1. http://en.wikipedia.org/wiki/Joan_Ure, accessed 10 September 2008.
2. See, for example, Ian Brown, ‘Celtic Centres, the Fringes and John McGrath’, in David Bradby and Susanna Capon (eds), Freedom’s Pioneer: John McGrath’s Work in Theatre, Film and Television (Exeter: University of Exeter Press, 2005), pp. 86–99.
3. For example in Cairns Craig, ‘The Study of Scottish Literature’, in Ian Brown et al. (eds), The Edinburgh History of Scottish Literature (Edinburgh: Edinburgh University Press, 2007), vol. 1, pp. 16–31.
4. Katja Lenz, Die schottische Sprache im modernen Drama (Heidelberg: Universitätsverlag C. Winter, 1999), p. 352.
5. Ian Brown, ‘Drama and Literature in Scots as an Economic Generator’, Economic Development and Language in Ireland and Scotland: Conference, Queen’s University Belfast, 1 September 2006 (Proceedings forthcoming).
6. Joyce McMillan, The Traverse Theatre Story (London: Methuen, 1988), p. 77.
7. Michelle Macleod and Moray Watson, ‘In the Shadow of the Bard: The Gaelic Short Story, Novel and Drama since the early Twentieth Century’, in Ian Brown (ed.), The Edinburgh History of Scottish Literature, vol. 3, p. 273.
8. According to http://www.bord-na-gaidhlig.org.uk/about-us/the-gaelic-act. html, accessed 30 July 2008.
9. Ian Brown and Katja Lenz, ‘“Oh Dearie Me!”: Dramatic Rhetoric and Linguistic Subversion in the Scottish Situation Comedy, The High Life’, in Edgar W. Schneider (ed.), Englishes Around the World (Amsterdam and Philadelphia: John Benjamins Publishing Company, 1997), vol. 1, p. 112.
10. Much information drawn on here arises from original research in Denis Agnew, Contexts and Concepts of a Scottish National Theatre (unpublished PhD thesis, Queen Margaret University, 2000).
11. Winifred Isaac, Alfred Wareing: A Biography (London: Green Bank Press, 1951), p. 34.
12. Richard Butt, ‘Literature and the Screen Media since 1908’, in Ian Brown et al. (eds), The Edinburgh History of Scottish Literature, vol. 3, pp. 53–63.