Boles, William C. “Violence at the Royal Court: Martin McDonagh’s The Beauty Queen of Leenane and Mark Ravenhill’s Shopping and Fucking.” Theatre Symposium: A Journal of the Southeastern Theatre Conference 7 (1999): 125-135. Explores the use of physical and emotional violence as an effective dramatic tool in the plays of McDonagh and a contemporary.
Bolger, Dermot, ed. Druids, Dudes, and Beauty Queens: The Changing Face of the Irish Theatre. Dublin: New Island, 2001. A collection of essays that position McDonagh, Brian Friel, Marina Carr, and Donal O’Kelly among Ireland’s most talented and provocative young dramatists.
Brustein, Robert. “The Rebirth of Irish Drama.” The New Republic, April 7, 1997. Discusses the plays of McDonagh and his contemporary, Sebastian Barry, as the first wave of a possible renaissance in Irish theater not unlike the Irish Literary Renaissance in the early twentieth century.
Huber, Werner. “The Plays of Martin McDonagh.” In Twentieth Century Theatre and Drama in English: Festscrift for Heinz Kosok on the Occasion of His Sixty-fifth Birthday, edited by Jürgen Kamm. Trier, Germany: Wissenschaftlicher Verlag Trier, 1999. McDonagh’s work is examined in section 2 of a large volume of articles.
Lyman, Rick. “Most Promising (and Grating) Playwright.” New York Times Magazine, January 25, 1998, pp. 16-19. Biographical profile of the playwright on the eve of his stage debut in the United States. McDonagh discusses why he decided to become a writer and how he drifted into writing for the stage.
O’Toole, Finian. “Martin McDonagh.” Bomb 63 (1998): 48-50. Interview in which McDonagh discusses his plays in the context of Irish culture and literature and the Irish storytelling tradition.
Rubik, Margarete, and Elke Mettinger-Schartmann, eds. (Dis)Continuities: Trends and Traditions, Contemporary Theatre and Drama in English. Trier, Germany: Wissenschaftlicher Verlag Trier, 2002. Contains two well-written pieces that examine the dramatic structure of McDonagh’s plays. Peter Lenz approaches the Leenane trilogy in terms of its reworking of the Irish literary canon, while Werner Huber traces cinematic influences upon McDonagh’s work.
Sierz, Aleks. In-Yer-Face Theatre: British Drama in the 1990’s. London: Faber & Faber, 2001. In chapter 8, The Beauty Queen of Leenane is discussed as a critique of modern life and its cruelty and violence. McDonagh is situated firmly within a contemporary British drama and theater, considered a reaction against the politically correct work of previous generations of British playwrights.