I have heard you tell the joke twenty-seven times and I am sure it was a chestnut". Most of Dimond's works were written for the Theatre Royal, Bath, of which he assumed the management after the death of his father in 1812. His stage works "evinced a strong tendency towards the striking tableau, the exotic setting, and the picturesque pose". He adapted Byron's 1813 work "The Bride of Abydos" for the stage as a play of the same name (1818) for Drury Lane. It was one of three of Dimond's plays whose action takes place in Turkey, the other two being "Abon Hassan" (based on "One Thousand and One Nights") and "Aethiop, or the Child of the Desert". Dimond's play had an influence on Percy Bysshe Shelley's "Hellas". "The British Critic" approved of his "Adrian and Orilla, or, A Mother's Vengeance" but thought the dialogue "generally too florid, bordering frequently upon affectation, and occasionally … not far removed from nonsense". The review by the "British Critic" of Dimond's patriotic extravaganza "The Royal Oak" (1811) said:  We have often met with Mr. Dimond, and have always found something to praise and something to censure in him. It will never be better. The talents he received from nature have wanted the cultivation of good taste; and the offences against propriety which wild genius commits, will never be corrected by ill-judging audiences. William Hazlitt found in Dimond's plays:  "... so strong a family likeness that, from having seen any one of them, we may form a tolerable correct idea of the rest … The author does not profess to provide a public entertainment at his own entire expense, and from his own proper funds, but contracts with the manager to get up a striking and impressive exhibition in conjunction with the scene-painter, the scene-shifter, the musical composer, the orchestra, the chorusses on the stage, and the lungs of the actors!" In his play "Stage Struck" (1835) Dimond burlesqued the then vogue for melodramatic styles of acting. When Dimond's father died in 1812 William Dimond took over the management of the Theatre Royal, Bath and the Theatre Royal, Bristol. By 1817 he was living in what had been the family home in Norfolk Crescent, Bath.