Lockerbie 103 premiered at FORUM 28, in BARROW on 20 February 2003. DES DILLON’s compelling new drama then went on national tour throughout the United Kingdom.

On the 21st December 1988 Pan Am flight 103 exploded over Lockerbie killing 270 people. Thirteen years later a young American tourist arrives in a small village in Dumfries and Galloway close to the town. Staying in a local B&B he encounters a variety of characters, each one having been deeply affected by the outrage. As their stories unfold we discover that first appearances count for very little when the truth is on trial.

Commissioned by The Ashton Group from award winning writer DES DILLON and inspired by the book Cover Up of Convenience: The Hidden Scandal of Lockerbie by investigative journalists JOHN ASHTON and IAN FERGUSON, both of whom have assisted and consulted on this tough new drama. Cover Up Of Convenience examined the case against the Libyans, but also cast doubt on the official investigation and subsequent trial. DES DILLON has created a fictional set of characters, through whose eyes we see a possible miscarriage of justice unfold. Told with a compassion and humour that is thought provoking, stimulating yet totally accessible. LOCKERBIE 103 is based on facts that are all within the public domain.

Directed by RACHEL ASHTON; design ANDREW WOOD, lighting design PAUL COLLEY with music by composed by OLLY FOX.

DES DILLON is a poet, short story writer, novelist and dramatist for film, television and stage. His novel MA AND MA GAL was short listed for the Saltire award and he has twice received the Scottish Arts Council Writers Award. In the year 2000 he won the Television Arts Performance award for New Television Writing for his comedy drama SIX BLACK CANDLES which was subsequently an International Festival of Playwriting winner in 2001.

TARA ARTS is renowned for pioneering cross-cultural theatre. It is one of Britain’s longest-established touring theatre companies. Tara have collaborated with and supported the Ashton Group in the development of this new script.

‘ . . . not to be missed . . . I found myself totally absorbed’
North West Evening Mail

‘. . . in a world of lies we owe Des Dillon and The Ashton Group our thanks’
The Scotsman

‘The shoulders of the departing characters are drooping under the weight of the unveiled truth and the wearisome emotional impact of its implications. What doesn’t droop at any point in the play, however, are your eyelids, as the sharpness of the script and the ability of the actors juxtaposed with the relevance of the accusatory theme, has you jumping on the proverbial bandwagon of burgeoning anti-Americanism.'
The Warwick Boar