Randall Stevenson is Emeritus Professor of Twentieth-Century Literature in the University of Edinburgh. He began his career in a teacher-training college in North-West State, Nigeria. He has lectured abroad, often for the British Council - in Egypt, Nigeria, South Korea, and Australia, as well as in a dozen European countries - and was a Fellow of the Humanities Research Centre in the Australian National University, Canberra, in 2018. His writing concentrates on twentieth-century fiction and drama and its shaping by the pressures of contemporary history.Greg Walker is Regius Chair of Rhetoric and English Literature at the University of Edinburgh. He was previously Masson Professor of English Literature at Edinburgh, and also worked at the Universities of Leicester, Buckingham, and Queensland. He began his career as a British Academy Postdoctoral Fellow at the University of Southampton. He writes primarily on the literature and drama of the medieval-to-Renaissance period in England and Scotland.

• Preface Introduction SECTION I: HISTORIES Medieval to 1700 1: Sarah Carpenter: The Theatre Scene I: Stages, Performers, Audiences: Medieval to 1700 2: Pamela M. King: The Theatre Scene II: Stages, Performers, Audiences: The Sixteenth and Seventeenth Centuries 3: Greg Walker: Major Play I: Sir David Lyndsay, Ane Satyre of the Thrie Estaitis: Renaissance Scotland's Best Kept Secret? The Eighteenth Century 4: Rebecca Tierney-Hynes: The Theatre Scene III: Stages, Performers, Audiences: The Long Eighteenth Century 5: Brianna Robertson-Kirkland: Major Play II: Allan Ramsay, The Gentle Shepherd (1725 & 1729) 6: Ian Brown: Major Play III: John Home, Douglas (1756) 7: Penelope Cole: The London Scots The Nineteenth Century 8: Barbara Bell: The Theatre Scene IV: Stages, Performers, Audiences in the early Nineteenth Century 9: Alison Lumsden: Major Play IV: Rob Roy 10: Clare Brennan: Major Playwright I: Joanna Baillie 11: Paul Maloney: The Theatre Scene V: Stages, Performers, Audiences in the late Nineteenth Century 12: Penelope Cole: J.M. Barrie and Turn-of-the-Century London 1900 to the Mid-Twentieth Century 13: Ian Brown: The Theatre Scene VI: Stages, Performers, Audiences, 1900-1950 14: David Goldie: Companies and Writers: 1900 to 1940 15: Donald Smith: The 1920s and After: The Scottish National Players 16: Gerard Carruthers: Major Playwright II: James Bridie and His Theatre 17: Linda Mackenney: Popular, Political Theatre in the 1920s, 30s, and 40s 18: Linda Mackenney: Major Play V: Ena Lamont Stewart, Men Should Weep The Mid-Twentieth Century to 2000 19: Ksenija Horvat: The Theatre Scene VII: Stages. Performers, Audiences, c.1950-2000 20: Anne Varty: Scottish Playwrights 1950-1970 21: David Hutchison: 'Citizens and Studios': The Glasgow Citizens, Traverse, and Close Theatres 22: Olga Taxidou: John McGrath and 7:84: 'The Moon Belongs to Everyone' 23: Tom Maguire: The Post-1980 (post-Devolution Bill) Scottish Theatre Renaissance 24: Randall Stevenson: Major Play VI: Liz Lochhead, Mary Queen of Scots Got Her Head Chopped Off The Twenty-First Century 25: David Overend: The Theatre Scene VIII: Stages, Performers, Audiences: The Twenty-First Century 26: Allan Radcliffe: The National Theatre of Scotland: Theatre Without Walls 27: Nicola McCartney: New Playwrights: Plays and Playwriting in Scotland, the 1990s to the 2020s SECTION II: THEMES AND VARIATIONS 28: John Corbett: Scots Language Drama (including Translation/Adaptation) 29: Michelle MacLeod: The Professionalisation of Gaelic Drama 30: Paul Maloney: Popular Theatre, Music Hall, Variety and Pantomime 31: Ben Fletcher-Watson: Theatre for Young Audiences in Scotland 32: Femi Folorunso: Influences from Abroad 33: Gerry Mulgrew: Directing 34: Bruce Young: Radio Drama 35: Brian Hoyle: A Makeshift Bastard . . .': Peter McDougall's Just Your Luck and Just Another Saturday Night and Troy Kennedy Martin's 'New Drama for Television' 36: Mark Fisher: Critics and Reviewers 37: Michael Billington: Afterword Index

