Edinburgh’s King’s Theatre will officially reopen on 1 August. The Tollcross venue has been shut for three years for a massive structural overhaul. But amidst this generational transformation, perhaps the most dramatic change is to the stage itself: the rake is gone. Contractors ripped out the slanted floor and installed a completely level surface. They also raised the fly tower by 4.5 metres.

Credit: Johan Persson Much like Pete Townsend’s windmill, the Mods unravel like street peacocks against the backdrop of the ocean. Their sharp suits, designed by Paul Smith, are a colourful e…

There is something deliciously appropriate about entering Edinburgh’s newly refurbished King’s Theatre, one of the city’s great theatrical survivors, to discover that Geoff Sobelle has built a crumbli...

American dreams don’t come much more broken in Arthur Miller’s slow burning 1949 tragedy, brought to life here in Andy Arnold’s mighty…

nspector Morse: House of Ghosts Tue 3 – Sat 7 Mar 2026 There’s always something intriguing about seeing a much-loved television character brought to the stage, particularly one as iconic as I…

88 likes, 5 comments - captheatres on May 1, 2026: "Guess who's back at the King's next year 👀 Forget your troubles and enjoy a night of music and comedy with Allan Stewart and some very special gue...

​Joyce McMillan finds sustenance in Martin O’Connor’s packed shortbread tin and a children’s musical with a new take on the Loch Ness Monster

MATTHEW BOURNE'S SWAN LAKE: THE NEXT GENERATION | FESTIVAL THEATRE, EDINBURGH ★★★★★ 'Matthew Bourne's Swan Lake retains its visceral power

Ballet BC’s much anticipated stop at the Edinburgh Festival Theatre was worth the wait. It’s a stage that hosts plenty of world-class dance every year, but the double-bill of Crystal Pite’s Frontier and Johan Inger’s Passing as performed by the twenty-strong Ballet BC company may prove the highest light of 2025. Crystal Pite’s Frontier: A Choreographic Vision of Shadow and Form…

★★★★★ One would forgive Cameron Mackintosh and Disney if they toured their hit stage adaptation of Mary Poppins with a mechanically simpler set than those designed for multi-year residences in West End and Broadway theatres. To call Bob Crowley's design ambitious is a serious understatement. Whilst stage magic isn't dependent upon technological ingenuity, this show's visuals, augmented by Luke Halls…

In December 2024, theatre photographer and historian Mike Hume found a glass bottle hidden above the stage at the King’s Theatre. Sealed in October 1906, shortly before the venue first opened, it contained a simple manifest: the names of the architects, plasterers, and apprentices who built the auditorium. Now, as the King's prepares to reopen its doors this August following extensive redevelopment, Capital Theatres wants to compile a modern equivalent.

In a small Midwest American town there is a strange phenomenon happening. Researchers have arrived to observe a group of people transfixed on a prophecy “that the world is ending and that they alone k...

A trumpet cuts through the audience’s murmuring – Wynston Marsalis stands at the back of the auditorium playing Amazing Grace, and amazing it absolutely was.  The Global Ideas Stage began as it intend...

directed by Stijn Van Opsatal is a bold new take on Chekhov’s classic play The Seagull. Running consecutively for two and a half hours, this is an adaptation unlike any you have seen before. At the forefront of is the performance of the text in Flemish Sign Language.  This production truly highlights the ingenuity and championing of accessibility as not just a requirement, but as a medium in its own right. Performed as part of the Edinburgh international festival, is brought to us by two Belgian theatre companies; Toneelhuis and Olympique Dramatique.

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CapTheatres launches new initiative and call-out for creatives Capital Theatre has launched a new Associate Artists scheme, to support two for mid-career Scottish theatre makers creating work for people living with dementia or children with complex or additional support.

Agatha Christie’s Death on the Nile, adapted by Ken Ludwig and directed by Lucy Bailey, plays at the Festival Theatre Edinburgh from 24–28 March 2026. This touring stage production, starring Mark Hadfield as Hercule Poirot and is produced by Fiery Angel