RED NOTE SPRING SCHEDULE 2015

Red Note Ensemble - red as in radical, note as in music (perhaps like the brown note, a frequency that engages the body in a particular manner - a call to arms, a revolutionary new music)... 

Sorry, where was I?

It's time to keep an eye on John Harris and his gang.
12 February 7.15pm
Lachez Tout (Enough Already)
François Sarhan
Co-production with LOD Music Theatre, with

introduction by Wannes Gyselinck, Concertgebouw, Bruges, Belgium
François Sarhan, composer in residence at the National Theatre in Orleans between 2009 and 2012 is simultaneously a cellist, composer, author, encyclopaedist, and a creator of stop motion animation and film. Lachez Tout is a concert and silent film with live music, actors and two Foley (film sound-effect) artists, with François Sarhan himself performing on stage. Circassian actor Claudio Stellato plays Bobok, the central character of the film, and the Foley Artists create the sounds of the doors slamming, the footsteps and the passing trucks. Lachez Tout is a total experience halfway between a detective story and a philosophical tragicomedy.

Red Note Ensemble Performers
Violin Jackie Shave
Saxophone Gareth Brady
Guitar Malcolm MacFarlane
Percussion Tom Hunter
Synthesizer Simon Smith
Foley Artists Julien Baissat and Celine Bernard

6 - 10 March 7.30pm
Reels to Ragas Two
Mission House Harris, Ceilidh Place Ullapool, Universal Hall Findhorn, Victoria Hall Glenbuchat and Big Shed Tombreck

Scottish-Indian fusion as Red Note Ensemble

is joined by the superb tabla player Kuljit Bhamra and piper-and-multi-instrumentalist Fraser Fifield for new and traditional tunes. Expect love songs, dance music, a hint of Bollywood and plenty of tunes you’ll recognise immediately even in their new guise.

Join internationally-renowned tabla player Kuljit Bhamra each day for a family-friendly hands-on Indian drumming workshop, introducing some of the rhythms and musical ideas that drive Reels to Ragas.

Red Note Ensemble Performers
Tabla Kuljit Bhamra
Cello Robert Irvine
Violin Jackie Shave
Pipes Fraser Fifield



8 - 12 April
13 Vices by Brian Irvine and Jennifer Walshe
Collaboration with Ensemble Doubt
The MAC Belfast, Great Hall, Magee Campus Derry, Droichead Arts Centre Drogheda, National Concert Hall Dublin, King’s Place London

Inspired in part by Mihail Chemiakin’s 'Children are the victims of adult vices’ (a series of grotesque sculptures located in a park in Bolotnaya Square, Balchug, 800 metres south of the Moscow Kremlin) this unique work is the result of a collaboration between two of Ireland’s most dynamic compositional voices - Brian Irvine and Jennifer Walshe. 13 Vices melts down the boundaries between disciplines and dominates the space that lies somewhere between theatre, contemporary classical, free improvisation, opera, conduction, poetry, thrash and trash!

Red Note Ensemble Performers
Violin Jackie Shave
Viola Max Baillie
Cello Robert Irvine



5 May 7.30pm
Plug Festival opening concert: Simply Red Note
Ledger Recital Room, Royal Conservatoire of Scotland, Glasgow
Plug is back! The Royal Conservatoire of Scotland’s festival of new music is a celebration of potential. As Associate Contemporary Ensemble, we work alongside student composers and guest artists and soloists. Plug starts with intent, and we get our hands on the first new scores at Scotland’s festival. #Plug2015

Nicholas Olsen New Work
Thomas Brown New Work
Donagh Marne New Work
Jay Richards New Work

Robert Allan New Work

Red Note Ensemble Performers
Flute Ruth Morley
Clarinet Yann Ghiro
Percussion Tom Hunter
Violin Nicolas Miribel
Cello Robert Irvine
Piano Simon Smith

8 May 7.30pm
Plug Festival closing concert with MusicLab
Stevenson Hall, Royal Conservatoire of Scotland, Glasgow

Plug culminates with a combining of forces, as we are joined by the students from MusicLab to close the festival with a bang. The programme features a large-scale composition from doctoral student Colin Broom, as well as last year’s winner of the prestigious Craig Armstrong Prize, Jay Capperauld.



Colin Broom 7 Pictures of an Electronic Life
Jay Capperauld New Work
Jamie Wilson New Work


Red Note Ensemble Performers
Flute Ruth Morley
Sax Gareth Brady
Percussion Tom Hunter
Piano Simon Smith
Cello Robert Irvine



13 May 7.30pm
Leverhulme Fellows Concert
Ledger Room, Stevenson Hall, Royal Conservatoire of Scotland, Glasgow

The culmination of masterclasses with Garry Walker held earlier in the year, this concert joins Red Note and the Leverhulme Conducting Fellows. Two pieces from Kagel's Windrose series and two new student compositions using the same salon orchestra set the scene for this concert to head in almost any direction!

