Covid-19 – Theatre/Events responses & information

As of March 16th, the Scottish Government advises a policy to protect the capacity of our public services, advising that organisers should cancel or postpone all mass events of 500 people or more – indoors or outdoors.

Below is an ongoing list of Scottish Theatre & events venues which have provided their stance on the matter, with many revaluating constantly in accordance with government advice and the safety of the public and their staff paramount. This page will seek to guide, inform and update readers to which venues remain open, have cancelled events (which should be checked on their respective websites, or have gone dark (closed).

If you have purchased tickets for events or production in the coming weeks/months, we recommend you get in contact with the representatives of the theatres. Box office numbers and website listings for an email address and contact details are below. Please bear in mind the difficult time for these companies, with staff working their hardest to support audiences, talent and each other. The person at the other end of your enquiry is potentially about to have no job for the foreseeable future.

Edinburgh & Lothians:

Assembly RoxyBox Office: 0131 623 3030 –
Current Status: Dark

Bedlam Theatre
Current Status: Events cancelled

The BruntonBox Office: 0131 665 2240 –
Current Status: Dark

Church Hill Theatre
Current Status: Shows postponed

The Festival Theatre & The King’s Theatre Box Office 0131 529
Current Status: Dark – Shows have been cancelled or postponed for March and April.

The Playhouse – Box Office: 0844 871 3014 –
Current Status: Dark

The Royal Lyceum Theatre – Box Office 0131 248 4848 –
Current Status: Dark as of March 17th, still taking bookings for April & May productions

Scottish Storytelling Centre – 0131 556 9579
Current Status: Show Cancellation

Summerhall – Box Office 0131 560 1581 –
Current Status: Dark

The Traverse Theatre – Box office: 0131 228
Current Status: Dark


Glasgow Tramway – Box Office 0845 330 3501 –
Current Status: Dark

King’s Theatre Royal – Contact Info 0844 871 7648 –
Current Status: Dark

Òran Mór – Contact Into 0141 357 6200 –
Current Status: Dark

The Pavilion Theatre – Box Office 0141 332 1846 –
Current Status: Dark

The Royal Conservatoire Scotland – Box Office +44 (0) 141 332 5057 –
Current Status: Suspending productions until further notice

The Tron Theatre – Box Office 0141 552 4267 –
Current Status: Dark


Aberdeen Performing Arts: Encompassing The Lemon Tree, His Majesty’s Theatre and The Music Hall – 01224 641122 –
Current Status: Dark until further notice

The Trivoli Theatre – Contact Number 01224 592755 –
Current Status: Dark

Dundee and Perthshire:

Dundee Rep – Box Office 01382 223530 –
Current Status: Dark

The Space –
Current Status: Dark

Perth Theatre & Concert Hall – Box Office 01738 621031 –
Current Status: Dark


The Adam Smith Theatre – Box Office 01592 583302 –
Current Status: Show Cancellations

The Alhambra Theatre – Box Office 01383 740 384 –
Current Status: Show Cancellations

The Byre Theatre – Box Office 01334 475000 –
Current Status: Dark, starting March 15th until May 31st

Rothes Hall – Box Office 01592 611101
Current Status: Show Cancellations


The Macroberts Art Centre –  01786 466666
Current Status: Dark


The Gaiety Theatre – Box Office 01292 288235 –
Current Status: Dark


The Beacon Arts Centre – 01475 723 723
Current Status: Dark


Eden Court – Box Office 01463 234 234 –
Current Status: Dark

Pitlochry Festival Theatre – Box Office +44 (0)1796 484 626 –
Current Status: Dark (Temporarily)


The Theatre Royal – Box Office 01387 254209 –
Current Status: Dark

Honourable Mention:

The Royal & Derngate (Theatre & Cinema) – Box Office: 01604 624811 –
Curent Status: Dark

This page shall update if & when information is received, in the meanwhile stay safe, smart and support your local arts. They’re going to need it in the coming months.

