All stories by Thom Dibdin on BroadwayStars

Tuesday, September 25, 2018

The Burning Fiery Furnace review at St Mary’s Church, Haddington – ‘an engaging semi-staging’ by Thom Dibdin

Benjamin Britten’s The Burning Fiery Furnace is a clever choice for the first collaboration between Scottish Opera and East Lothian’s Lammermuir Festival.

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Benidorm Live review at Playhouse Theatre, Edinburgh – ‘saucy humour’ by Thom Dibdin

The long-running ITV sitcom Benidorm gets an extended remix by creator Derren Little in this live stage show. It brings together six

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Sunday, September 23, 2018

‘There is a woozy melancholy at this production’s heart’: TWELTH NIGHT – Edinburgh ★★★★ by Thom Dibdin

Shifting emotions are filtered through autumnal sunlight in the Lyceum’s Twelfth Night, with as much defiant sadness on view as happy resolution.

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Friday, September 21, 2018

‘Boldly brash & and brazen with it’: BENIDORM LIVE – Touring ★★★★ by Thom Dibdin

However, by the time the whole auditorium is on its feet for the finale, dancing along to Y Viva Espana, you’d be forgiven for forgetting how many cracks in the Benidorm carapace have been…

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Wednesday, September 19, 2018

‘Enough artistry & drive to make this well worth a look’: LUDUS: PLAYFUL LOVE – Touring ★★★ by Thom Dibdin

Ludus: Playful Love, Theatre Broad’s production of two contrasting plays by early 20th-century poet and playwright Clifford Bax provides an evening that is high on period charm but never r…

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Twelfth Night review at Royal Lyceum Theatre, Edinburgh – ‘exuberant exploration of gender’ by Thom Dibdin

Director Wils Wilson ventures into the parts of Shakespeare’s Twelfth Night that most productions leave alone, cutting few, if any, lines in

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Wednesday, September 12, 2018

‘Enjoyably multi-layered’: NESTS – Touring ★★★ by Thom Dibdin

After a Fringe full of blockbuster productions, the Traverse’s autumn season kicks of with Nests, a two-hander that looks at social inequality and considers what we can learn from crows.

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Tuesday, September 11, 2018

Nests review at Traverse Theatre, Edinburgh – ‘knotty examination of the nature of nurture’ by Thom Dibdin

Xana Marwick questions whether society is as committed to supporting its children as it believes it is, in her touring two-hander, Nests,

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Thursday, September 6, 2018

Cyrano de Bergerac review at Tramway, Glasgow – ‘celebrates the language’ by Thom Dibdin

Dominic Hill sets out a strong message of intent with his Citizens Theatre production of Cyrano de Bergerac. This is a glorious

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Monday, September 3, 2018

David Greig to adapt Solaris for the stage by Thom Dibdin

David Greig is to adapt Stanislaw Lem’s classic science fiction novel Solaris, in a co-production between Edinburgh’s Lyceum and Melbourne’s Malthouse theatres.

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Friday, August 31, 2018

Studio theatre planned as part of new Edinburgh performance complex by Thom Dibdin

A 200-seat studio theatre space is to be included in a new concert and performance venue being planned in Edinburgh’s New Town.

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Tuesday, August 28, 2018

La Cenerentola review at Festival Theatre, Edinburgh – ‘an impeccably sung production’ by Thom Dibdin

Cleverly mixing contemporary and historical, director Stefan Herheim’s take on Rossini’s already heavily altered account of the Perrault fairytale puts the music

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Edinburgh Fringe records increased ticket sales for sixth year running by Thom Dibdin

The Edinburgh Festival Fringe has posted record sales across the three-week festival with a year-on-year rise of 5.25% to an estimated 2.8

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Friday, August 24, 2018

The Famous Five review at C Chambers Street, Edinburgh – ‘lashings of fun and heaps of adventure’ by Thom Dibdin

There’s lashings of fun and heaps of inventive adventure to be had in Gobbledigook Theatre’s hands-on adaptation of Enid Blyton’s Famous Five.

