Marissia Fragkou is Assistant Professor in Theatre at the Aristotle University of Thessaloniki, Greece.Rebecca Benzie is Lecturer in Theatre at the University of York, UK.

Ambitious and vital … An exemplary work of feminist scholarship that charts the evolving landscape of women’s theatre in Britain. Through its rigorous analyses, diverse methodologies and commitment to intersectionality, the volume not only documents the achievements of women in the field but also advocates for their continued recognition and support.

• List of IllustrationsList of ContributorsAbout this BookAcknowledgmentsForeword, Arifa Akbar (The Guardian)Introduction, Marissia Fragkou (Aristotle University of Thessaloniki, Greece)Part 1: Feminist Legacies and Renewals1.1. Introduction, Rebecca Benzie (University of York, UK)1.2. Taking Stock of the Top-Girl Legacy: Lucy Prebble's Enron and Penelope Skinner's Linda, Maria Elisa Montironi (University of Urbino, Italy)1.3. Reclaiming Herstory in Six, the Musical and Emilia, Samia La Virgne (Royal Holloway, University of London, UK)1.4. Claiming Space: Directing Medea on the Twenty-first-century British Stage, Anja Hartl (University of Innsbruck, Austria)1.5. Revisiting and Revamping the Naturalistic Form: Contemporary Adaptations by Zinnie Harris and Alexandra Wood, Büsra Erdurucan (Istanbul Kultur University, Turkey)Part 2: Politics of Identity2.1. Introduction, Marissia Fragkou ((Aristotle University of Thessaloniki, Greece)2.2. Speaking and Listening: Ella Hickson’s Oil and Hannah Khalil’s Museum in Baghdad, Susan Bennett (University of Calgary, Canada)2.3. Voicing Bodies, Voicing Histories: Elaine Mitchener's Experimental Vocal Performance, Konstantinos Thomaidis (University of Exeter, UK)2.4. Performativity after Repetition? Queer and Feminist Praxis in Nic Green's Cock and Bull and Jade Montserrat's Revue/Shadowing Josephine, Steve Greer (University of Glasgow, UK)Part 3: Women, Health and the Body3.1. Introduction, Marissia Fragkou (Aristotle University of Thessaloniki, Greece)3.2. Women’s Suicide in Contemporary British Theatre, Jon Venn (University of Birmingham, UK)3.3. Black Women’s Health and Theatre: Staging Care in Mojisola Adebayo’s STARS and Zawe Ashton’s for all the women who thought they were Mad, Veronica Rodriguez-Morales (University of Alicante, Spain) and Paola Prieto Perez (University of Oviedo, Spain)3.4. ‘A Strong, Older Woman’: Lived Experiences of Female Ageing in Contemporary British Theatre, Faye Rigopoulou (Independent researcher)Part 4: Ecodramaturgies4.1. Introduction, Marissia Fragkou (Aristotle University of Thessaloniki, Greece)4.2. ‘Auspicious Terrain’: The Ecological Imprints of Caryl Churchill’s Escaped Alone and What if if Only, Patrick Lonergan (University of Galway, Ireland)4.3. ‘For the Future, Now’: Climate Crisis and Futurity in Nina Segal’s In the Night Time (Before the Sun Rises) and Dawn King’s The Trials, Catherine Love (University of York, UK)4.4. Decolonizing Ecodramaturgies in Sheila Ghelani’s Atmospheric Forces and Ray Young’s Thirst Trap, Lisa Woynarski (University of Reading, UK)4.5. ‘No Theatre on a Dead Planet’: (Eco)Care in the Work of Lucy Kirkwood and Andrea Carr, Shelby Brewster (Independent researcher)Part 5: Institutional Ecologies and Theatre Cultures5.1. Introduction, Rebecca Benzie (University of York, UK)5.2. Assembling Diverse Voices: Female Migrant Artists in the British Theatre System, Kasia Lech (University of Amsterdam, The Netherlands)5.3. Women and the Contemporary Scottish Stage, Trish Reid (University of Reading, UK)5.4. ‘Don’t Fucking Clap Me’: Applauding Bryony Kimmings and Deborah Pearson’s Maternal Dramaturgies in English Play Development, Lucy Tyler (University of Reading, UK)Part 6: Collaborative Practices6.1. Introduction, Rebecca Benzie (University of York, UK)6.2. Rewriting Women, Crime, and Punishment: Commissioning and Collaboration Process in the Work of Clean Break Theatre Company, Caoimhe McAvinchey (Queen Mary, University of London, UK) and Sara Bartley (Royal Central School of Speech and Drama, UK)6.3. The 'Human Snowball': Emma Rice’s Collaborative Practice, Lisa Peck (University of Sussex, UK) 6.4. Scenographic Doing: Performance Making Partnerships and Design-Led Collaboration, Katherine Graham (University of York, UK)Part 7: Women in the Theatre Industry 7.1. Roundtable Discussion with Kate Lovell, Sabrina Mahfouz, Helen Paris and Sarah Sigal, Marissia Fragkou (Aristotle University of Thessaloniki, Greece) and Rebecca Benzie (University of York, UK)ReferencesAnnotated BibliographyIndex

