being one of Trier’s least known films, and very much not a quintessential example of his style, something about the film stuck in his head, and he was left thinking ‘one day there would be something I could do with it’. As canadian pharmacy methadone the first piece at the helm of New Perspectives, he wanted to begin with something different, something international that could showcase the potential of companies known for cipro antibiotic rural touring productions to create

ambitious and ground-breaking theatre.

sPvNuQERc1vIQsTkIS18C2tK9um0W-8T-CVVqCvhCG8McNamara is, disappointingly, not fluent in Danish. He managed his adaptation through an English

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translation sent by Trier’s people. Famously not keen for others to alter his

work, McNamara suggests he ‘must have caught him (Trier) on a good day’. This veil of modesty belies McNamara’s wealth of experience in adapting films for the stage after bringing both ‘Cool Million’ and a

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devised adaptation of ‘Exterminating Angel’ to the Edinburgh Fringe in previous years – the success of cialis with alcohol the latter indicating a keen interest in international film and theatre-making. After familiarising himself with both the screenplay and the film, he realised his adaptation wouldn’t work as a line-by-line remake of Trier’s film. In fact, McNamara admits he took a bit more creative license with his adaptation – ‘I basically wrote my own screenplay based on the film’. Despite this, he believes that he was ‘structurally more faithful’ to the film than online pharmacy he had been with other adaptations, though some necessary changes had to be made in order to fit the shift in medium. One woman in the original viagra vs levitra Trier film remains silent for the entire run, an endurance test for any theatre actress, so McNamara fused her character with one who explodes in a is celebrex a corticosteroid final confession of love, allowing an audience to watch the tension build silently.

Jack suggests that Trier’s work is innately theatrical brent air pharmacy in style, more so than other filmmakers, identifying buy lanoprazole without prescription in his work themes of performance and role-playing, particularly prevalent in ‘The Boss of it All’. The plot device of an actor hired to play an elusive office boss in order to carry out the firm’s dirty work has realms of potential for self-referential metatheatricality, which poses its own challenge to a director. McNamara states his clear intention not to make the piece ‘too knowing’ or overly tongue-in-cheek, instead focusing on the reality of ‘these poor people finding themselves in a theatrical situation’. He believes that Trier’s work cialis generic pharmacy high blood pressure interests itself in both underlining and eliminating the idea of artifice, whilst simultaneously exploring what artifice can add to art, an issue that Jack sees theatre directors in particular as struggling with. The mindset of Trier as a filmmaker makes ‘The Boss of It All’ powerfully appropriate for adaptation to a theatrical medium.

JUyABUZTgVkQn78lb0UN4f4HGwretgEFVk_fKJJ-H2AI ask Jack whether Trier’s reputation as experimental and controversial has affected

the way he has approached the piece, and he responds that, whilst he wants to evoke the characteristic spirit and excitement of Trier’s work, he wasn’t interested in using gimmicks to make it overly ‘experimental’ in style. Trier’s sense of experimentation arose out of a reactionary response to the cinema

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of his day, there would be no point in sacrificing substance for the sake of spectacle. However, the spirit of ‘the playful practitioner’, as Jack labels him, is still very much alive in this production. In the film version, Trier dubs pom juice viagra his own voiceover talking the audience through the action in the film. McNamara has taken this technique, incredibly preis viagra at appropriate to a Brechtian school of theatre, and decided to ‘see how far he can push it’ – emphasising the themes

of artifice and role-playing that Trier evokes.

Talking to Jack about his experiences at the Fringe, he speaks of the huge

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excess of material there and the challenge of creating something that stands out among the wealth of excellent shows: ‘I would personally want to see something different, something that pushes me into less comfortable areas’. The previous productions he’s taken to the Fringe have been ‘standard table and chairs nexium otc motrin on line fare’, but this time, with order levitra a great design and creative team behind him, Jack is keen to ‘create a complete environment’ that sticks with an audience somewhat desensitised by the festival.

bH6PaD3hf_aPM1S2Is-DFM561tBDxLOCU-bTKbXgZ38 Jack’s overarching aim with his ambitious production is for people who fear the controversy of Lars von Trier to see that he can be ‘interesting, clever, playful and entertaining’, whilst people who love Trier get to see something fresh and new, but still infused with his spirit. Trier is not a artist usually associated with light-hearted entertainment, but, for this one window in purchase generic viagra his career, he created something ‘fun, easy and accessible’, something that is enjoyable as well as engaging, and this is what Jack hopes to highlight.

