The logo of the National Theatre of Scotland
|Jackie Wylie (2017 - )|
The National Theatre of Scotland, established in 2006, is the national theatre company of Scotland. The company has no theatre building of its own; instead it tours work to theatres, village halls, schools and site-specific locations, both at home and internationally.
The company has created over 200 productions and collaborates with other theatre companies, local authorities, and individual artists to create a variety of performances, from large-scale productions through to theatre specifically made for the smallest venues.
Many different spaces have been used for productions, as well as conventional theatres: airports and tower blocks, community halls and drill halls, ferries and forests.
The creation of a national theatre was one of the commitments of the Scottish Executive's National Cultural Strategy.
After Scottish devolution in 1997, long-discussed plans for a national theatre for Scotland began to come to fruition. In 2000, the Scottish Executive invited the Scottish Arts Council to conduct a feasibility study into a Scottish national theatre, and an independent working group subsequently reported in May 2001. The model for a National Theatre of Scotland (NTS) that was resolved upon was a commissioning theatre, a "theatre without walls", with no need for a new theatre building or a permanent company of actors, but making use of existing theatre buildings, actors and technical staff to create new work to be staged in venues throughout Scotland and internationally.
In September 2003, the Scottish Executive announced confirmed funding of £7.5m for the establishment of the NTS, with £3.5m for the year April 2004 to March 2005 and £4m for the following year. Robert Findlay, once Chief Executive of Scottish Radio Holdings, was appointed as chairman, and once a Board had also been appointed, the search for the first Artistic Director for the NTS began.
Our Ladies of Perpetual Succour (2015), adapted by Lee Hall, based on the 1998 novel The Sopranos by Alan Warner. The production won a Scotsman Fringe First Award, a Herald Angel Award and a Stage Award for Acting Excellence during its opening run at the Edinburgh Festival Fringe.
Research into audience responses to two productions, Brian Friel's Molly Sweeney and Nicola McCartney's adaptation of S.R. Harris's A Sheep Called Skye, found that "review of the literature and case examples from the theatre sector has revealed the unique power of rural spaces and the tangible benefits of authentic rural marketing".