Marissia Fragkou is Assistant Professor in Theatre at the Aristotle University of Thessaloniki, Greece.Rebecca Benzie is Lecturer in Theatre at the University of York, UK.

Ambitious and vital … An exemplary work of feminist scholarship that charts the evolving landscape of women’s theatre in Britain. Through its rigorous analyses, diverse methodologies and commitment to intersectionality, the volume not only documents the achievements of women in the field but also advocates for their continued recognition and support.

• List of IllustrationsList of ContributorsAbout this BookAcknowledgmentsForeword, Arifa Akbar (The Guardian)Introduction, Marissia Fragkou (Aristotle University of Thessaloniki, Greece)Part 1: Feminist Legacies and Renewals1.1. Introduction, Rebecca Benzie (University of York, UK)1.2. Taking Stock of the Top-Girl Legacy: Lucy Prebble's Enron and Penelope Skinner's Linda, Maria Elisa Montironi (University of Urbino, Italy)1.3. Reclaiming Herstory in Six, the Musical and Emilia, Samia La Virgne (Royal Holloway, University of London, UK)1.4. Claiming Space: Directing Medea on the Twenty-first-century British Stage, Anja Hartl (University of Innsbruck, Austria)1.5. Revisiting and Revamping the Naturalistic Form: Contemporary Adaptations by Zinnie Harris and Alexandra Wood, Büsra Erdurucan (Istanbul Kultur University, Turkey)Part 2: Politics of Identity2.1. Introduction, Marissia Fragkou ((Aristotle University of Thessaloniki, Greece)2.2. Speaking and Listening: Ella Hickson’s Oil and Hannah Khalil’s Museum in Baghdad, Susan Bennett (University of Calgary, Canada)2.3. Voicing Bodies, Voicing Histories: Elaine Mitchener's Experimental Vocal Performance, Konstantinos Thomaidis (University of Exeter, UK)2.4. Performativity after Repetition? Queer and Feminist Praxis in Nic Green's Cock and Bull and Jade Montserrat's Revue/Shadowing Josephine, Steve Greer (University of Glasgow, UK)Part 3: Women, Health and the Body3.1. Introduction, Marissia Fragkou (Aristotle University of Thessaloniki, Greece)3.2. Women’s Suicide in Contemporary British Theatre, Jon Venn (University of Birmingham, UK)3.3. Black Women’s Health and Theatre: Staging Care in Mojisola Adebayo’s STARS and Zawe Ashton’s for all the women who thought they were Mad, Veronica Rodriguez-Morales (University of Alicante, Spain) and Paola Prieto Perez (University of Oviedo, Spain)3.4. ‘A Strong, Older Woman’: Lived Experiences of Female Ageing in Contemporary British Theatre, Faye Rigopoulou (Independent researcher)Part 4: Ecodramaturgies4.1. Introduction, Marissia Fragkou (Aristotle University of Thessaloniki, Greece)4.2. ‘Auspicious Terrain’: The Ecological Imprints of Caryl Churchill’s Escaped Alone and What if if Only, Patrick Lonergan (University of Galway, Ireland)4.3. ‘For the Future, Now’: Climate Crisis and Futurity in Nina Segal’s In the Night Time (Before the Sun Rises) and Dawn King’s The Trials, Catherine Love (University of York, UK)4.4. Decolonizing Ecodramaturgies in Sheila Ghelani’s Atmospheric Forces and Ray Young’s Thirst Trap, Lisa Woynarski (University of Reading, UK)4.5. ‘No Theatre on a Dead Planet’: (Eco)Care in the Work of Lucy Kirkwood and Andrea Carr, Shelby Brewster (Independent researcher)Part 5: Institutional Ecologies and Theatre Cultures5.1. Introduction, Rebecca Benzie (University of York, UK)5.2. Assembling Diverse Voices: Female Migrant Artists in the British Theatre System, Kasia Lech (University of Amsterdam, The Netherlands)5.3. Women and the Contemporary Scottish Stage, Trish Reid (University of Reading, UK)5.4. ‘Don’t Fucking Clap Me’: Applauding Bryony Kimmings and Deborah Pearson’s Maternal Dramaturgies in English Play Development, Lucy Tyler (University of Reading, UK)Part 6: Collaborative Practices6.1. Introduction, Rebecca Benzie (University of York, UK)6.2. Rewriting Women, Crime, and Punishment: Commissioning and Collaboration Process in the Work of Clean Break Theatre Company, Caoimhe McAvinchey (Queen Mary, University of London, UK) and Sara Bartley (Royal Central School of Speech and Drama, UK)6.3. The 'Human Snowball': Emma Rice’s Collaborative Practice, Lisa Peck (University of Sussex, UK) 6.4. Scenographic Doing: Performance Making Partnerships and Design-Led Collaboration, Katherine Graham (University of York, UK)Part 7: Women in the Theatre Industry 7.1. Roundtable Discussion with Kate Lovell, Sabrina Mahfouz, Helen Paris and Sarah Sigal, Marissia Fragkou (Aristotle University of Thessaloniki, Greece) and Rebecca Benzie (University of York, UK)ReferencesAnnotated BibliographyIndex

