Sandy Thomson grew up on the North East Coast of Scotland and trained at RADA in London. She has written scripts for groups as diverse as teenagers in the community outreach programmes of Aberdeenshire to the National Theatre of Scotland.
She is a playwright and dramaturg. She is also Artistic Director of Poorboy Theatre for whom she regularly writes new stage and audio works. She was a Playwright Studio Award winner in 2012 and the resulting text Damned Rebel Bitches goes into development with support from Creative Scotland and Mull Theatre in summer 2014.
Her work includes the theatrical audio adventure Blood and Roses. The play was part of both the IETM and the Made in Scotland national showcases and told the epic, everyday and otherworldly stories of two families from Russia and Scotland during the run up to a contentious wedding. It paid a heartfelt and wry tribute to Glasgow's music scene in the 50s, 60s and 70s.
Commissioned by the National Theatre of Scotland for the inaugural season, she wrote Falling- a promenade adventure that took its audience by foot, train and van across the centre of Glasgow in the company of Lucifer as he is chased by his brothers the archangels.
Of her works for children she is proudest of The Big Blue Box because half way through the writing of the piece she visited Denmark, understood every play she saw in a foriegn language, questioned the need for words and on her return to Scotland threw out her existing script and rewrote the entire thing without speech of any kind. She may still be the only Scottish playwright to have written a script for kazoos and squeaky hammers.
Her current work Pirates and Mermaids was co-written with Poorboy Associate Jeremiah Reynolds and is a transatlantic love story told by voice, music and iPhone set between Brooklyn, New York and Auchmithie, Scotland. It has been staged in the USA, nominated for a Stage Award (Best Solo Performer) at The Edinburgh Festival Fringe 2013 and is touring rural Scotland and the USA in 2014.
As a dramaturge she works with both new and classic works. Her raucous and cheeky re-edit of The Bad Quarto of Hamlet - The Players' Hamlet - played at the Tron in 2012 and resulted in performances in Toronto, Canada working with classical dramaturg Dr Toby Malone on a new version of the play.