At this turning point in his career, the deeper questions of leadership and responsibility raised by ‘The Boss of It All’ are close to home for McNamara. Trier’s work questions whether there is such a thing as a leader, or whether it is simply a matter of posturing and role-playing. It also engages with ideas of morality, and where the moral responsibilities of leadership lie female viagra in chennai – do your morals change with your job title? This is a question my conversation with Jack leaves me pondering. As the boss of ‘The Boss of It All’, McNamara has taken on an exciting challenge that proves rural touring companies like New Perspectives can produce provocative work of national and international significance.

Imogen O’Sullivan


‘The Boss of It

All’ is on at Assembly Roxy until August 26th. Tickets can be found at

Anything But Idle – Idle Motion bring Turing and Borges to the Edinburgh Fringe


Thea Hawlin talks to Idle Motion’s Creative Director, Paul Slater.


Idle 2

Idle Motion are a company that are anything but idle. Beginning ‘as essentially a school group’, over the past six years they have carved out a striking profile as a contemporary and original devised ensemble, taking inspiration from companies such as Complicite and Kneehigh. Juliet Stevenson, the company’s patron, is a firm believer that

‘at the heart of all theatre lies the concept of ensemble’ and sees the group as taking this idea ‘as their inspiration’. They ‘don’t set out with a formula’ and yet are able to create moving and inspiring pieces of theatre that span decades and bring together generations.

Ensemble celebrex dosage is at the core of Idle Motion: ‘It’s all collaborative’, declares Paul Slater the Creative Artistic Director enthusiastically, ‘all highly collaborative’. Slater is a fan of plural pronouns, throughout the time I spent talking to him he used ‘we’ more naturally than ‘I’, a testimony to his striking humility, reminiscing about the ensemble’s formation by students merely ‘dusting off’ their old drama teacher—a notion that seems unthinkable when in person Slater is so full of energetic movement. He rejects the idea of himself as a prime mover, however: ‘I wouldn’t describe cialis myself as somebody that just stands there and tells everybody else what to do. generic cialis online All I do is open things and unpick things a little bit ordering erythromycin more and then that allows us to create more work.’

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Yet this process of ‘unpicking’ has resulted in striking success at the Fringe and elsewhere (the group recently finished their British Council tour of China). ‘Idle Motion appeals to people on lots dukoral online pharmacy canada of different levels. We call ourselves a physical visual theatre company—which in a way can put some people off’ says Slater, emphasising how annoying it can be when viewers

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pigeonhole the genre, expecting ‘a rolypoly every two seconds’ or a piece that is performed in an ‘abstract language’ beyond comprehension. Is it? The answer comes simply: ‘Well no. What I like to think about Idle Motion shows is that at their heart they have really sensitive human stories. And it’s those stories that are the vehicle for the big visuals that we like to have. Often people have described Idle Motion’s work as like sitting in a cinemabouncy castles for sale, because we rely quite heavily on sound, we integrate lots of projection, and the way we move between stories and narratives is like film cutsinflatable camping tents. So for example in ‘That is all you need to know’ (the

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Bletchley Park piece) you’ll be thrust into the middle of the war and the 1940s, then almost in an instant—He clicks his fingers—you’ll be taken to the Bletchley Park community who are planning the bunting in the 1980s’.

