The political and funding climate changed radically after the failure of the devolution referendum of 1979 and the election of a Conservative government under Margaret Thatcher. The Scottish Arts Council encouraged theatre companies to function as business, finding funding in ticket sales and commercial sponsorship. In 1981 the actor Ewan Hooper was given £50,000 to found the Scottish Theatre Company based in Glasgow and designed to promote the work of Scottish writers. The company found touring difficult as there were insufficient large venues that could generate the necessary income outside of the major cities. Works in the first season included McGrath's "Animal" (1979) and Bryden's "Civilians" (1981). Artistic successes were accompanied by financial disaster and the company was £120,000 in debt by the end of its second season. Despite some critical triumphs, the company was wound down in 1987. 7:84 also encountered a period of financial instability, but new structures, new management and an emphasis on encouraging new writing led to works such as Rona Munro's (b. 1959) "Bold Girls" (1990). By the last two decades of the twentieth century a substantial body of Scottish theatrical writing had built up. There was also a change from a habit of one writer working with one company to several companies drawing on a community of writers. Scottish play writing became increasingly internationalised, with Scottish writers adapting classic texts, such as Liz Lochhead's version of Molière's "Tartuffe" (1985) and "The Misanthrope" (1973/2005) or Edwin Morgan's translation of "Cyrano de Bergerac" (1992). Scottish playwrights were also increasingly preoccupied with wider European culture, as can be seen in Jo Clifford's (b. 1955) "Loosing Venice" (1985) and David Greig's (b. 1969) "Europe" (1995).