Rona Munro will bring her dramatisation of the Stewart dynasty to a close in the autumn of 2027 with James VI: First and Last. Touring Scotland in September and October, the production pairs the playwright with Rufus Norris. Fresh from his ten-year tenure leading the National Theatre of Great Britain, Norris will helm a finale exploring the reign of a flawed monarch navigating religious turmoil to unite the crowns of Scotland and England.
‘James VI: First and Last marks the end of a journey I began over ten years ago,’ said Munro. ‘I never really questioned my decision to commit a large chunk of my working life to this sprawling saga.’
Premiering at the Edinburgh International Festival in August 2014—just weeks before the Scottish independence referendum—the original trilogy provided a nuanced exploration of sovereignty and statecraft. Rather than delivering partisan agitprop, Munro used fifteenth-century history to interrogate the enduring dilemmas of Scottish nationhood.
The cycle depicted Scotland not as a romantic victim of English oppression, but as an internally fractious polity paralysed by feuding nobility. The plays deliberately countered the Anglo-centric historiography of Shakespeare’s history cycles, proving that Scottish history possessed sufficient weight to sustain an epic, multi-part drama on the world stage. It is an achievement not lost on her incoming director.
‘I have been a huge fan of this extraordinary series which have, for me, redefined what a history play can feel like,’ said Norris. ‘Rona’s ability to frame the historical events of many centuries ago in a way that makes them feel immediate, contemporary and utterly resonant is masterful, and to be a part of this seminal opus is a gift.’
Yet Munro openly acknowledges the gamble inherent in such long-form theatrical storytelling. ‘Now looking back, I realise it could have been a very odd and foolhardy decision, given the scale of the stories and the precarious state of theatre over those ten years,’ she added.
‘Now looking back, I realise it could have been a very odd and foolhardy decision, given the scale of the stories and the precarious state of theatre over those ten years.’
— Rona Munro
The Independent Lifeline
The continuation of this cycle relies on the independent producing house Raw Material and, more recently, their partners at Capital Theatres. Following the initial 2014 marathon co-produced by the National Theatre of Scotland, these independent producers have stepped in to keep the history plays on Scottish stages.
Executive Producers at Raw Material, Margaret-Anne O’Donnell and Gill Garrity, view the project as a vital corrective to the theatrical canon. ‘Since 2014, the trilogy has reignited conversations about Scottish history on Scotland’s stages, bringing the past vividly to life through Rona’s inimitable writing: rich in humanity, wit and contemporary resonance,’ they stated.
Munro credits these collaborators as the primary engine keeping the project alive in a difficult economic climate.
‘That I’m excitedly and happily at the point where we’re planning production of the last in this series is possibly testament to my abiding enthusiasm for the history,’ said Munro. ‘But, probably more than that, to my luck in finding a series of brilliant collaborators, especially producers Raw Material who have been the main driving force keeping The James Plays going after the initial trilogy was produced.’
Our coverage of these later entries has noted varying degrees of success. While 2022’s James IV: Queen of the Fight boasted an excellent cast, the production ultimately tacked to a somewhat contrived melodrama that lacked the gravitas it sought. Yet they followed this with the tighter 2024 production of James V: Katherine, which successfully foregrounded the early Scottish Reformation through queer intimacy and political subversion. In both cases, there is no question that each represented an marquee event in the Scottish theatrical calendar.
A Directorial Evolution
For Norris, the production represents a notable, but geographically sensible move. Following his departure from the National Theatre, he has not simply retired to the British touring circuit. Earlier this year, he was in Istanbul directing an ambitious, large-scale production of Death of a Salesman for the Zorlu Performing Arts Centre, collaborating with heavyweight designers and Turkish screen icons.
‘My own lifelong fascination with history has been naturally focused on England, and to breathe theatrical life into a story that touches both nations is a challenge I look forward to enormously.’
— Rufus Norris
His arrival in Scotland, having relocated to Fife in 2025, brings that same international stagecraft to James VI. Tasked with staging Munro’s muscular, contemporary vernacular, he intends to uncover resonance within sixteenth-century court politics.
‘The play is rich on many levels, bringing a psychological and dramatic insight into this complex, flawed leader in a way that feels deeply pertinent to the age we are living through,’ said Norris. ‘My own lifelong fascination with history has been naturally focused on England, and to breathe theatrical life into a story that touches both nations is a challenge I look forward to enormously. I have recently moved to Scotland, and to be a part of the theatre community here is a privilege I will relish.’
Reframing Power on Tour
A central innovation of Munro’s cycle has always been its decentralisation of male martial power, routinely placing foreign-born and aristocratic women at the narrative centre. James VI intends to continue this tradition.
‘The James Plays – written by one of the UK’s most exciting female playwrights – will continue to challenge and question a male-centric domination of history and history plays,’ added O’Donnell and Garrity. ‘As well as exploring James VI and his unique position in our history, James VI brings the complicated and compelling women of James VI’s life to the fore.’
Supported by the Creative Scotland Touring Fund, the production will launch (appropriately) at Edinburgh’s Festival Theatre on 24 September 2027 before mounting a national tour. The run will visit the King’s Theatre in Glasgow, the Macrobert Arts Centre in Stirling, and Eden Court in Inverness, before concluding in late October at His Majesty’s Theatre in Aberdeen. Tickets for all venues will open to the public on 3 November, following a priority booking window starting 27 October.
Fiona Gibson, Chief Executive at Capital Theatres, frames the world premiere as a defining civic event. ‘Rona Munro’s James Plays have become a landmark achievement in Scottish theatre, connecting audiences with the stories, characters and events that have shaped our nation,’ she noted. ‘Telling the story of the first monarch to unite the crowns of Scotland and England, and directed by Rufus Norris, it promises to be the most ambitious chapter yet.’
Sharon Burgess, CEO of Aberdeen Performing Arts, echoed the necessity of bringing work of such scale to the North East. ‘This is ambitious, large-scale Scottish theatre, exploring a fascinating and complex figure whose life and legacy shaped Scotland, Britain and beyond,’ she said. ‘Bringing work of this calibre to the North East is at the heart of what we want HMT to be: a stage for outstanding theatre and stories that connect our past with who we are today.’
Reflecting on the decade-long endeavour, Munro remains acutely aware of the rarity of such ambitious storytelling. Yet in case you’re coming to this play having not seen the rest, rest assured: the playwright insists this final entry functions entirely as a standalone work.
‘If you have seen all The James Plays you will recognise and hopefully be satisfied by this conclusion of the story of Stewart monarchs in Scotland,’ said Munro. ‘If you are coming for the first time, no recap is necessary, no prior knowledge of the history is required. I hope you’ll be gripped by a vital and exciting story about a tortured king, a divided nation, and much more that made our Scotland, today.’
Featured Image: Writer Rona Munro and director Rufus Norris credit Greg Macvean
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