With a smartly self-referential script from David Ireland, which is packed with engaging, funny, and irreverent dialogue, The Fifth Step proves to be a powerful and darkly comedic …
Discover the power of feminist data to brighten the world as we know it.
There’s something revolutionary in the state of Denmark.
WORLD PREMIERE The world premiere of Aakash Odedra’s latest work creates a mediative exchange between the Indian classical dance Sufi Kathak and Islamic poetry.
An exclusive event for our members.
This is a Rock Opera mixed with a nineteenth century play about the lengths people will go to for lust.
There’s a great, restless energy in Director Declan Donnellan’s production of Pedro Calderón de la Barca’s seventeenth century Spanish classic Life is a Dream.
With Phaedra/Minotaur, director Deborah Warner and Choreographer Kim Brandstrup present a couple of easily digestible slices of re-interpreted Greek mythology.
The show is derived from interviews with humanitarian aid workers about the Impossible.
A community of actors are staging a theatre version of Lars Von Trier’s film Dogville.
A cast of actors use music, dance and video to tell their stories in this uplifting exploration of living with Down syndrome.
Early in Samsara two hooded figures from different cultures meet in a desolate landscape, only sparsely populated by stricken metallic figurines being slowly consumed by gathering …
An exclusive event for members of the Edinburgh International Festival.
Discover the story of one family’s journey through love, heartbreak, civil war and migration to Australia in this epic multigenerational tale.
There's little doubt that The Duchess of Malfi has become the most popular and successful work written by the English Jacobean playwright John Webster.
When Edinburgh's Royal Lyceum Theatre announced that they were producing a stage musical based on the iconic 1983 Scottish film Local Hero, I must admit to wondering if it was …
Rumbustious, fast, furious and funny, yet full of magic and fairy dust, Wendy and Peter Pan will delight all ages: an awfully big adventure and the perfect Christmas show.
The works by French poet and playwright Edmond Rostand, just one of the victims of the influenza pandemic which swept the world in 1918, are today largely forgotten; the one except…
Considered to be one of the greatest plays ever written, Samuel Beckett’s Waiting For Godot is famously a play about nothing.
August Strindberg apparently subtitled his play Creditors (in Swedish: Fordringsäxgare) a “tragicomedy” but, while David Greig’s 2008 adaptation does indeed contain a few de…
Writer and director Tony Cownie has established a particular niche at Edinburgh’s Royal Lyceum Theatre, taking potentially overlooked 18th century comedies (like Carlo Goldoni’…
When watching the stage adaptation of any book, especially one I’ve not read, there’s often a question lingering at the back of my mind; would I appreciate this more, would I…
Stories illuminate the truth, lies hide it; that’s just one of the lessons audiences of all ages can take from Suhayla El-Bushra’s energetic new adaptation of The Arabian N…
“Lavender Menace”, according to Wikipedia, were “an informal group of lesbian radical feminists formed to protest the exclusion of lesbians and lesbian issues from the fem…
Site specific theatre is nothing new in Scotland; from the numerous innovative creations by the likes of Grid Iron Theatre Company to much of the work by the “without walls” …
Time and again during Zinnie Harris’s new adaptation of Eugène Ionesco’s famous farce, people tell each other not to be absurd.
At one point during Glory on Earth, its two main characters—stage right, the young, romantic Mary, Queen of Scots; stage left, the firebrand Protestant preacher John Knox—ar…
There’s much to admire, to even love, in Douglas Maxwell’s new play at Edinburgh’s Royal Lyceum; a script full of humour and subtle characterisation, if not always …
In one sense, this Lyceum revival of Caryl Churchill’s 2002 play is exactly the “dynamic two-hander” described in the programme: the only actors on stage are Peter Forbes,…
Dominic Hill, artistic director of Glasgow’s Citizens Theatre, apparently doesn’t like to constrain any theatrical experience with the blunt instrument of a rising or falling c…
Shakespeare’s The Winter’s Tale has all the characteristics of a Tragedy, as we speedily witness the horrendous consequences of King Leontes’ groundless jealousy for pregnant …
As titles go, Picnic at Hanging Rock is a fine conflation of the innocent and disturbing, although the cultural impact of Joan Lindsay’s novel is arguably more down to Peter W…
As a rule, the best children’s stories—be they novels, comics or TV shows—all inspire the same question: “What on Earth were they taking when they came up with that?” …
You get a strong sense of what Jumpy is going to be like from Jean Chan’s impressive set—two jumbled piles of household goods, surrounded by an off-kilter frame of plain wall…
In ancient Greece, it was the practice before any theatrical performance to name those citizens who had financed it, and for a respected citizen to give “the libation” to th…
Never, ever underestimate the stupidity of the rich and powerful; that’s certainly one of the obvious lessons you can get from Liz Lochhead’s brilliantly funny take on the sc…
It says something about us as a species that one of our oldest myths, crystallised in the form of Homer’s epic poem Iliad, is about war – specifically the bloody climax of th…
I am Thomas is an economic show bound together with a fantastic cast.
In the face of something terrible, we can either laugh or cry.
If there’s one moment in this new production of Conor McPherson’s The Weir that encapsulates the quality of its cast and director, it’s towards the close when a moment of …
Enthused with enchantment and wonder, Theresa Heskins’ adaptation of C S Lewis’s The Lion, the Witch and the Wardrobe lovingly translates the classic book from page to stage.
About halfway through the second story of three, in the middle of a series of thoughts on the benefits for men of sitting down on the toilet, Daniel Kitson breaks off, looking u…
There are many good reasons for launching the celebratory 50th anniversary season of Edinburgh’s Royal Lyceum Theatre Company with a new production of Samuel Beckett’s Waiti…
Described as “a metaphysical shocker” on its release in 1970, The Driver’s Seat was apparently author Muriel Sparks’ favourite amongst her own stories, in part thanks to th…
For some, he was “Italy’s Shakespeare”, “the Moliere of Venice”; yet it’s only relatively recently that British theatre audiences have warmed to work by 18th centur…
Many of the world’s greatest Tragedies – Shakespeare’s in particular – are grounded on the character flaws of their titular characters: Hamlet, Othello, Macbeth, and so …
There’s rumbustious joy aplenty in this new adaptation of Bertolt Brecht’s infamous examination of legality and justice.
Reality and performance lie at the heart of this solid production of Irish playwright Brian Friel’s Faith Healer.
Edinburgh’s Royal Lyceum Theatre always has a Christmassy feel to it, with its gilded pillars and Arabian Nights ceiling, and this enchanting adaptation feels like an early Ch…
Hard to be Soft: A Belfast Prayer choreographed and directed by Oona Doherty is at times an explosive, visceral and overwhelming experience.
Jackie Kay’s memoir Red Dust Road, adapted for the stage by Tanika Gupta, is a huge disappointment.
"Hear Word!" is how Nigerians start a story, a sort of town crier’s call and Hear Word! Naija Woman Talk True co-written and directed by Ifeoma Fafunwa is definitely at…
Theatre-making manifestos always make me wary, in part because I'm inherently suspicious of portentous artists in any field: "The aim is not to depict the real, but to mak…
Kalakuta Republik will stay with you, for good or bad.