As it is, both Corrie and his gritty study of a Fife mining family's hardships during the General Strike that took place the year the play was written have all but been airbrushed out of that history.
The last major revival of In Time O'Strife was in 1982, when John McGrath's 7:84 company rescued it from obscurity and presented it at the Citizens Theatre as part of the company's Clydebuilt season of plays. It was a season that also included Ena Lamont Stewart's equally neglected working-class epic, Men Should Weep.
This week, however, director Graham McLaren brings Corrie home to Fife in a new take on In Time O' Strife for the National Theatre Of Scotland. Rather than stick to the play's realist roots, McLaren looks set to present a bold adaptation that will interweave fragments of Corrie's plethora of other plays, poems and songs, the latter played live by a contemporary indie-folk ensemble.
"The genesis of all this was when we were doing Staging The Nation," McLaren says of the NTS's fifth anniversary series of events that looked forward to Scottish theatre's future while excavating its neglected past. "One of the first events was a rehearsed reading of In Time O' Strife, which (playwright) Peter Arnott had suggested.
"I spent a lot of time with the play after that, and it seemed like an early draft of a great play. That got me wondering about what would happen if In Time O' Strife was a new play coming into the NTS, what could we do with the young Joe Corrie as well as the play?
"That led me to get in touch with Corrie's daughter, and I got access to these 50 other plays Corrie wrote, many of which were one act plays performed by amateur dramatics groups because he couldn't get them done professionally. "
In Time O' Strife, like Men Should Weep, were too left wing, too real or just too near the knuckle for a theatrical establishment led by playwright and founder of the Citizens Theatre Ronald Mavor, aka James Bridie, to deal with.
"Bridie actually discouraged Corrie and Stewart as writers," says McLaren, somewhat aghast. "He said he didn't want that kind of theatre in Scotland. I'm convinced that if Corrie and Stewart and others had been encouraged by a proper national theatre, then we would have had a lot more great plays by them all."
Corrie was born in 1894 in Stirlingshire, and his family moved to Cardenden, Fife, when he was still a child. He first went down the pit aged 14, and started writing after the First World War. His sketches and stories appeared in assorted socialist journals, while his poems were collected in three volumes that inspired TS Eliot to describe him as the greatest Scots poet since Robert Burns.
Since 7:84's staging of In Time O' Strife in 1982, the mining communities of Fife were further ripped apart by the 1984 miners' strike, a fact the new production brings home even more.
"It is a play about 1984 as much as 1926," McLaren points out. "Corrie wrote In Time O' Strife for no other reason than to raise money for the strikers, and what is chilling is how history repeats itself. Everything Corrie said in In Time O' Strife, about how the striking miners were treated, you can see and hear in documentaries about Orgreave."
With this in mind, as with his 2011 NTS production of Men Should Weep, McLaren is taking a radical approach to In Time O' Strife.
"Rather than look at it as a history play," he insists, "I want to capture the revolutionary spirit of it. Without Joe Corrie we would not have had 7:84 or Wildcat or Borderline, and I want to embrace what we have learnt about shows that are popular and political, from The Three Estaites to Black Watch, and which also entertain.
"We are in a very fortunate position in Scotland to be able to influence what our national theatre does. You can't not respond politically to that, and make sure plays like In Time O' Strife are done, and create a perfect storm that makes it possible to put them on. Just to be able to shine a spotlight on Joe Corrie. It's time."
In Time O' Strife is at Pathhead Hall, Kirkcaldy, until October 12