Wrong lines

WHAT playwright David Greig describes as "the spectacular early success" of National Theatre of Scotland with their production of Black Watch was diluted internationally by letting it be hijacked by a UK quango British Council, which latched on to this homegrown Scottish success story when it toured in the States (Letters, 27 February).

That was a bit rich given that all the additional US performances were funded directly by the Scottish taxpayer, as a result of specific funding decisions taken by the SNP government.

I would also take issue with Greig's suggestion that "the defining moment in contemporary Scottish theatre" was provided by 7:84's agitprop.

I guess he is too young to remember Bill Bryden's Willie Rough or indeed the Polish/ Scottish links in theatre, that began with Tadeusz Kantor and Demarco in the 1970s and which were continued by the visit of The Three Estaites to Poland and community productions about Gdansk shipyard staged in Edinburgh in the early-1980s by Andy Arnold at Theatre Workshop.

NEIL ROBERTSON

Glamis Terrace

Dundee