Coffee-Table Notes

When Mick Harvey and band opt to perform a semi-instrumental version of Je T'aime...Moi Non Plus towards the end of a set of Serge Gainsbourg translations topromote Harvey's newly released fourth volume of Gainsbourg covers, Intoxicated Women , it's a bit different from the version played in London the night before. Then, Harvey duetted with German chanteuse Andrea Schroeder in her native language translated as Ich liebe dich...ich dich auch nicht . With Schroeder unable to make the Edinburgh visit for this show curated by Summerhall's Nothing Ever Happens Here operation, Harvey opted not to draft in guitarist and co-vocalist Xanthe Waite as what might have seemed an obvious stand-in. “She's my niece,” deadpans Harvey regarding her absence, “and that would've been wrong.” Such a trifle probably wouldn't have stopped Gainsbourg from doubling up on one ofthe most erotically charged numbers ever committed to vinyl. Harvey's actions nevertheless sum

Tron Theatre, Glasgow Four stars It looks like a game at first, when the three girls in Jane Upton's play come together for a surprise birthday party on a make-shift campsite amongst all the rubbish down by the railway. Look closer, however, and beyond the supermarket cake and the games of dare on the track-lines, and it's clear that Joanne has got Lisa here for a reason. Twelve year old Amy probably wouldn't understand. She's “cute, but not in a baby way,” but both Joanne and Lisa bear the scars of what happened at the grown-up parties with the man from the chippy. Lisa got out, to a nice house like those she used to make up stories about as she and Joanne peered through the windows. But unless Joanne does something soon, she'll never get out, and she'll take Amy down with her. Inspired by recent cases of child sexual grooming gangs, in which some 'older' girls were used to procure younger ones, Upton's joint winner of the 2016 George Devi

Royal Conservatoire of Scotland, Glasgow Three stars Business is business at the start of Hugh Hodgart's revival of Shakespeare's sunniest rom-com, as performed by MA Classical and Contemporary Text students at RCS, in partnership with Bard in the Botanics. Love and money are in the air as Theseus and Hippolyta announce their nuptials to the world's press, sealing the deal on an unholy alliance between Athens and Amazonia as they go. As Honey Durruthy's Egius seeks advice on the merry-go-round romance between Hermia, Lysander and Demetrius, Theseus' line to Hermia about austerity and single life becomes even more pointed by its power-dressing context. While Hermia and Lysander's camping trip to the woods doesn't end well, especially when Hermia's love-sick hippy chick mate Helena is around, the Rude Mechanicals' worker's playtime sees Bottom briefly become Titania's bit of rough. With Isabel Palmstierna's Puck at the centre of suc

For almost two decades now, Steven Severin's solo instrumental work has largely kept its own counsel in the shadows. The output of the former co-founder and bass player of Siouxsie and the Banshees has been prodigious, with a dozen albums of dark ambient soundscapes released thus far. This began in 1998 with Visions , an extended reworking of his soundtrack to Nigel Wingrove's short film, Visions of Ecstasy , almost a decade before. Unreleased until 2012, Wingrove's sensual fantasia inspired by the writings of Saint Teresa of Avila is the only film to have been refused a certificate by the British Board of Film Censors on the grounds of blasphemy. Since then, Severin has released scores for theatre and film, including the soundtrack for supernatural thriller London Voodoo and Richard Jobson's film, The Purifiers , as well as for one-time Edinburgh Festival Fringe dance performer/director, Shakti. Since Severin himself moved to Edinburgh twelve years ago, he has

Sabrina Mahfouz wasn't interested in football when she started work on Offside, the play she co-wrote with fellow poet Holly McNish, and which tours to the Traverse Theatre in Edinburgh next week. Mahfouz didn't really do sport at all, while McNish had been more interested in playing the game than watching it when she was a student, to the extent that she trained as a coach for young people. By the time they dug deep into the history of women's football, which forms the backdrop of the play, they were both very much on the same side. “The initial idea for the play came from Caroline Bryant, who's the artistic director of Futures Theatre, and who's this massive football fan,” says Mahfouz. “Her daughter plays football, and she was always going on about wanting to make a show about women's football. I wasn't sure if I was the right person to do it, but as soon as I looked into it, and saw all this stuff about how football had been used as a political tool ag

Talbot Rice Gallery, Edinburgh until May 6 th Three stars In difficult times, getting back to nature is one solution, as demonstrated in some of the works on show in this group-based exhibition of new acquisitions from the University of Edinburgh art collection. Things aren't always as they seem, however, in the series of paintings, video, publications and sound-based works, as the leopard's face looking out from Zane (2013), Isobel Turley's two-second video loop of this most endangered of species suggests. Filmed in Edinburgh Zoo, Zane's steely gaze may suggest he is guarding the other exhibits, when in fact he has been immortalised in another, more Sisyphean form of captivity. The voice-over of another video, Daisy Lafarge's Not For Gain (2016) hints at an even more invidious form of social control. The row of wall-clocks in Katie Paterson's Timepieces (Solar System) (2014) points to the global interplay between such things, while her Paterson's F

Bill Drummond is full of surprises. Just ask Johny Brown, poet, playwright and for three decades the soothsaying frontman of Band of Holy Joy, whose state-of-the-nation musical addresses have become increasingly urgent dispatches from austerity Britain. When Drummond handed Brown a set of plays that he'd written and asked him if he thought he might be able to do anything with them, it was a gesture that came out of the blue. The result of this is The Cherry Blossom Quartet , a five-night series of radio broadcasts of the plays, adapted by Brown and performed live with accompanying soundscapes on community-based online art radio station, Resonance FM. With a cast that features the likes of Joe Cushley and Sukie Smith, Drummond will be given voice by actor, activist and long term collaborator of Brown's, Tam Dean Burn. “ Bill's never written a play before,” says Brown, “but he started going to watch all these plays at the Arcola Theatre in London close to where he lives