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A “hostile immigration policy” is putting Edinburgh’s festivals at risk, according to MSP Gordon Macdonald. Macdonald, who is the SNP MSP for
Glasgow-based theatre company Fire Exit is to close permanently after 17 years, due to the loss of its Creative Scotland core funding.
The world’s longest-running stage production The Mousetrap returns to Edinburgh to thrill a whole new audience in this classic murder mystery tale at the Playhouse
A scholarship at the Royal Conservatoire of Scotland is being launched to commemorate Scottish actor Pauline Knowles, who died suddenly in 2018,
The blood-soaked events of The Duchess [of Malfi], a co-production between the Lyceum and the Citizens Theatre, are almost unwatchably intense at times. As a depiction of timeless and timely…
Zinnie Harris has filleted John Webster’s great Jacobean revenge tragedy in a slick and streamlined adaptation. This is all lean meat and,
Revived and reconfigured with a reduced cast for small-scale Highland touring, the National Theatre of Scotland‘s production of The Cheviot, the Stag
There are plenty of laughs to be had in the touring Comedy About A Bank Robbery at the King’s. There are also a couple of gasp-inducing coups de theatre.
World renowned immersive theatre company Punchdrunk makes its first ever foray to Scotland with a comprehensively startling piece of work, Small Wonders, as part of the Edinburgh Internation…
Broadway star Donna McKechnie is launching a new scholarship fund in her name at the Royal Conservatoire of Scotland, which will support
Music hall informs the tone of Scottish Opera’s 2012 production of The Magic Flute. Thomas Allen’s production, using Kit Hesketh-Harvey’s English translation,
Rapture Theatre shoots, and scores, in Red Lion, a soccer drama by Patrick Marber that even non-sports fans will love.
My Left/Right Foot – the Musical leads the nominations for this year’s Critics Awards for Theatre in Scotland with six nods. Seventeen
Scottish crime writer Denise Mina is to create a gender-swapped version of Bertolt Brecht’s Mr Puntila and His Man Matti for Edinburgh’s
The touring production of The Worst Witch is high-octane, clever and extremely enjoyable.
It’s no trial watching this stage version of the classic film The Verdict at the King’s. In fact, it’s a real pleasure seeing washed-up Boston lawyer Frank Galvin get his mojo back as …
Edinburgh’s proposed new 1,000 seat concert hall and 200 seat studio theatre space has won planning approval from the city’s council. Previously
Bursting with emotion and tuneful energy, the return to the Traverse of What Girls Are Made Of is a thing of wonder.
Mike Griffiths has been appointed co-chief executive director at the the Royal Lyceum Theatre in Edinburgh. The post had been vacant since
There are plenty of laughs to be had in the production of Abigail’s Party which finishes an extensive UK tour this week at the King’s.
Lame, lazy and lacking in guile, Brendan O’Carroll’s latest live show, on a 12-city arena tour, continues from the plot of D’Movie,
Clever: There’s plenty of life and bundles of irony in the latest production of Marie Jones’ magnificent two-hander, Stones In His Pockets, now on a major UK tour.
Whether you know the story or not, The Girl On the Train will keep you on the edge of your seat right up until the end.
The Edinburgh International Festival is expanding its remit to take on mid-scale work from a much broader geographical reach at this year’s
Local Hero, the Lyceum’s co-production with the Old Vic, has the authenticity and drive one would expect considering the source material, but fails to add much that is new.
Domestic drama spills over into terror in Patrick Hamilton’s 1938 play, set in fogbound Victorian London. Though Kai Fischer’s production has plenty
Imaginate artistic director Noel Jordan has hit out at commercial theatre’s “McDonald’s Happy Meal” approach to work for children. Speaking at the
Joseph and the Amazing Technicolor Dreamcoat proves it’s still at the top of its game as it returns to the Playhouse – again – over 50 years since it first launched.
Interference is more than just a crackle on the line in this haunting trilogy of near-future plays, commissioned and directed by Cora
Birmingham Royal Ballet puts on a truly magical and haunting performance of David Bintley’s Beauty & the Beast.
Scotland’s annual £90 million state funding for the arts is to be scrutinised by the Scottish Parliament’s culture committee. The committee has