The Royal Lyceum Launches 2025/26 Season, Celebrating Sixty Years of Theatre in Edinburgh
The Royal Lyceum has unveiled its 2025/26 season, marking sixty seasons of theatrical excellence with an ambitious and eclectic mix of genres and eras. This landmark season also serves as the debut offering from the Lyceum’s new Artistic Director, James Brining, and promises a diverse, collaborative programme rooted in quality and creativity.
Attendees of the launch event were treated to a panel featuring representatives from the theatre’s in-house productions, offering exclusive behind-the-scenes insights into the curation of what is shaping up to be a bold and engaging season.
The programme opens powerfully with Apphia Campbell’s acclaimed Black is the Color of My Voice—a moving exploration of the life of Nina Simone and the woman behind the music. Originally written during Campbell’s six-year teaching tenure in Shanghai, the piece has resonated with audiences worldwide. “It connects with every audience member differently,” she shared. The evening concluded with a stirring musical performance from the production, offering a tantalising preview of what’s to come.
Brining, himself, will take the directorial reins for The Seagull, describing the Chekhov classic as a “play about theatre” that continues to fascinate and challenge audiences. His adaptation promises period authenticity while drawing out the text’s humour and emotional depth. Following this, The Glass Menagerie—a co-production with Dundee Rep and the Citizens Theatre—will bring a fresh vision to Tennessee Williams’ masterpiece under the direction of Andrew Panton. Informed by discussions around accessibility and featuring a whimsically imagined physical world, this reimagining aims to captivate both seasoned theatre-goers and new audiences alike.
Closing out the year and ushering in the festive season will be Cinderella: A Fairytale, directed by Jemima Levick. Promising a magical experience “for six-year-olds and ninety-six-year-olds,” Levick emphasised the importance of the show within the theatre’s year: “It’s not just about growing up—it’s about the human condition.” As the season’s longest-running production, Cinderella is poised to be a highlight for families and festive theatre fans.
A major draw of the season is the world premiere of One Day, a brand-new musical adaptation of David Nicholls’ beloved novel. After the bestselling book and two screen adaptations, Edinburgh will finally see Dex and Em’s story return home—in musical form. The Lyceum will undergo a full seating reconfiguration to create an immersive experience, and with demand expected to be high, Brining strongly advised early booking for what is likely to be a standout event of the season.
Pulitzer Prize-winning playwright Lynn Nottage’s Sweat is slated to follow, offering a powerful and timely commentary on identity, race, economics, and politics in working-class Pennsylvania—the very conditions that shaped Trump-era America. “It’s a play in a moment that talks about a whole culture,” noted playwright and panellist Zinnie Harris. While tonally distinct from other offerings, Sweat is expected to deliver a poignant and resonant finale—pending the announcement of a possible additional production.
Complementing the main programme are four visiting productions and several one-night-only performances, ensuring there’s something for everyone. The Lyceum is also set to expand its reach through the Lyceum at Home initiative, which aims to bring high-quality theatre directly to communities across all seventeen wards of Edinburgh.
Brining’s debut season casts a wide net, with a clear intent to “present works of the highest quality that appeal to the greatest number of people.” In an era of uncertainty for the arts, this bold and inclusive vision may be just what is needed to reinvigorate professional theatre in Scotland’s capital.