Rona Munro (born 7 September 1959) is a Scottish writer. She has written plays for theatre, radio, and television. Her film work includes Ken Loach's Ladybird, Ladybird (1994), Oranges and Sunshine (2010) for Jim Loach and Aimée & Jaguar (1999), co-authored by German director Max Färberböck.Rona Munro is also known for being the author of the last Doctor Who television serial of the original run to air, Survival (1989). She later novelised this serial for Target Books.Her most recent credits include the theatre play Iron which has received many productions worldwide. Other theatre works include plays for the Traverse Theatre Edinburgh, ('Strawberries in January' translation) Manchester Royal Exchange, ('Mary Barton'), Plymouth Drum Theatre and Paines Plough, ('Long Time Dead') and the Royal Shakespeare Company, ('The Indian Boy')Munro has also contributed eight dramas to Radio 4's Stanley Baxter Playhouse: First Impressions, Wheeling Them In, The King's Kilt, Pasta Alfreddo at Cafe Alessandro, The Man in the Garden, The Porter's Story, The German Pilot and The Spider.In 2006 the Lyric Theatre, Hammersmith presented Munro's adaptation of Richard Adams' classic book, Watership Down. Her early television work includes episodes of the drama series Casualty (BBC) and, more recently, a BBC film Rehab. directed by Antonia Bird.Rona Munro currently lives and works in London. Her play, The Last Witch, was performed at the 2009 Edinburgh Festival, directed by Dominic Hill, and in 2011 by Dumbarton People's Theatre. Her history cycle The James Plays, James I, James II and James III, were first performed by the National Theatre of Scotland in summer 2014.
[on Doctor Who: Survival: Part One (1989)] I had this ambition that there would be quite a subtle but discernible lesbian subtext between Ace and Kara. The subtlety of that was conveyed in the face and the close-up and the movement and everything, and all of this was buried under these furry teddy bear heads, which was slightly disappointing.
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[on Doctor Who (2005)] I don't think the Doctor should have fallen in love with anybody. I think that's wrong. I don't think there should be any snogging or any sexual tension because he's a Time Lord, and his companion is but a mortal.
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You can't ever write a play or a film where you know what you want the audience to think. All that does is make you feel good about your politics.
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MsFits started out as a feminist theatre company and in a way we still are but people don't tend to notice anymore.
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People want to dismiss drug addicts. The most effective thing you can do is make people empathise with characters they don't want to.
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The only other job I've had was a cleaner. And I was rubbish at that.
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I'm not drawn to gender politics in a tub-thumping way. But because I started out in the 1980s, I was involved in a lot of things that have become quite unfashionable, such as the woman's movement, and so were a lot of theatre groups.
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The Cabinet look like an episode of The Apprentice - a group of public school boys full of bumbling earnest, enthusiasm and God-given confidence trying to sell cheese to the French and making a right mess of it. (On the British government in 2011)
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Fact
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She was awarded the 1991 London Critics Circle Theatre Award (Drama Theatre Award) for Most Promising New Playwright for Bold Girls.
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