James IV: Queen of the Fight (NHB Modern Plays)

By Rona Munro

Scotland, 1504, seen fresh through the eyes of new arrivals Ellen and Anne, two Moorish women who were expected to take their place at a royal court… but not this one.
Both women now have to fight to find and keep a place in the dazzling, dangerous world of the Scottish court of James IV. It's a world where war is never far away, words of love and promises of peace are not what they seem, and where poets might turn out to be more dangerous than any assassin.
Rona Munro continues her journey through an uncharted period of Scottish history with James IV: Queen of the Fight, which was first presented in 2022 by Raw Material and Capital Theatres in association with National Theatre of Scotland, and directed by Laurie Sansom.
It follows the spectacular success of Munro's plays about James I, II and III, which were first performed by National Theatre of Scotland, transferred to the National Theatre, London, and were named Best New Play at the Evening Standard Awards.
'Epic and intimate... abounds with curious, colourful characters... Scotland's answer to Shakespeare's cycle of history plays. The similarities are there in the scope of [Munro's] script, the cross-section of courtly society she presents and in the flashes of humour that illuminate the evening. Most of all, they are in the play's questing contemplation of royal and national identity, then and now... a fun and fascinating riposte to Shakespeare' - The Stage
'Explosive and chilling' - Guardian
'Ambitious and admirable... a history play that says a great deal about modern Scotland' - Financial Times

• Language: English
• Publisher: Nick Hern Books
• Release date: Oct 13, 2022
• ISBN: 9781788506298

Rona Munro

Rona Munro is a writer who has written extensively for stage, radio, film and television. Her plays include: Mary (Hampstead Theatre, 2022); James IV: Queen of the Fight (National Theatre of Scotland, 2022); a stage adaptation of Mary Shelley's Frankenstein (UK tour, 2019); a stage adaptation of Louis de Bernières' novel Captain Corelli's Mandolin (UK tour and West End, 2019); Scuttlers (Royal Exchange, Manchester, 2015); The James Plays trilogy (National Theatre of Scotland, the Edinburgh International Festival and the National Theatre of Great Britain, 2014); Donny's Brain (Hampstead Theatre, 2012); Pandas (Traverse, 2011); Little Eagles (Royal Shakespeare Company, 2011); The Last Witch (Traverse Theatre and Edinburgh International Festival, 2009); Long Time Dead (Paines Plough and Drum Theatre Plymouth, 2006); The Indian Boy (RSC, 2006); Iron (Traverse Theatre, 2002; Royal Court, London, 2003); The Maiden Stone (Hampstead Theatre, 1995); and Bold Girls (7:84 and Hampstead Theatre, 1990). She is the co-founder, with actress Fiona Knowles, of Scotland’s oldest continuously performing, small-scale touring theatre company, The Msfits. Their one-woman shows have toured every year since 1986. Film and television work includes the Ken Loach film Ladybird Ladybird, Aimee and Jaguar and television dramas Rehab (directed by Antonia Bird) and BAFTA-nominated Bumping the Odds for the BBC. She has also written many other single plays for television and contributed to series including Casualty and Dr Who. Most recently, she wrote the screenplay for Oranges and Sunshine, directed by Jim Loach and starring Emily Watson and Hugo Weaving. She has contributed several radio plays to the Stanley Baxter Playhouse series on BBC Radio 4.

Book preview

ACT ONE

ELLEN. When oor story’s over and done, oor names micht be forgotten. But we were real. The King was real, his Queen was real, the songs were sung and heard and all the dances had their steps. The deid were living as we live now.

The poem was real jist as the makar made it.

Remember? Can you mind who we were?

On the Canongate, Edinburgh

ELLEN moves to stand close to ANNE. They’re part of a group of travellers, newly arrived at Holyrood, looking round at a cold, strange world. They’re dazed and wary. After a moment ANNE starts singing softly – ‘Tres Morillas’, a traditional song.

ELLEN is too tense to join in.

ANNE. Todo va a ir bien. [It will be alright.]

ELLEN nods. ANNE sings again, ELLEN joins in.

As the song finishes they hold each other a moment.

ELLEN. Nosotras estaremos bien. [We’re going to be alright.]

They still hold onto each other as they’re aware of more people are arriving, a crowd, it’s alarming. They’re crowding round the gate of Holyrood to see the new arrivals and the King. Then PETER is on, announcing JAMES and MARGARET.

PETER. King James! Give honour to James and his richt bonny Queen!

PETER leads applause and cheering as JAMES and MARGARET process out. In all crowd scenes, if there’s time and space, JAMES is greeting and acknowledging ordinary people in the crowd. He is hand in hand with MARGARET.

JAMES (indicating the travellers). Scotland now we have the best the world has to offer right enough. Will you look at this? These travellers are royal attendants and entertainers from Europe, from Moorish Spain. They were travelling to serve at the court of Henry Seventh of England, but eh… well they were diverted, shall we say. Aye, the English and Portuguese have robbed enough Scottish shipping, nae harm we help oursels to a wee bit of theirs eh?

So these folk have had a rough welcome, we need tae gie them better noo.

(To the travellers.) ¡Bienvenidos a Escocia!

This is a place of peace.

(To crowd.) Am I right?

Aye, you’ll see, all the world is welcome here, you’re safe behind our strong walls. This land is defended by the bravest fighters and nae enemy daur cam near oor border.

You’ll find braw folk and guid meat and drink and song and dance and spectacle. I’ll promise mair. You’ll find love. The love o’ good neighbours, the love that keeps God’s peace and maks it sweeter. Like the love atween me and my bonny English