Randall Stevenson is Emeritus Professor of Twentieth-Century Literature in the University of Edinburgh. He began his career in a teacher-training college in North-West State, Nigeria. He has lectured abroad, often for the British Council - in Egypt, Nigeria, South Korea, and Australia, as well as in a dozen European countries - and was a Fellow of the Humanities Research Centre in the Australian National University, Canberra, in 2018. His writing concentrates on twentieth-century fiction and drama and its shaping by the pressures of contemporary history.Greg Walker is Regius Chair of Rhetoric and English Literature at the University of Edinburgh. He was previously Masson Professor of English Literature at Edinburgh, and also worked at the Universities of Leicester, Buckingham, and Queensland. He began his career as a British Academy Postdoctoral Fellow at the University of Southampton. He writes primarily on the literature and drama of the medieval-to-Renaissance period in England and Scotland.

• Preface Introduction SECTION I: HISTORIES Medieval to 1700 1: Sarah Carpenter: The Theatre Scene I: Stages, Performers, Audiences: Medieval to 1700 2: Pamela M. King: The Theatre Scene II: Stages, Performers, Audiences: The Sixteenth and Seventeenth Centuries 3: Greg Walker: Major Play I: Sir David Lyndsay, Ane Satyre of the Thrie Estaitis: Renaissance Scotland's Best Kept Secret? The Eighteenth Century 4: Rebecca Tierney-Hynes: The Theatre Scene III: Stages, Performers, Audiences: The Long Eighteenth Century 5: Brianna Robertson-Kirkland: Major Play II: Allan Ramsay, The Gentle Shepherd (1725 & 1729) 6: Ian Brown: Major Play III: John Home, Douglas (1756) 7: Penelope Cole: The London Scots The Nineteenth Century 8: Barbara Bell: The Theatre Scene IV: Stages, Performers, Audiences in the early Nineteenth Century 9: Alison Lumsden: Major Play IV: Rob Roy 10: Clare Brennan: Major Playwright I: Joanna Baillie 11: Paul Maloney: The Theatre Scene V: Stages, Performers, Audiences in the late Nineteenth Century 12: Penelope Cole: J.M. Barrie and Turn-of-the-Century London 1900 to the Mid-Twentieth Century 13: Ian Brown: The Theatre Scene VI: Stages, Performers, Audiences, 1900-1950 14: David Goldie: Companies and Writers: 1900 to 1940 15: Donald Smith: The 1920s and After: The Scottish National Players 16: Gerard Carruthers: Major Playwright II: James Bridie and His Theatre 17: Linda Mackenney: Popular, Political Theatre in the 1920s, 30s, and 40s 18: Linda Mackenney: Major Play V: Ena Lamont Stewart, Men Should Weep The Mid-Twentieth Century to 2000 19: Ksenija Horvat: The Theatre Scene VII: Stages. Performers, Audiences, c.1950-2000 20: Anne Varty: Scottish Playwrights 1950-1970 21: David Hutchison: 'Citizens and Studios': The Glasgow Citizens, Traverse, and Close Theatres 22: Olga Taxidou: John McGrath and 7:84: 'The Moon Belongs to Everyone' 23: Tom Maguire: The Post-1980 (post-Devolution Bill) Scottish Theatre Renaissance 24: Randall Stevenson: Major Play VI: Liz Lochhead, Mary Queen of Scots Got Her Head Chopped Off The Twenty-First Century 25: David Overend: The Theatre Scene VIII: Stages, Performers, Audiences: The Twenty-First Century 26: Allan Radcliffe: The National Theatre of Scotland: Theatre Without Walls 27: Nicola McCartney: New Playwrights: Plays and Playwriting in Scotland, the 1990s to the 2020s SECTION II: THEMES AND VARIATIONS 28: John Corbett: Scots Language Drama (including Translation/Adaptation) 29: Michelle MacLeod: The Professionalisation of Gaelic Drama 30: Paul Maloney: Popular Theatre, Music Hall, Variety and Pantomime 31: Ben Fletcher-Watson: Theatre for Young Audiences in Scotland 32: Femi Folorunso: Influences from Abroad 33: Gerry Mulgrew: Directing 34: Bruce Young: Radio Drama 35: Brian Hoyle: A Makeshift Bastard . . .': Peter McDougall's Just Your Luck and Just Another Saturday Night and Troy Kennedy Martin's 'New Drama for Television' 36: Mark Fisher: Critics and Reviewers 37: Michael Billington: Afterword Index