Idle 1

These severe transitions appear in a number of their shows, viagra & skin cancer with a split narrative contrasting modern and historical being a familiar feature. When asked if this is a deliberate move Slater responds, amused, ‘things kind of happen…there is no formula’. He emphasizes the spontaneous nature of the theatre the group create, ‘what we do is devise stories around material, so when we were looking at Bletchley Park, the second narrative is the story of the Park itself and how it was nearly bulldozed in the 80s and turned into a supermarket. And we didn’t actually realise this until we went [there],so angered by it, so frustrated by it, that actually something that was so central could be so easily forgotten.’ It was the moment when he realised ‘that this story needs to be told’. For Slater, by the end of the devising process the final show is merely ‘pulling the best threads of that material’ – a movement that reveals multilayered narratives almost unconsciously.

However, sildenafil kaufen the research that goes into the company’s devising process has increased dramatically, with That is all you need to know coming out of over two years of intensive and immersive research—a change from the ‘very tight’ three week span for

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their first show. ‘One of the things I’ve learned as a theatre maker is that you can’t just pluck things out of the air very quickly and hope drugs without prescriptions canada that you’re going to have something meaningful, it’s got to be an investment. You’ve got to invest, one: your heart into it, and two: your time, to make sildenafil generic sure you know the subject matter backwards, make sure that you understand it and the people’s stories that you’re telling and then hopefully what you present on stage is something that’s heartfelt and that people warm to.’

Idle 3

And gabapentin it certainly seems like people have warmed to the company; the group have been lauded with rave reviews, particularly for their ingenious

use of props. In some pieces we can spot ‘prop motifs’ like the reappearing books in Borges and I (a show that is itself reappearing this Fringe), or the Vanishing Horizon’s multipurpose suitcases. Slater reveals filing cabinets will feature in their most recent venture: ‘I said I want to see 100 filing cabinets onstage’. Sadly only four have made

their way to Edinburgh but Slater assures me it feels like a hundred ‘from the number of things that come out from them!’

Although literary inspirations feed into a show such as Borges and I Slater reveals how the smallest everyday things make it into the company’s work: ‘some of the dialogue of The Seagull Effect actually came from overhearing a couple arguing on a train’. This feedback between stage and world is echoed in Slater’s own interactions between his role as Company Director and Head of Drama at canada pharmacy colleges a local state school. The contrast between these roles, daunting to some, is something that Slater enjoys, relishing celebrex 200 mg both the ‘credibility’ his teaching gives him and the wider ‘playing field’ that

the school allows for creating

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idle it may seem, is everywhere, and he advises: ‘keep your eyes open to everything because the theatre isn’t just about what you’re seeing on the stage but what you’re seeing in the world around you.’

Thea Hawlin



That is All You

Need to Know is on at Zoo Southside from 2nd – 24th August, and Borges and I is playing ten thuoc nexium 40mg at the Pleasance Courtyard from 19th – 25th. Tickets are available from


Flowers, lawnmowers, and violent secrets – Gardening: for the Unfulfilled and Alienated by Brad Birch


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Our co-editor Imogen O’Sullivan talks to director Hannah Banister about sheds.


If you stroll past the Pleasance Grand this year, you may pass, generic viagra online without really noticing, a tiny, unassuming garden shed, complete with pots, soil, and (hopefully) a lawnmower. This shed

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is the venue for Undeb cialis commercial 2015 Theatre’s production of Gardening: for the Unfulfilled and Alienated, written by Brad Birch: Undeb’s writer in residence, and a graduate of the Royal Court Young Writers’ Programme. Undeb Theatre is a new writing company from Wales that produces innovative work focusing on the experience of a theatrical event, and this one-man show, playing six times each day to a two-man audience, certainly looks set to be a unique and exciting experience.inflatable christmas decorations canada

The one-man in question is Owain, described in three words by Gardening’s director Hannah Banister as ‘complex, simple, and surprised’. Whilst this may seem a contradiction in terms, Hannah explains that Owain is fundamentally a man of simple pleasures who discovers in himself an extraordinary talent for gardening, a doxycycline asia skill which brings with it both unexpected success and the revelation of his own darker secrets. Owain’s unique charm lies in contradiction; in pharmacy schools in canada ubc the surprise of being ‘an unachieving man who achieves a lot’.