Red Note Ensemble Performers
Flute Ruth Morley
Violin Nicolas Miribel
Viola Jessica Beeston
Cello Robert Irvine
Bass Rick Standley
Percussion Tom Hunter
Piano Simon Smith
Harmonium Julia Lynch


19 – 20 May 7.30pm
Watching Over You with Karen Cargill
St Andrew's in the Square, Glasgow and Queen’s Hall, Edinburgh


The premiere of a new song cycle by Scottish composer Rory Boyle, setting a specially-written set of poems by Dilys Rose, for Scottish Mezzo Soprano Karen Cargill and the Red Note Ensemble. The seven songs tell, in honest first-person detail, of the joys and trials of early motherhood. The programme also includes Janacek's deep and personal string quartet, Intimate Letters.

Red Note Ensemble conducted by Jean-Claude Picard



24 May afternoon concert
Sounding Brass
Bath International Music Festival, Cleveland Pools, Hampton Row, Bath.

An open air concert in the atmospheric setting of Cleveland Pools, the only remaining Georgian Lido in the UK, set by the River Avon close to the centre of the world heritage city of Bath.

Red Note Ensemble Performers to include:
Trumpet Mark O'Keeffe
Percussion Tom Hunter

Shazia Mirza @ International Sufi Festival, 2006

FEATURE BY GARETH K VILE.
PUBLISHED IN THE SKINNY 13 SEPTEMBER 2006


Taking a break from the Edinburgh Festival, Shazia Mirza journeyed across to Glasgow for the International Sufi Festival. In a mid-afternoon slot, she found a very different audience to the one she is used to; in place of her usual crowd, which she calls "white, middle class Guardian readers who just love it": she was surrounded by Asian families.

Deciding not to censor herself, she made jokes on subjects ranging from meeting the Queen through to shopping at Primark. Although the majority of the audience roared with laughter, there was an offended minority.

"The promoters had a really big go at me. The organisers said they had 25 complaints - mainly about the mention of death threats, and a couple of jokes about anal sex, and my language. They didn't like my material."

In this new context, however, Mirza revealed a quick wit. Using the stream of late arrivals as a cue to improvise on the differences between Asian and British events, she adapted her show without dropping the contentious issues. In particular, this included her routine about receiving death threats.

"A man wrote a review about me on the internet that said I was a white liberal's dream because I was the only Asian woman in comedy and I could have used my voice in a more positive [pro-Islamist] way. On that same day I received the death threats.

"They wanted the Sufi festival to be a festival of peace. I did miss bits out. I wanted to be positive. But the death threats are in my Edinburgh show: so are the Queen and Primark. They said to me: please don't do it. 

When I was going on, I thought, you never know how the audience will be. I decided when I was there, I wanted to do it. I thought: these people really need to hear this."

Mirza read out the death threats - which are sprinkled with promises of sexual violence - and added caustic replies. A member of the audience took to the stage and accused her of preaching hatred against Asians. Speaking to her after the show, it is obvious that the response has shaken her. "I have made them funny, but at the same time they are death threats. I am ashamed of them. I wish they were from angry Catholics. I don't get threats from white people." 

But Mirza believes that she has the right to discuss them. "That's part of my life. Comedians talk about their lives. If I'd left that out, that's five months I can't talk about. I contemplated for six months whether to include them. I wanted the show to be about fun, not about my culture or religion. The rest of the show isn't really."

Ironically, Shazia Mirza no longer calls herself a Muslim. Although she became famous with an act that mocked Islamic stereotypes, and is still referred to as 'the woman who wore the burqa', she claims that this image is out of date.

"I'm not religious but my parents are. I used to be, but I'm not anymore. I don't pray. I haven't been to the mosque for three years. And since I had death threats - I don't want to be part of that. If I said I was religious, people would call me a hypocrite - how can you believe in a religion that allows men to do that to women. I can't say that I'm Muslim."

The show at the International Sufi Festival demonstrated Shazia Mirza's unenviable position, caught between the comedy circuit and what she refers to as "my community" of British Islam. Her comedic talent is ignored, as is material that is not specific to her religious background: the furore surrounding her attracts attention. She feels this herself, complaining that she is being pigeonholed by the press. Her last words sum this up perfectly.

"They either say 'you're so brave', or 'this is a stereotype reinforcing show'. Can't they just say it's funny? Why does it have to mean something? Why can't it just be: I'm like everybody else?"

Cambridge Science Festival

For the second Science on Saturday 21 March, the Festival returns to the West Cambridge Site to present a range of mathematical and astronomical talks and events. The Cavendish Laboratory and the Institute for Manufacturing also open their doors for another exciting day of talks and exhibits, including hands-on physics, laser lab tours, a live demonstration of an invisibility cloak and the chance to make a watch from scratch.

The Science Festival concludes on Sunday 22 March. Following the success of last year’s journey from bench to bedside, the Festival returns to the Cambridge Biomedical Campus to stage a packed day of all things medical, including hands-on activities and talks by leading medical research scientists. Highlights include a discussion of the power of science in popular culture by actor, Stephen McGann, the doctor on BBC’s Call the Midwife. There will be a panel discussion concerned with how heath records have the power to transform treatments – in spite of the recent headline about the perils of data sharing. Visitors will also have the opportunity to look behind the scenes and discover what makes Cambridge University Hospital tick with an extensive choice of interactive activities including the opportunity to have a go at keyhole surgery.


