Laurie Sansom
James IV – Queen of The Fight
★★★★☆ Resonant
James IV – Queen of The Fight at the Festival Theatre until Saturday and then on tour, is epic in scope and highly satisfying.
It’s James IV!
Rona Munro revisits and extends James Plays
Rona Munro is to return to the Kings James for her next play, James IV – Queen of the Fight, which will premiere at Edinburgh’s Festival Theatre in the autumn of 2022 before touring Scotland.
Sansom to leave NTS
Artistic director to leave in June:
The National Theatre of Scotland has announced that artistic director and chief executive Laurie Sansom will be leaving the organisation at the end of June.
The Kings James revealed
National Museum reveals James Plays objects:
The National Museum of Scotland has organised an event bringing together historians and theatre makers who are concerned with the James Plays, currently playing the Festival Theatre.
The James Plays
The James Plays Trilogy: ★★★★☆
Eighteen months after their first outing, the National Theatre of Scotland’s production of the James Plays trilogy remains a theatrical event worth anybody’s time and money.
Football injury hits NTS James II
Onstage incident puts actor in hospital:
The actor playing the title role in James II in the National Theatre of Scotland’s James Plays trilogy was rushed to hospital on Saturday, following an incident during an on-stage football game.
NTS 2016 Season announce
Edinburgh tickets on NTS list:
Big hits and tight flits are among the Edinburgh shows and events announced in the first six months of the National Theatre of Scotland 2016 season.
Abbey poaches NTS duo
Neil Murray and Graham McLaren are to leave their key roles at the National Theatre of Scotland next year, to take over as joint directors of Dublin’s Abbey Theatre.
The James Plays Return
Unique touring format for trilogy:
Rona Munro’s immense historical trilogy: The James Plays – about the Kings James I, II and III of Scotland – will return to the Festival Theatre in February 2016.
The Driver’s Seat
✭✭✭✩✩ Fury and fear:
The National Theatre of Scotland’s adaptation of Muriel Spark’s The Driver’s Seat has a righteous fury, combined with a drive born out of cleverly harnessed technology and a tight ensemble.