Gardens 2

When I met with Hannah very early in the rehearsal process, her description of the preparation that goes into a one-man show sounded understandably intense – the energies of a director, usually shared across a larger cast, are instead entirely focused into the development of one character and his relationship with the audienceinflatable tunnels, and, in this case, his relationship with his shed. Whilst this makes for an exhausting rehearsal period, Hannah also talks about the powerful sense of rapport and collaboration such a small cast promotes. She describes the rehearsals as an open conversation, and celebrates the increased efficiency of so much more time going into the development of one


Hannah tells me that her Owain (actor Richard Corgan) ‘quickly tapped into the darker side of his character’ – one of viagra online reviews the most surprising elements that develops out of this gently quirky black comedy. However, whilst the revelations about Owain’s darker side are both crucial and fascinating, Hannah’s other particular focus is on bringing out the image of ‘the lonely man doing his do’ – the online levitra neighbour we all see pottering around his garden shed. She talks about her desire to hone the complexity of Owain’s character, delving into his life to explain the particular draw of gardening and what it means to him. Despite the dark undertones that emerge through the performance, Hannah is keen to emphasise that her audiences should be ‘a bit in love with Owain’. His amiable character should encourage

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us to relate to buy viagra this man who ‘just doesn’t mind anymore’, who seems to have lost his excitement about life, only to rediscover it through the beauty of flowers.

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physical world to alter the dynamics of performance, a technique that is virtually impossible within the confines of the shed. With nothing to hide behind in terms of performance, she admits she’s had to be more rigorous with the text than ever before, a challenge that has been eased by the balance and pace of Brad Birch’s writing.

I ask Hannah whether the knowledge that the intimate performance space will highlight every nuance of emotion to her small audiences has altered her directorial decisions, and she responds that Gardening is like ‘screen acting live’. She explains that the most important thing for her is to ensure the limited staging and intimate atmosphere don’t detract from the scale or emotional depth of Owain’s story. With the limitations of cast size and space, the performance has to be quite static, but static does not have to mean flat. Hannah describes how, during early rehearsals, she encouraged Richard to use a much larger rehearsal space than the tiny confines of the marked-out shed. This gave him the vast space necessary in order to award the big themes of the play with the weight that they need, before this metformin from canada sense of the epic is then condensed and intensified within the walls of a garden shed. Hannah’s hope for this close relationship between audience and actor is that the intensity will override the potential for awkwardness by engulfing the audience in affection for Owain; ‘it should be funny and it should be chatty and it should be a bit claustrophobic’.

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Whilst, at the point of my interview, the ordering levitra online shed had yet to make an appearance in rehearsals, celebrex and diarrhea its presence is felt strongly. Hannah talks about the importance of dressing the set, and the challenge faced by designer Madeleine Girling to make every prop both realistic and relevant because ‘the shed itself has a life and a character within the play’. Though Hannah confesses to be a terrible gardener herself, she does talk about her father’s keen interest in gardening, and the collection of pots and jars she remembers from his shed, and it is this sense of the familiar and the homely that she is keen to infuse into the production. When I asked Hannah why she thought it was that gardening in particular seems to captivate so many, she replied that ‘you do see a man come alive in his garden, and you see how much he values his shed!’. It is the process of nurturing, and making time to take care of something, that holds value for Owain.

The uniquely intimate performance space of Gardening looks like it will immerse its tiny audiences in the life and soul of Owain, with Hannah setting herself the challenge of seeing ‘within the constraints of somewhere so

small and domestic, just how poetic and surreal we can make it feel’. She expresses a hope that her audience members will ‘take away

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Hannah quotes a line cut from the first draft of the script: ‘it goes from seed to stalk to flower and straight to happiness’, to explain that the essence of gardening is the satisfaction you get from seeing something beautiful arise from your own hard work: ‘you get out what you put in’. I can only hope Hannah has a similar sense of satisfaction tadalafil when Gardening takes off at Edinburgh.


‘Gardening: for the Unfulfilled and Alienated’ is on at The Pleasance Courtyard from 1st-25th August (not 6th, 13th, 20th). Tickets are available from



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by Richard Lakos