Allan Stewart’s Big Big Variety Show – Festival Theatre

In the past sixty years, social media has become a dominant force as Great Britain has joined and then left the European Union, gone through twelve Prime Ministers and somehow, Allan Stewart’s career survives it all. Quite rightly, Stewart may host the Big Big Variety Show, we may be celebrating his sixty years in the business, but the celebration is about the industry, the lights, the songs and the people within. With his two best pals onstage, this is genuine entertainment in a manner which, regrettably for some, has died out.

Striking the band, working with them in a way only a comfortable performer can do, Stewart and The Andy Pickering Orchestra once again settle into their old haunt. It isn’t just panto pals who join Stewart on the King’s Theatre stage, supporting the show are eighties’ treasure Mari Wilson and comedian Mick Miller, a legendary comic whose stylings hark back to club gigs. A woman of stupendous talent, Wilson’s career spans decades, rubbing shoulders with the greats, and on occasion eclipsing them. Taking the boy’s sketches in her stride, Wilson rolls with the laughs and warming the audiences cockles, there’s no finer way to celebrate Stewart’s prominence on the scene than with a wealth of vocal talent.

From song to laughter, the inclusion of a comedian at first seems a jarring decision, with a trio of capable entertainers, and from Miller’s first gag we are reminded of the stark difference between a comedian and an entertainer who happens to be humourous. His control is effortless, like a true stand-up if a joke doesn’t land, his rebound does. Puns, crowd work and a few dated jokes, Miller’s finale, a radio drama featuring the story of Noddy, as told by an alcoholic, is a grand concoction of audio humour, imagination and echoes of a genre the audience will connect with.

Let’s face it, much of the crowd is here for The Three (Scottish) Stooges; Allan, Andy & Grant. Chemistry hardly needs to be mentioned in how authentically charismatic and enriching they are with one another, and their reliable delivery of the one thing no crowd can resist – cockups, massive ones, or wee ones depending on who you ask. Taking it all on the chin, Stott and Stewart recognise where the evening is turning, how the scene is playing out and precisely not to fix it, to accept the mistakes, run with them, build on them and cause the audience to howl.

Showbusiness ain’t the same, or at the very least it has (d)evolved into an incomprehensible behemoth of social media, quick ‘likes’ and faux-images. In reality, the construct images celebrities manufacture is no different than before, just quicker to process and digest. Reaffirming the concept of variety, in places, the show suffers from the bulk of music and comedy, it’s an overload. There is something to be said though on Stewart’s capitalising on nostalgia, making a comprehensive argument for it. As he recites tales of the old stars, or his ten-year-old self is projected onstage at his first Barrowlands gig, it’s difficult not to find a fondness for the decades Fame has left in her wake.

Sixty years in showbiz, thirty-nine pantomimes and a dash of fake-tan, Stewart’s career spans a wider pool than the dameship with which many are familiar. Ignoring the idea of a ‘triple-threat’, Stewart decides to tackle different aspects, with some choice impressions to boot. The Big Big Variety Show seems to be taking a permanent vacation, and if this is the case, there is only one way for the city to thank a remarkable Scottish legend, and that is to let him thank the crowds for their support, appreciation and money adoration.

Allan Stewart’s Big Big Variety Show runs at The King’s Theatre until Saturday March 14th. Tickets are available from:

Anything Goes – King’s Theatre

Music & Lyrics by Cole Porter

New Book by Timothy Crouse & John Weidman

It’s that time of year again folks, time to round up the family, the friends and the dogs, cause this time we’re going on a cruise. Southern Light Opera (SLO) return to their home in the King’s Theatre with a revival of eighties classic Anything Goes!. Hijinks on the high seas; romance, gangsters and more tap-shoes than should be legally acceptable collide in an energetic explosion of community talent and assuring entertainment. No life jackets are necessary, because once again SLO does more than float above water, they’re cruising right into smooth skies.

