Theatre & Scotland, one of the latest contributions to Palgrave's Theatre & . . . series, not only paints a dynamic portrait of contemporary Scottish theatre but also deftly weaves information regarding the scope of theatre and performance throughout Scotland's history into one short, fascinating volume. Reid's stated goal ‘is to raise the curtain on a theatrical Scotland richer, more varied, raunchier and less uptight then has hitherto been readily imagined’ (p. 3). In this goal she is undoubtedly successful. Theatre in Scotland has a contested history, often regarded as lacking an established theatrical tradition. Reid argues that by following the practices of popular performance in Scotland this ‘varied and raunchier’ version of a theatrical Scotland is revealed.

Organizing the book into five major sections, Reid begins by leading the reader through the morass of histories and myths that continue to prevail in discussions of Scottish theatre, challenging some of these histories and debunking others. She encourages the reader to consider how ‘the theatrical impulse was displaced and transformed’ (p. 6) by the Reformation rather than accept the common view that theatre was suppressed and therefore absent. Other myths and perceptions Reid addresses include those of Scotland's focus on the past, the kailyard and tartanry. Reid furthermore asserts a connection between the popular arts and politics that will inform her arguments throughout the rest of the book.

One of the strengths of this book is the author's ability to concisely explain and examine many of the major social, political and cultural events that have made an impact on either the theatre or performance directly, or the perception of performance in Scotland. Included are references to the Reformation and Calvinism, the Jacobites and the Act of Proscription, Thatcherism and devolution. Citing major theatrical texts or performances, from the sixteenth-century Ane Satyre of the Thrie Estaitis, to 7:84's The Cheviot, the Stag, and the Black, Black Oil and National Theatre of Scotland's international hit Black Watch, Reid demonstrates in multiple ways these political, cultural and artistic connections.

In the ‘Performing Scottishness’ section, Reid uncovers a gold mine of popular and populist performance as well as social and cultural constructions of Scotland and Scottishness that support her ideas admirably. The variety of linguistic registers that is a keystone of much contemporary Scottish playwriting is explored, uncovering a tradition of linguistic characterization that dates back to at least the sixteenth century. Music hall, pantomime and performers such as Harry Lauder are investigated and ultimately seen to be vital contributors to the Scottish performance culture, forms and aesthetics.

‘Practices: Popular and Political’; ‘Engagements: National and International’; and ‘Identities: Fixed and Fluid’ round out the volume, focusing on contemporary Scottish companies and plays. Each section compellingly builds the author's arguments, leaving the reader with an almost dizzying panorama of a theatrical tradition that is lively, contentious and important; that pushes boundaries, encompasses both national and international sensibilities and is startlingly contemporary and vibrant. A true celebration of Scotland and the Scottish performance culture, this book is a much-needed addition to Scottish theatre scholarship.