Conclusion

The authors here attempt to underpin the logic followed in their construction of a landscape of contemporary Irish theatre. Acknowledging how they built on the feminist counter-canonical interventions of the last 20 years the authors tease out how this publication is for them a feminist text. They know the book cannot be read exclusively as a feminist text, or as one type of feminist text but feel as a cisgender female and male writing team it is important politically, pedagogically and methodologically to claim the subtle refrain of the feminist text that guided the criteria for inclusion and discussion in terms of overall balance of representation across theatre case studies. They end by inviting readers to take this project forward to its next iteration.