1,523 stories by "Thom Dibdin"
The Edinburgh International Children's Festival kicked off in splendid form this year, with an opening weekend of unusual and quirky offerings at the national Museum of Scotland. This is of …
Access and diversity are prioritised in the Edinburgh Festival Fringe Society’s free events programme at this year's festival. The Breaking Down Barriers strand of
The Attic Collective's War in America is passionate, emotional and committed " but not over-earnest, and certainly not polite. The second production by this company for young performers set …
A female Scrooge and the professional Scottish production of August: Osage County feature on Andrew Panton’s first season as artistic director of
There is a freshness and infectious enthusiasm to Daphne Oram's Wonderful World of Sound. This, allied to a magnetic central performance, overcomes oddities in the script and staging to crea…
Wobbly sets, missed cues, mixed-up lines and loudly whispered prompts are all in the script for the mid-eighties am-dram-set comedy taken on by St Serf's Players for three nights only this w…
Extreme care has been lavished on the Lyceum's Glory on Earth. It has a clarity to its storytelling and performances, backed up by some excellent staging, but never engages the heart or mind…
In V-TOL's latest production, Mark Murphy brings the thrill of his Glasgow Commonwealth Games closing ceremony to the stage, immersing the audience in a mix of aerial choreography and projec…
New work from Gary McNair and Cora Bissett and the revival of a solo piece by Pauline Goldsmith feature in the ninth
The historical roots of Scotland’s religious divisions are the inspiration for Linda McLean’s Glory on Earth, which examines the relationship between the
It's a brilliant, inventive and perceptive deconstruction of the Saturday night out. Originally performed at the Fringe in 1977 as a two hander it first appeared as a four-hander in the earl…
There is a real energy to McAllister's creation of Kes, a buzz which infects you as she sits down beside you and looks you straight in the eye. It's a commanding performance, of the kind whi…
Fantastic Mr Fox is a musical for children based on the classic book by Roald Dahl. It is the same basic story as the book, but lots of things that Mr Fox does are not the same. It has been …
Resolutely theatrical and visually arresting, the version of Jane Eyre at the Festival Theatre retains the flavour of that well-loved book while succeeding admirably on its own terms. This a…
VoiceArc's sci-fi reworking of Don Giovanni, at Broughton St Mary's Church, lifts itself on the voices of its talented performers despite some questionable set design. With music by Mozart a…
Scottish Opera's La Boheme uses a contemporary twist to provide emotional resonance. Wandering through a crowded Parisian flea market, Hye-Youn Lee’s Mimi
My Country " A Work In Progress, the National Theatre of Great Britain's touring response to the Brexit vote, may very well have its heart in the right place. Unfortunately, it is difficult …
Assured comedy performances and ambitious staging combine to make a success of The Ladykillers for the Grads, at the Assembly Roxy to Saturday. The classic 1955 black comedy film, directed b…
It was the first musical which Rodgers & Hammerstein created as a partnership and is packed with rather more than the usual quota of great and memorable numbers. Small wonder the hairs …
The story of aspiring ballerina Vicky Page, who falls in love with composer Julian Craster while also falling under the spell of controlling dance impresario Boris Lermontov, is of course fr…
Sasha Regan sets her Mikado in the tents around the camp fire of an English public school camping trip in the 1950s. Here, the bullied boy of the class falls asleep and dreams that his class…
The four Scottish theatremakers of colour who will be supported by the £12,500 Megaphone fund have been announced. Bibi June Schwithal, Mara
The 306: Day is the second part in the National Theatre of Scotland’s trilogy inspired by the 306 British soldiers shot for
There are plenty of Good Things in the Edinburgh Makars' production of Liz Lochhead's play of that name, in a production that is solid if not spectacular.
Director Michael Emans delivers a sparkling, sprawling Who’s Afraid of Virginia Woolf? He lets Edward Albee’s script breathe. He glories in the