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Simon Callow in De Profundis review at Assembly Rooms, Edinburgh – ‘more impressive than revelatory’ by Thom Dibdin

Scathing wit and the most unflattering self-pity vie for prominence in Simon Callow’s performed recitation of Oscar Wilde’s letter to his former

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Thursday, August 23, 2018

The Prisoner review at Royal Lyceum Theatre, Edinburgh – ‘intriguing but impenetrable’ by Thom Dibdin

In Peter Brook and long-term collaborator Marie-Helene Estienne’s The Prisoner, the interrogative eye on the exotic reveals much more about the beholder

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‘Intriguingly promising piece’: LUCILLE & CECILIA – Edinburgh Fringe ★★★ by Thom Dibdin

Gleeful physical comedy features in Lucille & Cecilia, a patchy but intriguingly promising piece from new company Bang Average Theatre at C Aquila. (Picture: © Bang Average)

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Wednesday, August 22, 2018

‘Fairly crackles with fun & excitement’: A GOOD ENOUGH GIRL? – Edinburgh Fringe ★★★★ by Thom Dibdin

Scene Change Productions, Greenwich Theatre and Nutshell Theatre’s co-production A Good Enough Girl? is enjoyable, involving and deceptively important production.

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Tuesday, August 21, 2018

‘Intriguing production’: GANYMEDE – Edinburgh Fringe ★★★ by Thom Dibdin

Ganymede, TypeCast Productions’ reworking of Shakespeare at Paradise in Augustines, is an intriguing production that uses the spirit of the Bard to cast light on contemporary concerns.

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The House review at Assembly George Square, Edinburgh – ‘quick-fire, hyper-stylised delivery’ by Thom Dibdin

American Absurdum returns with all its trademark incision and quick-fire, hyper-stylised delivery in The House, a fable of modern middle-class America. Empty-nesters

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First Snow/Premiere Neige review at Summerhall, Edinburgh – ‘meaty examination of identity’ by Thom Dibdin

“Brexit, Trump – that’s change!” someone shouts early in First Snow/Premiere Neige, the National Theatre of Scotland’s Quebecois co-production. Following the NTS’

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In Loyal Company review at Pleasance Courtyard, Edinburgh – ‘bursting with energy’ by Thom Dibdin

Bursting with energy and bold theatrical strokes, David William Bryan tells the true story of his great uncle Arthur – known as

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Old Boy review at Scottish Storytelling Centre, Edinburgh – ‘fascinating view of real life’ by Thom Dibdin

Male relationships – specifically inter-generational familial relationships – come under intense, if friendly examination in Glas(s) Productions’ Old Boy. The company has

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Marie review at Assembly Rooms, Edinburgh – ‘strong piece but with more potential than substance’ by Thom Dibdin

Nicely turned as comedy, Sarah MacGillivray and Phil Bartlett’s story of a Scottish actress straight out of drama school who goes down

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Canoe review at the Space, Edinburgh – ‘complex one-man show about grieving’ by Thom Dibdin

There is a complexity to Matthew Roberts’ one-man show, Canoe, which goes much deeper than the issue of grieving that lies at its

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Monday, August 20, 2018

In for a Penny review at Gilded Balloon Teviot Row, Edinburgh – ‘amusing and light-heartedly anecdotal’ by Thom Dibdin

Libby McArthur draws on a true story from her own past, when she was arrested and sentenced to prison for non-payment of

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The Bench review at Gilded Balloon Rose Theatre, Edinburgh – ‘engages right up to the last’ by Thom Dibdin

Tightly wound and shot through with an utterly surprising melancholy, Keir McAllister’s tale of two men feuding over their right to relax

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Sunday, August 19, 2018

‘A lucid & involving production’: TWA – Edinburgh Fringe ★★★★ by Thom Dibdin

Twa, the collaboration between writer Annie George and visual artist Flore Gardner at the Scottish Storytelling Centre, is a lucid and involving production.

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Saturday, August 18, 2018

‘Appealingly winsome piece of theatre’: HYMNS FOR ROBOTS – Edinburgh Fringe ★★★ by Thom Dibdin

Hymns For Robots, Noctium Theatre’s portrait of electronic music innovator Delia Derbyshire, is an appealingly winsome piece of theatre.

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Friday, August 17, 2018

DUPed review at Sweet Grassmarket, Edinburgh – ‘twisting narrative of Northern Irish politics’ by Thom Dibdin

When there’s nothing but a bible and megaphone by way of set or stage dressing in a performance about the DUP, you

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The Providence of Neighboring Bodies review at Underbelly, Edinburgh – ‘Surreal yet gently told tale’ by Thom Dibdin

A quiet examination of the nature of exclusion and fear of the other is framed as deeply ironic comedy in Jean Ann

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