Getting Into the Act is a vigorous and refreshing account of seven female playwrights who, against all odds, enjoyed professional success in the late eighteenth and early nineteenth century. Ellen Donkin relates fascinating, disturbing tales about the male theatre managers to whom they were indebted, and the trials and prejudices they endured, ranging from accusations of plagiarism to sexual harassment. This scarred turbulent early history still resonates in the late twentieth-century. The current ratio of female to male playwrights is virtually unchanged. Old patterns of male control persist, and playwriting continues to be a hazardous occupation for women. But within these scarred earlier histories there are equally powerful narratives of self-revelation, endurance, and professional triumph that may point to a new way forward. Getting Into the Act is entertaining and informative reading for anyone, from scholar to general reader, who is interested in the history and gender politics of the stage.

Getting Into the Act is a vigorous and refreshing account of seven female playwrights who, against all odds, enjoyed professional success in the late eighteenth and early nineteenth century. Ellen Donkin relates fascinating, disturbing tales about the male theatre managers to whom they were indebted, and the trials and prejudices they endured, ranging from accusations of plagiarism to sexual harassment.

This scarred and turbulent early history still resonates in the late twentieth-century: women still occupy only a marginal proportion of the playwriting profession. A female playwright may no longer be a contradiction in terms or an offence to feminine modesty, but she is still battling with a hazardous occupation for a woman.

Getting Into the Act is entertaining and informative reading for anyone, from scholar to general reader, who is interested in the history and gender politics of the stage.

Why does historical memory exclude nineteenth-century women playwrights when hundreds worked prolifically across the spectrum of professional theatre, amateur theatricals, and publishing? What might it mean to adjust the collective focus of cultural historians and literary critics so that these women can come into view? This collection of essays, written by a team of leading scholars in the field, undertakes not simply to recover the names and careers of women playwrights but to call into question the whole idea of what a playwright is, and what she does, and why it matters. Gender inquiry is the start: destabilising the category of playwrights loosens the borders of theatre history, making it possible to reconceptualize theatre and drama not as a product of culture but as social processes dynamically interacting with culture.

This collection of essays, written by a team of leading scholars in the field, undertakes not simply to recover the names and careers of women playwrights but to call into question the whole idea of what a playwright is, what she does, and why it matters. Gender inquiry is the start: destabilizing the category of playwrights loosens the borders of theater history making it possible to reconceptualize theater and drama not as a product of culture but as social processes dynamically interacting with culture.