Commenting on this year’s Festival, Dr Lucinda Spokes,

Cambridge Science Festival Coordinator said: “Every year, the Science Festival grows in both size and popularity and this year is no exception. We’re delighted to host yet another Festival that promises to be a spectacular presentation of scientific ideas and discoveries. As ever, the calibre of speakers and the quality of the events showcasing the latest in scientific research to the public is outstanding.

“This year, we are lucky to have a remarkable line up of speakers, including Professor Frank Wilczek from MIT; TV presenter, Dr Chris van Tulleken; seven of the new Fellows of the Royal Society; Professor Dame Carol Black; the Astronomer Royal, Professor Sir Martin Rees; Professor Sir Colin Humphreys; author, journalist and TV presenter, Simon Singh; comedian Robin Ince; and science songstress Helen Arney.

“In addition to the talks, debates, exhibits and activities, we have a mix of science comedy, theatrical performance and art exhibitions, which are sure to delight people of all ages.

“We very much look forward to welcoming both our regular visitors and new audiences and hope that everyone thoroughly enjoys this year’s Science Festival.”

Mark Thomson on Brecht and Beyond...

Mark Thomson is the artistic director of The Lyceum, in

Edinburgh. When I asked him for a chat about his upcoming production of The Caucasian Chalk Circle, he was generous enough to give me too much for the article... here is the complete interview...

What is it about Brecht that has made him such a looming presence in the theatre of the last half century? Do you have a particular love for his approach and ideas about theatre?

I think anyone who enters their place of work and challenges on the two fronts of WHY are we doing this and HOW should we do this is key in the development of any profession or art form. 

 It’s difficult to overestimate the influence he had but the truth is that a lot of what he brought is inherent in standard theatre “think” now. 

 The idea that Brecht always wanted you to be aware and acknowledge the truth that this is a group of actors who are telling this story and not “pretending” that we “are” this or that person is keenly theatrical. 

It doesn't mean he’s not serving truth – he’s just challenging how we create truths and saying that it might not always be through trying to be “real.” The thing I keep talking about with the company is to abandon consistency. 

Caucasian shifts restlessly from one style to another, from naturalism to singing to crazy carnivalesque creatures. And each needs tending to and doesn't want smoothed out. The other thing is that for Brecht there was no such thing as a “character” that stood and remained definitive throughout a play. The “situation” was key to understanding why people did the things they did. 

So, a raping Sergeant is a rapist because of his circumstance of war. Monsters are born from monstrous situations. In another war-less universe he’s a father taking his daughter for swimming lessons.

And the Chalk Circle: why did you go for this script at this time?
I felt that the theatre needed to articulate or respond to the times we are in where there seems an unstoppable march toward widening the gap between the rich and the poor; when those who govern are led by power rather than principle. 

 Even in theatre it’s interesting that we have people like Brian Cox and Julie Walters are questioning whether the they could have entered the profession now and are we going to have very little working class actors entering the profession in which case there is a huge challenge to the stage’s ability to reflect the society it is supposed to be representing. 

 So Caucasian really simply says there might be another way of thinking. It has the boldness of a parable in the truths it identifies but has a wonderfully complex political and human understanding that is celebrated by vivid, musical, comedic and emotional theatre.

Does the CCC fit well with the general identity of the Lyceum?
I don't recognize the idea of the Lyceum Theatre having an identity. It’s a place of the imagination. A space where stories are told to another group of people. It’s a human place where views are exchanged, worlds are brought to life through word, picture, sound and light. The walls disappear and no one is looking at the chandelier when the act of theatre is successful.

Does working on this large scale present any unexpected challenges?
Not unexpected but it certainly does. And by challenges I don’t think negatively. I have a company of 13, eight of whom are multi instrumentalists, one who is an expert puppeteer, somewhere is the region of 40 locations and over a hundred characters and an amazing epic journey of a story about an extraordinary young woman. 

 What I love about the whole idea of companies like the Lyceum is that we have Faith Healer on and it’s a three hander, monologues – people and words. And now we’re in a carnivalesque storytelling with different demands, offers, tone. The quixotic leaps from show to show energize and transform the space where we meet our audience and defines it as a place of surprise that provokes your mind and senses and makes you feel more alive than before you entered the room. 

And as Brecht might agree, if you feel more alive you'll feel more capable of change. And Brecht’s great optimism is that he believed people/we can change. And boy oh boy I think we all know we need to.

Vile Valentine - update!

Although the competition does not end until 5pm, I have been overwhelmed by the number of entries for A Very Vile Valentine's. In fact, just so any late applicants know what they are up against, here's my top five answers so far... and you'll be hard pressed to beat them!

I WANT TO GO ON A DATE WITH VILE BECAUSE...

I am going to stab him and win the bounty put on his head by the Critics' Circle.

He keeps a bottle of vodka in his office drawer for 'inspiration'.

I am training to be a psychologist and he'll make an excellent case study.

I really hate myself that much.

He is promising to wear a mask so I don't have to look at his face.

Keep sending them in, theatre fans!