David Clare is Lecturer in Drama and Theatre Studies at Mary Immaculate College, University of Limerick. Fiona McDonagh is Lecturer in Drama and Theatre Studies at Mary Immaculate College, University of Limerick. Justine Nakase is Adjunct Lecturer at Portland State University.

‘Spanning from the eighteenth-century to the present day, The Golden Thread brings together the work of leading scholars in Irish theatre and women’s writing with that of theatre practitioners to recover the often-hidden contributions of women playwrights. The collection develops a counter-canon of Irish playwrights that examines issues of class, sexuality, and disability.’ Colleen English, The New Books Network

• IntroductionDavid Clare, Fiona McDonagh & Justine Nakase Marie Jones’s Don’t Look Down (1992): Representations of Disability for Young AudiencesFiona McDonaghLesbianism and Legibility in Emma Donoghue’s I Know My Own Heart (1993)Shonagh HillLearning to Play Poker: The Re-vision of Irish Women’s Agency in Gina Moxley’s Danti-Dan (1995)Nelson BarreDirecting Marina Carr’s By the Bog of Cats… (1998) in ChinaSarah Jane ScaifeUrsula Rani Sarma’s Blue (2000) and Social Transformation in IrelandShane O’NeillChallenging “Good Taste”: Roslaeen McDonagh’s The Baby Doll Project (2003) and the Creation of a “Traveller Canon”Mary BurkeDisordered States and Affective Economies in Stella Feehily’s O Go My Man (2006)Clare WallaceLiving in a Rape Culture: Gang Rape and “Toxic Masculinity” in Abbie Spallen’s Pumpgirl (2006)Carole QuigleyMarina Carr’s Woman and Scarecrow (2006) and the Ars MoriendiJosé LantersLizzie Nunnery’s Intemperance (2007) and Compromised Mental Health among the Irish in BritainDavid ClareMemory, History, and Forgetting in Anne Devlin’s The Forgotten (2009)Graham Price“We are here, we were here all along”: Queer Invisibility and Performing Age in Amy Conroy’s I (Heart) Alice (Heart) I (2010)Brenda O’ConnellMotherhood and the Search for Recognition in Deirdre Kinahan’s Moment (2011)Dorothy Morrissey“Unrealing the Real”: Disability and Darwinism in Lynda Radley’s Futureproof (2011)Siobhán PurcellFamily Dysfunction and Character Dynamics: Nancy Harris’s Our New Girl (2012) in Conversation with Marina Carr’s Portia Coughlin (1996) and Martin Crimp’s The Country (2000)Mária KurdiUnconscious Casting: Stacey Gregg’s Shibboleth (2015), Walls, and the (En)Gendering of ViolenceJustine NakaseNevertheless, She Persisted: Celia de Fréine’s Luíse (2016)Brian Ó ConchubhairCoda – Spinning Gold: Threads of Augusta Gregory and Marina CarrMelissa Sihra

David Clare is Lecturer in Drama and Theatre Studies at Mary Immaculate College, University of Limerick. Fiona McDonagh is Lecturer in Drama and Theatre Studies at Mary Immaculate College, University of Limerick. Justine Nakase is Adjunct Lecturer at Portland State University.

‘Spanning from the eighteenth-century to the present day, The Golden Thread brings together the work of leading scholars in Irish theatre and women’s writing with that of theatre practitioners to recover the often-hidden contributions of women playwrights. The collection develops a counter-canon of Irish playwrights that examines issues of class, sexuality, and disability.’ Colleen English, The New Books Network

• IntroductionDavid Clare, Fiona McDonagh & Justine Nakase Marie Jones’s Don’t Look Down (1992): Representations of Disability for Young AudiencesFiona McDonaghLesbianism and Legibility in Emma Donoghue’s I Know My Own Heart (1993)Shonagh HillLearning to Play Poker: The Re-vision of Irish Women’s Agency in Gina Moxley’s Danti-Dan (1995)Nelson BarreDirecting Marina Carr’s By the Bog of Cats… (1998) in ChinaSarah Jane ScaifeUrsula Rani Sarma’s Blue (2000) and Social Transformation in IrelandShane O’NeillChallenging “Good Taste”: Roslaeen McDonagh’s The Baby Doll Project (2003) and the Creation of a “Traveller Canon”Mary BurkeDisordered States and Affective Economies in Stella Feehily’s O Go My Man (2006)Clare WallaceLiving in a Rape Culture: Gang Rape and “Toxic Masculinity” in Abbie Spallen’s Pumpgirl (2006)Carole QuigleyMarina Carr’s Woman and Scarecrow (2006) and the Ars MoriendiJosé LantersLizzie Nunnery’s Intemperance (2007) and Compromised Mental Health among the Irish in BritainDavid ClareMemory, History, and Forgetting in Anne Devlin’s The Forgotten (2009)Graham Price“We are here, we were here all along”: Queer Invisibility and Performing Age in Amy Conroy’s I (Heart) Alice (Heart) I (2010)Brenda O’ConnellMotherhood and the Search for Recognition in Deirdre Kinahan’s Moment (2011)Dorothy Morrissey“Unrealing the Real”: Disability and Darwinism in Lynda Radley’s Futureproof (2011)Siobhán PurcellFamily Dysfunction and Character Dynamics: Nancy Harris’s Our New Girl (2012) in Conversation with Marina Carr’s Portia Coughlin (1996) and Martin Crimp’s The Country (2000)Mária KurdiUnconscious Casting: Stacey Gregg’s Shibboleth (2015), Walls, and the (En)Gendering of ViolenceJustine NakaseNevertheless, She Persisted: Celia de Fréine’s Luíse (2016)Brian Ó ConchubhairCoda – Spinning Gold: Threads of Augusta Gregory and Marina CarrMelissa Sihra