Anything Goes! is largely an ensemble piece of multiple love triangles, farcical comedy and stringent dance work with club singer Reno Sweeney the star. Unafraid of a challenge, SLO rise expectantly to match the classic narrative, with the odd tweak here and there. Infatuated with Crocker, club singer Reno Sweeney drops numerous hints to state her intentions, only to find herself rebuked for a mysterious other woman. Finding themselves on the same cruise, Crocker stows-away as he tracks down Hope Harcourt, his blonde bobbed love. 

So, before we go any further, let’s get that vile word out of the way, shall we? A term which has its place in theatrical circles, but often gets tossed around as an insult, or as an excuse to explain why a production isn’t working, that word being ‘amateur’. Though priding themselves as the oldest, and arguably accomplished amateur cast in the city, there’s very little, if anything, which Southern Light Opera do which conducts them in an amateurish light. From construct to outstanding dedication, talent to mirthful enthusiasm, there is nothing but solid professionalism by all on stage.

As such, it would be remised not to point out that there are a few stand-out performances from Anything Goes! which are sorely crying to be snapped up by producers across the nation. This time around, that honour belongs to the vivaciously De-Lovely Toni MacFarlane, tackling the notoriously persuasive and confident club singer Reno Sweeney. Exuberant, charismatic and with an enviable charge, Macfarlane propels the SS American along the high seas. Solo, or in duet, her vocal range has clarity, and vitally the harmonising belt required for the role, nailing every song, but especially winning crowds with I Get A Kick Out Of You and Friendship. In group numbers, a traditional occurrence for SLO, MacFarlane heads tropes into Louise Williamson’s always superb choreography. Tight, meticulous and authoritative, there’s a precision to this evening’s movements which, on occasion, can excel – particular the infamous tap scenes. 

Going beyond the comedic, MacFarlane and fellow SLO rising star Rebekah Lansley capture the essence of Anything Goes! emotion. With a bit more meat to chew on her role, MacFarlane conveys the cracks in Reno Sweeney’s bravado, unafraid of revealing the heart beneath the sequins. As a product of the time, Anything Goes!’ romance is definatly… thirties, yet, MacFarlane and Lansley take what could easily be awkward, dated relationships and channel a sense of genuine care for these women. We feel MacFarlane’s pining, transforming into a sense of self-reliance and acceptance, just as much as Lansley gives off conviction to a role which is notably waifish against the fast-talking charm of love interest Billy Crocker. 

Crossing from coy smug into grating arrogance, Matt McDonagh’s Billy Crocker is vocally exceptional, though the character’s intention or attitude hasn’t aged well. No-fault of McDonagh’s, this is one of the cases where the revived production’s age begins to eek through the modern cracks, not everything looks perfect in a nostalgic vignette. Perhaps a touch more comedy in direction, or an easing into the sarcastic stylings of the character, would have placed this role on par with Peter Tomassi’s Moonface Martin and Kerr-Alexander Syme’s Lord Evelyn Oakleigh. Two characters who couldn’t be further apart if you tried, the FBI’s 13th most wanted, and an adorable Lord of the manor fight over the audience’s favourite for the comedic crown.

Then again, as these two men bicker, flex their comedic timings and dedication to delectable bouts of giggling, Tanya Williamson’s Erma flaunts her talents, bats her lashes and reminds the boys that this is a woman’s game. Erma is an example of a character who, with clever direction and strong performance, feels fresh, in control and escapes the production’s aged features. Largely down to Williamson’s slick delivery, her rendition of Buddie, Beware, a temperature soaring piece, makes fine work of Scenic Projects set piece. 

Song, dance and comedy. The three-pointed hat trick for musical theatre. These are fundamental tools which Southern Light have mastered over their centuries worth of experience and the dedication from those at the helm. Working within a community, helped along by some of the countries fastest rising stars, the company continue to put their distinct brand of charm onto even the most well-known production like Anything Goes!

Anything Goes runs until Saturday March 7th. Tickets are available from:

For more information on the work and history of Southern Light, please visit:

Photo Credit – Ryan Buchanan