Synge's plays have not faded from the Irish stage, unlike the work of so many other playwrights of the Irish Dramatic Movement. His own works continue to merit regular production, particularly The Playboy of the Western World, and attract some of the most outstanding interpreters of the contemporary Irish stage. Yet the subversive originality of Synge's work is often more apparent nowadays in the profound impact and influence he continues to exert on contemporary Irish drama. Michael Billington, theatre critic of the Guardian, welcomed the DruidSynge staging by director Garry Hynes of Synge's six canonical plays in July 2005 as offering 'a rare chance to assess the man who did so much to shape modern Irish drama', and went on to note how Synge had been a 'fount of inspiration for other Irish writers'. Of the contemporary dramatists, Billington cites Martin McDonagh and Conor McPherson and could well have added the names of Brian Friel, Tom Murphy and Marina Carr, all five of whom will be discussed in this chapter. When Friel - the most outstanding of contemporary Irish playwrights and arguably Synge's modern inheritor - spoke at the reopening of the 'Synge cottage' on Inis Meáin in 1999 he acknowledged Synge's influence not only on his own formidable body of work but on that of every other Irish playwright: 'On this occasion, on this island, it is very important to me to acknowledge the great master of Irish theatre, the man who made Irish theatre, the man who reshaped it and refashioned it, and the man before whom we all genuflect.' As Friel openly acknowledged, Synge laid out the template of what an Irish theatre might be.