TREASURES of EDINBURGH’S
OLD TOWN
8"/10"‘
0 IADI’ STAIR’S HOI'SE
Built in 1622 by a prominent merchant burgess of the city, this is a museum of portraits, manuscripts and relies relating to Robert Burns,
Sir Walter Scott and Robert Louis Stevenson.
TELEPHONE 031-225 2424 (ext 6593)
9 .lll'SEl'll 0F CHILDHOOD
Much frequented by children and often described as the ‘noisiest museum in the world’, this is a treasure house of
historic toys, dolls, hobby items, children’s costume and many other things relating to childhood.
TELEPHONE 031-225 2424 (ext 6645)
0 BRASS RI HHIM, (.I..\TRI.
The centre has a fascinating collection of replicas moulded from ancient Pictish stones, rare Scottish brasses and mediaeval church brasses. No experience is needed to make a rubbing.
TELEPHONE 031-556 4364
0 HINT” "OISE
A restored 16th century mansion which is today the city’s principal museum oflocal history. Also on display are collections of Edinburgh silver and glass, Scottish pottery and shop signs.
TELEPHONE 031-225 2424 (ext 6689)
0 THE PEOPLE‘S STORY
A new museum which tells ofthe life and work of ordinary people in Edinburgh from the late 18th century to the present day, with the sights, smells and sounds of everyday life in the past.
TELEPHONE 031-225 2424 (ext 6638)
1 Market St.
()l’IiN MONDAYS T0 SA'I'IIRI)AYS:'I().00 AM - 5.00 PM (JUNE TO SEI’I'EMBER :I0.00 AM - 6.00 I’M) DURING THE EDINBURGH FES'I'IVAL. SIFNDAYS 2.00 I’M - 5.00 I’M. ADMISSION FREE
V CABARET BOB DOWNE
As soon as he comes on, singing ‘Goldllnger', you know that there’s nothing natural about Bob Downe. All those dreadful 1970s Shirley Bassey numbers, hls excruciatingly bad taste In costumes (we are talking serious polyester abuse here) and the outrageously dire gyratlons oi the two glrly dancers lead to the inescapable conclusion that this is the man who put , the sin in synthetic: he's so bad he’s
wonderful.
Downe's trademark beige blandness and over-powdered make-up make It easy to believe the line that he is big in daytime TV Down Under. There's not a large amount oi material here and, as Downe blmsell says, as soon as a comic starts abusing the audience you know they‘re running short. Still, he
FESTIVAL
has taken the trouble to make it contemporary and there’s enough singing, dancing and costume changes to llll out the spaces. (Thom Dibdin).
The Bob Downe Television Show (Fringe) The Pleasance (Venue 33) 556 6550, until 5 Sept (not 18, 27), 8.40pm, £7.50 (£6.50).
V THEATRE
WAITING FOR TOMMY
There is Bjorn Again. the Australian Doors and the Scottish Sex Pistols. And there is Waitingfor Tommy.
When there are so many perfectly decent comedians on the Fringe. it is odd that a theatre company should put so much effort into resuscitating a dead one. Yes. Tommy Cooper was very funny and yes. Iain McColl does a splendid job at telling David Cosgrove‘s C ooper-esque gags. But there should be more to theatre than this— a video would do the job better— and we learn more about Cooper from the programme notes than anything this ‘play‘ tells One for the fan club. but not for the intellectually curious. (Mark Fisher)
I Walling lorTommy (Fringe) Borderline. Pleasance (Venue 33) 556 6550. until 5 Sept. 9pm. £6 (£5).
7 CABARET
THE HORNY YEARS!
Some artefacts are quintessentially
Edinburgh Fringe material: Earl Okin crooning Mangoes is one ofthem. The man who looks like Phil Silvers in spats is on his 10th successive tour ofduty here. and answers the inevitable question during his show: because I hope to be discovered'. And
. why not? The man is
affable enough. Ile has a nice voice. And he hasa nifty way of playing a trumpet without recourse to a trumpet. as well as a fine command ofthe art of circular breathing. Surely the vague creepiness is part ofthe stage persona: the quivering moist lip. the lascivious eye contact. that undefinable sense of political incorrectness one probably imagines. In these days of upheaval. it's nice to know that Earl Okin can provide the ever-present slimy uncle figure all of us crave. (Roberta Mock)
I The llorny Years (Fringe) Earl Okin. Southside ‘92 (Venue 82) 667 7365. until 5 Sept. 8.10pm. £6. (£5).
V COMEDY
ME MYSELF US
The everyday story of spontaneous self-cloning with an underlying theme of schizophrenic irascibility. Lots oflaughs there? Well. yes. . .but not really as many as there should be.
John McKay’s playlet of a tortured writer who becomes so frustrated with his block that he splits in two has original ideas aplenty — not least of all the central premise. of course. And Liz Carruthers' quirky
directorial touches (look closely at the Heinz beans can) make the piece rattle along. However. most of the laughs come from exaggerated gestures and slapstick rather than any lucidity in the script. and McKay cannot really compete on an equal
footing with the assured
comic timing of Forsz Masson. Nevertheless. it's an enjoyable. if over-priced. way to spend an hour. (Philip Parr)
I Me MyseHUS(Fringe) Forbes Masson and John McKay. Assemny (Venue 3) 226 2428. until Sept 5. {trill/£7.50
(£5 £0).
9 v rumor
SUCCESS
It might seem to be tempting fate to call a production ‘Success'. In this case it's afterthe Martin Amis novel ofthe same name — a tale oftwo brothers, one wunderkind and one failure who gradually swap places against the background of the decadent 70s.
It would be quite a feat to conjure up the nastiness and excessofan Amis novel on stage. and Cambridge Nights. with
only a handful ofStones
records to helpthem. can‘t quite manage it. Although the play abounds with sex and scatological language. the cast still scents too polite and not quite able to reach the extremes ofcharisma and degradation required. (Frances Cornford)
I Success (Fringe) Cambridge Nights. Overseas llouse (Venue 19) 225 5105. until 29 Aug ’ (not 27), 9.45pm. £4.50 (£3.50).
46 The List 21 — 27 August 1992