Scottish Theatre Highlights: April 2026
New writing and touring work take centre stage in April, with book and film adaptations, local storytelling and small-scale narratives well worth watching
April’s theatre offerings lean toward contemporary voices and human-scale stories, with productions travelling across Scotland’s venues. Kicking the month off at Glasgow’s Òran Mór, A Play, A Pie and A Pint presents Outskirts (Until 4 Apr), a musical balancing humour and heart as a young granny finds herself in a Glasgow gay bar.
In Edinburgh, the Royal Lyceum Theatre hosts One Day: The Musical (until 19 Apr), a world premiere adaptation of the bestselling novel, bringing the familiar story – and Netflix series – to the stage. Later in the month, Karine Polwart’s Windblown (28-30 Apr) offers something quieter, blending folk music and storytelling in tribute to a fallen oak tree in Edinburgh's Botanic Gardens in a show that is part gig, part reflection on place and memory.
Across both Glasgow and Edinburgh, What I’m Here For tours between the Tron Theatre (1-4 Apr), Dundee Rep (9-11 Apr) and the Traverse Theatre (15-18 Apr), exploring the strange, tragi-comic realities of hospital life and the ripple effects of human decisions. The Traverse also presents GUSH (10-25 Apr), a sharp, searching piece on identity, desire and the tension between compromise and self-knowledge.

One Day: The Musical. Photo: Mihaela Bodlovic.
Elsewhere in Glasgow, Island Town lands at the Tron Theatre (8-9 Apr), a darkly comic coming-of-age story set in a neglected community, while the Citizens Theatre stages I, Daniel Blake (7-11 Apr), adapting Ken Loach’s film into a theatrical portrait of poverty and bureaucracy in the UK.
The month closes with movement-led work at Tramway, where Dictations – The Heart of the Sea (30 Apr-1 May) sees Mele Broomes – who some might remember from through warm temperatures at last year's Edinburgh Fringe – using dance and memory to explore how family and community are carried across time.
April’s programme thus keeps its feet on the ground, favouring intimate stories and foregrounding contemporary voices across stages. [Mika Morava]