Like many people, I always had a sneaking respect for Woody Allen's contrary refusal to grace the Oscars with his presence on the basis that the Academy would persist in holding them on the one day in the week when he had a regular gig playing jazz clarinet in a New York bar.
Take a child away from home for long enough and put them in an insecure situation, and chances are they'll create their own world just to protect themselves with the power of their imaginations alone.
James HOGG'S 19th century Scottish novel, The Private Memoirs and Confessions of A Justified Sinner, will be known to most Herald readers, despite the fact that the book was initially published anonymously, and was hugely neglected during Hogg's lifetime.
The raison d'etre of Jacobean comedies is for their characters to romp around the houses in lengthy perambulations of duplicitous intent en route to love, money or both.
The National Theatre of Scotland is teaming up with the Solas Festival for 99 -100, an interactive game and project which will engage festival-goers in a "participatory fact finding mission".
There was a glorious informality to this major restaging of the oldest known play in Scotland's dramatic history, presented as part of a major research project involving the Arts and Humanities Research Council, Edinburgh University and Historic Scotland.
LAST month, various departments at the Conservatoire – music and technical as well as ballet – joined forces with Glasgow School of Art in a 21st-century hommage to Stravinsky's Rite of Spring.
This year's James Tait Black Prize, Scotland's veteran literary award that has come to new prominence surfing the wave of prize-frenzy, has a theatrical new addition to its list: the James Tait Black Prize for Drama.
From its opening spurt of jugular blood to its final train journey with special cargo in a wooden trunk, the National Theatre of Scotland's adaptation of Swedish horror movie (and John Ajvide Lindqvist's original novel) Let The Right One In remains remarkably faithful to its source material.
From its opening spurt of jugular blood to its final train journey with special cargo in a wooden trunk, the National Theatre of Scotland's adaptation of Swedish horror movie (and John Ajvide Lindqvist's original novel) Let The Right One In remains remarkably faithful to its source material.
It is almost two months until Scotland's capital city hosts the biggest arts festival on the planet, but here, in the charming city of Varna, on Bulgaria's Black Sea coast, the summer theatre festival season has started in earnest.
10 June 2013
9 June 2013
10 June 2013
9 June 2013
