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three weeks I was playing 3 entertainment industry,' Admirably. Peter Weller gigs. I m still workingon it : (Carol Main) never lost interest. even 110*. bu“ "V8 iorplaylntl. Lovers. Learners and when the part required completely. you know— ‘ __ . Libations is presented by getting up at three in the everything is geared to the Q.ng A - the Scottish Early Music morning tor six and a halt "811 O'O- | VB been "Will 0" fa 1"“5" Consort on Friday 12 atthe hours oimake-up-the
the saxophone torten years. so I suppose iiyou hang in there I guess it’s bound to escalate. You have to keep on practising and developing. and believing in yourseli. that's the hard one. I have terrible paranoia when I'm not playing. It I don‘t do a gig tora week or so. lieel really disorientatedl I seem to
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Eating an egg sandwich with Robocop standing beside you is a bit like going iishing with the Loch Ness monster looking over your shoulder.
butthe presence oithe high-tech robot. together
penaltyiortaking his helmet oil in the iilm. Itwas a physically demanding parttoo; Wellermade things extra tough by training tor a marathon at the same time. butit anything. that helped him to ‘get high' on the idea oivery little sleep. doing almostalt his own stunts. andlacing
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saxophone work was iinally recognised in the WIRE British Jazz Awards last November. when he took a slightly ironic Best Hewcomeraward - not bad tor a 30 year-old with ten years' solid gigging under his belt! That belated recognition bore even more solid iruit in his eponymous debut album torAntilles, one oi the brightest spots ol the year on the record iront. Like his label mate Courtney Pine. also coming this way soon. Andy wears his success lightly.
‘I listen to other people playing and lthink. iantastic. and I never thinkl sound anywhere near as exciting or inventive as them! I started playing late. when I was 19. because I had never heard any iazz until a iriend brought some records round my house one
closest to impeachment in recenttimes. ltoccurred during the Watergate scandal and it the prosecution had been successiul it would have removed him irom oitice. In the event he resigned instead.
Although the powerto impeach, a political action brought against an individual oiticial. is retained in America and in parts oi Europe. it has been allowed to become obsolete in Britain.
Some historians believe this to be a direct result oi the unsuccessiul impeachment oi Warren Hastings in 1788. the anniversary oi which is being celebrated in Edinburgh during the next Iortnight.
A one day conterence at Edinburgh University. with
the importance otthe Hastings case and giving it a posthumous hearing. posing the question ‘Warren Hastings: Guilty or Not Guilty'. (Sat 13 Feb).
Proiessor Bradley oi Edinburgh University will retlect on the constitutional complexities in his lecture ‘Personal Responsibility and Govemment-A Role ior Impeachment?‘ and he‘ll relect on the case ior restoring the practice in Britain.
Calcutta. 4th May. a play by Lion Feuchtwanger and Bertolt Brecht will be given its premiere as part otthe celebrations. The two playwrights were triends . and the play is a tascinating collaboration between their diiierentviews aboutthe individual in history. Translated by the poet Edwin Muir and his wile Willa. the production is shown at St Andrew and St George's Church. George Street, Edinburgh irom 11~13 Feb, produced bythe Netherbow Arts Centre.
I ‘Personal Responsibility and Govemment—A Role tor lmpeachment‘ Edinburgh Suite. Assembly Rooms. George Street, Edinb. Fri 5 Feb. 7.30pm. Free.
I One Day Conlerence: Warren Hastings- Guilty or Not Guilty?. William Robertson Building. George Square. Sat 13 Feb. 9.30am—5.15pm. Registration torms irom Bridget Stevens. Dept. oi Extra-Mural Studies. 11 Buccleuch Place. Edinb.
I Calcutta. 4th May. St Andrews and StGeorge's Church. George Street. Edinb. Thurs 11-Sat 13 Feb. 7.30pm.
glance appear to be a non sequitur. there are plenty ot good reasons behind the Scottish Early Music
Consort giving the tirst pertormance oi a specially commissioned new work in their ‘Lovers, Learners and Libations’ evening on Friday 12. One isthe composer herseli. Judith Weir. a Scot currently living in London. whose ‘Night at the Chinese Opera“ was recently produced by Kent Opera to huge critical acclaim. Talking about her latest work. she says ‘I think the programme will work outas evening‘s entedainment. about what it was like to live in Parisin
the13th century. My piece . .
is really iour short pieces. like operatic scenes. with something happening in
each one.‘But it is nottobe . ‘
taken too seriously. AsWelr says ‘It's about how people played musical instruments tor tun. as well as in church.‘ Other lessons in her ‘instruction‘ include how to tune the rebec, why the recorder Is not to be taken seriously and how to make harp strings irom the guts ot a dead sheep. ‘l've certainlytaken it lightheartedly‘. says Weir, ‘lt's meant to show that
sounded like the usual nonsensical piece ottripe.’ Tall. blond. and enjoying a striking combination oi bodily brawn and delicate iacial bone structure. Weller seems to have Iound more in the part otcop turned corpse and cyborg. than most students iind in their Eng Lit courses. ‘ltwas the best action script I'd ever read. plus at the centre at it there was this little theme oi resurrection. ot Paradise Lost. at the beast searching tor its soul. at Frankenstein. Beauty and The Beast. . . It wasthe director. Paul Verhoeven. that attracted me to dothe
Weller's Texan drawl becomes wondrous: ‘lttook six and a halt months to do eleven minutes oiiilm . .. moving that model robot's toe by a millimetre. . .I mean. you've got to bea Buddhist monkto dothat. No — you‘ve got to be stoned todothat. . .'