Skip to main content

Fergus Morgan - A History of Scottish Drama in Six Plays

Scottish theatre has eight million stories. Some of them can be heard in A History of Scottish Drama in Six Plays, theatre critic Fergus Morgan’s boldly named six-part podcast that starts this week. Developed from a bursary from the Scottish Society of Playwrights’ SSP @50 Fellowship Awards, Morgan’s take comes from a desire to discover for himself the sometimes lost history of the world he is now steeped in as The Stage’s Scottish theatre critic.

 The idea,’ says Morgan, ‘was to tell a history, not the history. Obviously you can't tell a definitive history when there are so many different strands to each story, but I wanted to try and tell a hopefully fairly comprehensive history of Scottish drama, principally from the point of view of playwrights, but weaving in all sorts of things along the way.’

 

To this end, Morgan bookends his series with A Satire Of The Three Estates (1540) - or Ane Pleasant Satyre of the Thrie Estaites if you will - and Black Watch (2006), and it’s not difficult to spot stylistic links between Sir David Lyndsay’s medieval morality  romp and Gregory Burke’s game-changing look at army life on the frontline. 

 

Inbetween come four very different twentieth century works. The second episode focuses on Ena Lamont’s Stewart’s Men Should Weep (1947), the third on John McGrath’s The Cheviot, the Stag, and the Black, Black Oil (1973), the fourth on Losing Venice (1985) by Jo Clifford, and the fifth on Passing Places (1997), by Stephen Greenhorn. 

A bonus seventh episode recorded live at the Traverse Theatre launch of the series may bring Morgan’s list up to date, as well as perhaps bringing in some of the names not on it. 

 

‘When I moved here in 2019 I didn’t know anything about Scottish theatre, to be honest,’ Morgan admits, ‘but I don't think I was alone in that. I think half the people working in Scottish theatre don't know its history. And if you don’t know about the things that have been tried in the past and the mistakes that have been made, and the achievements that have been realised, then how are you ever going to develop as a culture? And I think Scottish theatre could do with a bit of bit of development today. If people were more aware of this stuff, they would have shoulders to stand on.’ (Neil Cooper)

 

A History of Scottish Drama in Six Plays launches at the Traverse Theatre, Edinburgh, 28th October, 6.30pm-9pm. Episodes will be released weekly from 28th October.


The List, December 2024

 

ends

 

 

Comments

Popular posts from this blog

Losing Touch With My Mind - Psychedelia in Britain 1986-1990

DISC 1 1. THE STONE ROSES   -  Don’t Stop 2. SPACEMEN 3   -  Losing Touch With My Mind (Demo) 3. THE MODERN ART   -  Mind Train 4. 14 ICED BEARS   -  Mother Sleep 5. RED CHAIR FADEAWAY  -  Myra 6. BIFF BANG POW!   -  Five Minutes In The Life Of Greenwood Goulding 7. THE STAIRS  -  I Remember A Day 8. THE PRISONERS  -  In From The Cold 9. THE TELESCOPES   -  Everso 10. THE SEERS   -  Psych Out 11. MAGIC MUSHROOM BAND  -  You Can Be My L-S-D 12. THE HONEY SMUGGLERS  - Smokey Ice-Cream 13. THE MOONFLOWERS  -  We Dig Your Earth 14. THE SUGAR BATTLE   -  Colliding Minds 15. GOL GAPPAS   -  Albert Parker 16. PAUL ROLAND  -  In The Opium Den 17. THE THANES  -  Days Go Slowly By 18. THEE HYPNOTICS   -  Justice In Freedom (12" Version) ...

Myra Mcfadyen - An Obituary

Myra McFadyen – Actress   Born January 12th 1956; died October 18th 2024   Myra McFadyen, who has died aged 68, was an actress who brought a mercurial mix of lightness and depth to her work on stage and screen. Playwright and artistic director of the Royal Lyceum Theatre, Edinburgh, David Greig, called McFadyen “an utterly transformative, shamanic actor who could change a room and command an audience with a blink”. Citizens’ Theatre artistic director Dominic Hill described McFadyen’s portrayal of Puck in his 2019 production of A Midsummer Night’s Dream at the Regent’s Park Open Air Theatre in London as “funny, mischievous and ultimately heartbreaking.”   For many, McFadyen will be most recognisable from Mamma Mia!, the smash hit musical based around ABBA songs. McFadyen spent two years on the West End in Phyllida Lloyd’s original 1999 stage production, and was in both film offshoots. Other big screen turns included Rob Roy (1995) and Our Ladies (2019), both directed by Mi...

The Passage – Hip Rebel Degenerates: Black, White and Red All Over

Prelude – The Power of Three   Fear. Power. Love. This life-and-death (un)holy trinity was the driving force and raisons d’être of The Passage, the still largely unsung Manchester band sired in what we now call the post-punk era, and who between 1978 and 1983 released four albums and a handful of singles.    Led primarily by composer Dick Witts, The Passage bridged the divide between contemporary classical composition and electronic pop as much as between the personal and the political. In the oppositional hotbed of Margaret Thatcher’s first landslide, The Passage fused agit-prop and angst, and released a song called Troops Out as a single. The song offered unequivocal support for withdrawing British troops from Northern Ireland.    They wrote Anderton’s Hall, about Greater Manchester’s born again right wing police chief, James Anderton, and, on Dark Times, rubbed Brechtian polemic up against dancefloor hedonism. On XOYO, their most commercial and potentially mo...