China Daily (Hong Kong)

Alan Cumming faces his demons in a cabaret

- By DOMINIC CAVENDISH

The Edinburgh Internatio­nal Festival was establishe­d to celebrate the human spirit in the wake of the World War II but it can sometimes look like a stern Presbyteri­an widow at a feast when set beside the gaiety of the fringe.

What better way to signal to the public that life-affirming fun is on the menu than by inviting that most impish and devil-may-care of Scottish actors Alan Cumming back to his native land to do what he does best: get a party started?

Last time the sexually liberated star (who lives with his husband in New York) was here, in 2007, he played Dionysus in The Bacchae. Now hedonism is on the menu once again as he takes over the festival’s main-base for a late-night 90-minute mix of favourite songs and gossipy anecdotage, first presented in Manhattan last summer.

In some senses he’s on home-turf — many devotees still worship him for his Nineties breakthrou­gh turn as the louche Emcee in Cabaret, a huge hit on both sides of the pond and here, he’s effectivel­y master of ceremonies. But he’s also facing the music, having put his foot in it last month by denouncing those who voted Leave as “Stupid. English. People”. Cue a furore for alleged racism. Though he protested it was the misunderst­ood humour of “a daft jock”, I have to say that I entered the Hub very much in the “undecided’”camp.

As he joined his band (Lance Horne, piano; Eleanor Norton, cello; Chris Jego, drums), I noted the swanky-shiny black suit, the stillboyis­h dimples and the warm reception that greeted him but waited to be convinced. Heading straight into a rendition of Annie Lennox’s lovelorn lament “Why?”, and getting a conspirato­rial laugh on the line “Why don’t you ever learn to keep your big mouth shut?” (as close to addressing the Brexit hoo-ha as he gets), he displays a smirking confidence that’s borderline self-admiring. His vocal emphasis is markedly Scottish, every “r” rolled from here all the way down to Leith. Stylish, yes, but manufactur­ed too.

Swiftly, though, his puckish charisma wins out and a sense of an intimate conversati­on takes hold. His selection of songs refuses to be cowed by received ideas of good taste: including a melancholy dash of Keane, a tongue-in-cheek mashup of Adele, Lady Gaga and Katy Perry, and a Sondheim parody.

Above all, there are songs in a heart-felt key: among them Billy Joel’s Goodnight Saigon, dedicated to a combat-traumatise­d grand-father, and Rufus Wainwright’s ballad about father-son estrangeme­nt Dinner at Eight which cuts so deep it leaves him dabbing his eyes, head firmly bowed. No performanc­e that — more a public reckoning with his demons (Cumming’s tormented relationsh­ip with his dad was If you go

Until Aug 27. Tickets: 0131 473 2000; eif.co.uk

Top 3 picks

Comedy: Alistair McGowan: 12th Impression­s —

He’s really good at impression­s – but you knew that, and he’s not giving up on them yet. Expect Andy Murray, John Bishop, “football’s man of the moment” Harry Kane, and many more. Gilded Balloon Teviot (0131 622 6555), Aug 16-28 Dance: Monumental — Celebrated Montreal art-rock collective Godspeed You Black Emperor team up with Vancouver-based contempora­ry dance troupe The Holy Body Tattoo for a piece that appears to dive headfirst into the tragedy of everyday existence. Playhouse (0131 473 2056), Aug 8 & 9 Theatre: Anything That Gives Off Light — Enticing new co-production from Brooklynba­sed company The Team and the National Theatre of Scotland, blending American and Scottish traditiona­l legends and music for a Highland road-trip story about self-interest, identity and sacrifice. Edinburgh Internatio­nal Conference Centre (0131 473 2000), Aug 18-26 (not 21)

explored in his memoir, Not My Father’s Son).

Entertaini­ng anecdotes about Liza Minnelli? Cumming got ’em. But he’s got something else too: an individual­ist defiance and steadfastn­ess that surpasses the superficia­l appeal of his smoke-andmirrors showmanshi­p. He’s not so much an actor — more a way of life. The easy thing to do would have been for him to have appeared in another play, or perhaps not come back at all. But he didn’t. And it has paid off handsomely.

All hail, then, Alan the brave.

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