Frank McGuinness was born in Buncrana, Co. Donegal, and now lives in Dublin and lectures in English at University College, Dublin. His plays include The Factory Girls (Abbey Theatre, Dublin, 1982), Baglady (Abbey Theatre, Dublin, 1985), Observe the Sons of Ulster Marching Towards the Somme (Abbey Theatre, Dublin, 1985; Hampstead Theatre, London, 1986), Innocence (Gate Theatre, Dublin, 1986), Carthaginians (Abbey Theatre, Dublin, 1988), Mary and Lizzie (Royal Shakespeare Company, 1989), The Bread Man (Gate Theatre, Dublin, 1991), Someone Who'll Watch Over Me (Hampstead, West End and Broadway, 1992), The Bird Sanctuary (Abbey Theatre, Dublin, 1992), Mutabilitie (Royal National Theatre, 1997), Dolly West's Kitchen (Abbey Theatre, 1999; Old Vic, 2000) and Gate of Gold (Gate Theatre, Dublin, 2002).

His translations include Ibsen's Rosmersholm (Royal National Theatre, 1987), Lorca's Yerma (Abbey Theatre, 1987), Peer Gynt (Gate, 1998; Royal Shakespeare Company and international tour, 1994; Royal National Theatre, 2000), Chekhov's Three Sisters (Gate and Royal Court, 1990), Brecht's The Threepenny Opera (Gate, 1991), Hedda Gabler (Roundabout Theatre, Broadway, 1994), Uncle Vanya (Field Day Production, 1995), A Doll's House (Playhouse Theatre, Broadway, 1997), The Caucasian Chalk Circle (Royal National Theatre, 1997), Sophocles' Electra (Chichester, Donmar Warehouse, Broadway, 1998) Ovstrovsky's The Storm (Almeida Theatre, London, 1998) and Miss Julie (West End, 2000).

Awards include:

For Observe the Sons of Ulster Marching Towards the Somme in 1985: London Evening Standard Most Promising Playwright, Rooney Prize for Irish Literature, Harvey's Best Play Award, Cheltenham Literary Prize, Plays and Plays Award (1986), Ewart-Briggs Peace Prize (1987), London Fringe Award (1986).

For Henhouse: Prix de l'Intervision and the Prix de l'Art Critique at the 1990 Prague International Television Awards.

For Someone Who'll Watch Over Me in 1992: New York Critics' Circle Award, Writers' Guild Award for Best Play.

For A Doll's House in 1997: Tony Award for Best Revival and Outer Critics' Circle Award

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