Acknowledgements. vii; Introduction [xi]. A note on the text [xx]. Chronological Table  [xxi].
James H. Cousins, ‘Irish Drama Arrives’ [pp.1-3].
George Moore, ‘The Irish Literary Theatre’ [pp.4-10].
Seumas O’Sullivan, ‘How Our Theatre Began’ [pp.11-14].
W. G. Fay, ‘How We Began the Abbey’ [pp.15-18].
George Roberts, ‘The National Theatre Society’ [pp.18-21].
T. G. Keller, ‘The Irish Theatre Movement: Some Early Memories’ [pp.22-27].
A. E. F. Horniman, ‘The Origin of the Abbey Theatre’ [pp.28-30].
E. H. Mikhail, ‘New Dublin Theatre’ [pp.30-31].
Dudley Digges, ‘A Theatre Was Made’ [pp.31-35
Winifred Letts, ‘My First Abbey Play’ [pp.35-39].
Maire Nic Shiubhlaigh, ‘The Irish National Theatre Society’ [pp.40-48].
P. J. Kelly, ‘The Early Days of the Irish National Theatre’ [pp.48-53].
J. M. Synge, ‘The Dramatic Movement in Ireland’ [pp.54-58].
Padraic Colum, ‘Early Days of the Irish Theatre’ [pp.59-71].
Frank Fay, ‘Some Account of the Early Days of the INTS’ [pp.71-77].
May Craig, ‘Looking Back on the Abbey’ [pp.77-80].
Maire O’Neill, ‘Synge and the Early Days of the Abbey’ [pp.81-83].
Peadar Kearney, ‘The Abbey Theatre’ [pp.83-86].
Sara Allgood, ‘The National Theatre’ [pp.87-91].
Seaghan Barlow, ‘Recollections of the Abbey Theatre’ [pp.91-97].
Udolphus Wright, ‘Recollections of the Abbey Theatre’ [pp.97-98].
W. B. Yeats, ‘Irish National Drama’ [pp.98-100].
Fred O’Donovan, ‘Aim of Irish Players’ [pp.101-104].
John Quinn, ‘Lady Gregory and the Abbey Theatre’ [pp.104-108].
Walter Starkie, ‘The Shanachie Casts a Spell’ [pp.108-112].
Lady Gregory, ‘Abbey Theatre Co.: Departure for America’ [pp.112-115
Nugent Monck, ‘The School of Acting at the Abbey Theatre’ [pp.115-117].
Brinsley Macnamara, ‘The Abbey Theatre: Is It on the Decline?’ [pp.117-121].
L. A. G. Strong ‘Memory of the Abbey Theatre’ [pp.121-123].
Lennox Robinson, ‘My Early Days with the Abbey’ [pp.123-126].
Austin Clarke, ‘My First Visit to the Abbey’ [pp.127-129].
Eileen Crowe, ‘Eileen Crowe Tells Her Story’ [pp.130-133].
Arthur Shields, ‘J. M. Kerrigan, ‘Great Days at the Abbey’ [pp.133-136].
George W. Russell, ‘The Coming of Age of the Abbey’ [pp.136-140].
Denis Johnston’ [pp.140-144, ‘The Abbey in Those Days: A Memoir
Lord Dunsany, ‘The Abbey Theatre’ [pp.145-147].
Sean O’Faolain, ‘Thoughts on the Abbey Theatre’ [pp.147-149].
Frank O’Connor, ‘Myself and the Abbey Theatre’ [pp.150-154].
Ann Treanor, ‘Behind the Abbey Scenes’ [pp.154-155
Marion Fitzgerald, ‘Arthur Shields Remembers the Abbey with Pride’ [pp.156-158].
Shelah Richards, ‘Great Lady of the Irish Theatre’ [pp.158-161].
E. H. Mikhail, ‘Meet Mr Blythe’ [pp.161-167].
Tomás Macanna, ‘Ernest Blythe and the Abbey’ [pp.167-172].
P. S. O’Hegarty, ‘The Abbey Theatre’ [pp.173-178].
Eileen Crowe, ‘F.J. McCormick’ [pp.179-184].
Donagh Macdonagh, ‘The Death-watch Beetle’ [pp.184-188].
Paul Vincent Carroll, ‘Can the Abbey Theatre be Restored?’ [pp.188-192].
Quidnunc Seamus Kelly, ‘An Irishman’s Diary’ [pp.192-194].
Peter Daubeny, ‘The Abbey Theatre in London’ [pp.195-197].
Sean O’Casey, ‘Abbey Has Been Deteriorating for Years’ [pp.197-199].
Gerard Fay, ‘The Abbey Theatre’ [pp.199-202].
Walter Macken, ‘The New Abbey Theatre’ [pp.202-204].
Fergus Linehan, ‘Cyril Cusack Talks’ [pp.205-208].
SiobhÁn Mckenna, ‘I Modelled Joan on My Mother’ [pp.208-210].
E. H. Mikhail, ‘The Abbey and the Future’ [pp.211-225