Randall Stevenson is Emeritus Professor of Twentieth-Century Literature in the University of Edinburgh. He began his career in a teacher-training college in North-West State, Nigeria. He has lectured abroad, often for the British Council - in Egypt, Nigeria, South Korea, and Australia, as well as in a dozen European countries - and was a Fellow of the Humanities Research Centre in the Australian National University, Canberra, in 2018. His writing concentrates on twentieth-century fiction and drama and its shaping by the pressures of contemporary history.Greg Walker is Regius Chair of Rhetoric and English Literature at the University of Edinburgh. He was previously Masson Professor of English Literature at Edinburgh, and also worked at the Universities of Leicester, Buckingham, and Queensland. He began his career as a British Academy Postdoctoral Fellow at the University of Southampton. He writes primarily on the literature and drama of the medieval-to-Renaissance period in England and Scotland.

• Preface Introduction SECTION I: HISTORIES Medieval to 1700 1: Sarah Carpenter: The Theatre Scene I: Stages, Performers, Audiences: Medieval to 1700 2: Pamela M. King: The Theatre Scene II: Stages, Performers, Audiences: The Sixteenth and Seventeenth Centuries 3: Greg Walker: Major Play I: Sir David Lyndsay, Ane Satyre of the Thrie Estaitis: Renaissance Scotland's Best Kept Secret? The Eighteenth Century 4: Rebecca Tierney-Hynes: The Theatre Scene III: Stages, Performers, Audiences: The Long Eighteenth Century 5: Brianna Robertson-Kirkland: Major Play II: Allan Ramsay, The Gentle Shepherd (1725 & 1729) 6: Ian Brown: Major Play III: John Home, Douglas (1756) 7: Penelope Cole: The London Scots The Nineteenth Century 8: Barbara Bell: The Theatre Scene IV: Stages, Performers, Audiences in the early Nineteenth Century 9: Alison Lumsden: Major Play IV: Rob Roy 10: Clare Brennan: Major Playwright I: Joanna Baillie 11: Paul Maloney: The Theatre Scene V: Stages, Performers, Audiences in the late Nineteenth Century 12: Penelope Cole: J.M. Barrie and Turn-of-the-Century London 1900 to the Mid-Twentieth Century 13: Ian Brown: The Theatre Scene VI: Stages, Performers, Audiences, 1900-1950 14: David Goldie: Companies and Writers: 1900 to 1940 15: Donald Smith: The 1920s and After: The Scottish National Players 16: Gerard Carruthers: Major Playwright II: James Bridie and His Theatre 17: Linda Mackenney: Popular, Political Theatre in the 1920s, 30s, and 40s 18: Linda Mackenney: Major Play V: Ena Lamont Stewart, Men Should Weep The Mid-Twentieth Century to 2000 19: Ksenija Horvat: The Theatre Scene VII: Stages. Performers, Audiences, c.1950-2000 20: Anne Varty: Scottish Playwrights 1950-1970 21: David Hutchison: 'Citizens and Studios': The Glasgow Citizens, Traverse, and Close Theatres 22: Olga Taxidou: John McGrath and 7:84: 'The Moon Belongs to Everyone' 23: Tom Maguire: The Post-1980 (post-Devolution Bill) Scottish Theatre Renaissance 24: Randall Stevenson: Major Play VI: Liz Lochhead, Mary Queen of Scots Got Her Head Chopped Off The Twenty-First Century 25: David Overend: The Theatre Scene VIII: Stages, Performers, Audiences: The Twenty-First Century 26: Allan Radcliffe: The National Theatre of Scotland: Theatre Without Walls 27: Nicola McCartney: New Playwrights: Plays and Playwriting in Scotland, the 1990s to the 2020s SECTION II: THEMES AND VARIATIONS 28: John Corbett: Scots Language Drama (including Translation/Adaptation) 29: Michelle MacLeod: The Professionalisation of Gaelic Drama 30: Paul Maloney: Popular Theatre, Music Hall, Variety and Pantomime 31: Ben Fletcher-Watson: Theatre for Young Audiences in Scotland 32: Femi Folorunso: Influences from Abroad 33: Gerry Mulgrew: Directing 34: Bruce Young: Radio Drama 35: Brian Hoyle: A Makeshift Bastard . . .': Peter McDougall's Just Your Luck and Just Another Saturday Night and Troy Kennedy Martin's 'New Drama for Television' 36: Mark Fisher: Critics and Reviewers 37: Michael Billington: Afterword Index