Marissia Fragkou is Assistant Professor in Theatre at the Aristotle University of Thessaloniki, Greece.Rebecca Benzie is Lecturer in Theatre at the University of York, UK.

Ambitious and vital … An exemplary work of feminist scholarship that charts the evolving landscape of women’s theatre in Britain. Through its rigorous analyses, diverse methodologies and commitment to intersectionality, the volume not only documents the achievements of women in the field but also advocates for their continued recognition and support.

• List of IllustrationsList of ContributorsAbout this BookAcknowledgmentsForeword, Arifa Akbar (The Guardian)Introduction, Marissia Fragkou (Aristotle University of Thessaloniki, Greece)Part 1: Feminist Legacies and Renewals1.1. Introduction, Rebecca Benzie (University of York, UK)1.2. Taking Stock of the Top-Girl Legacy: Lucy Prebble's Enron and Penelope Skinner's Linda, Maria Elisa Montironi (University of Urbino, Italy)1.3. Reclaiming Herstory in Six, the Musical and Emilia, Samia La Virgne (Royal Holloway, University of London, UK)1.4. Claiming Space: Directing Medea on the Twenty-first-century British Stage, Anja Hartl (University of Innsbruck, Austria)1.5. Revisiting and Revamping the Naturalistic Form: Contemporary Adaptations by Zinnie Harris and Alexandra Wood, Büsra Erdurucan (Istanbul Kultur University, Turkey)Part 2: Politics of Identity2.1. Introduction, Marissia Fragkou ((Aristotle University of Thessaloniki, Greece)2.2. Speaking and Listening: Ella Hickson’s Oil and Hannah Khalil’s Museum in Baghdad, Susan Bennett (University of Calgary, Canada)2.3. Voicing Bodies, Voicing Histories: Elaine Mitchener's Experimental Vocal Performance, Konstantinos Thomaidis (University of Exeter, UK)2.4. Performativity after Repetition? Queer and Feminist Praxis in Nic Green's Cock and Bull and Jade Montserrat's Revue/Shadowing Josephine, Steve Greer (University of Glasgow, UK)Part 3: Women, Health and the Body3.1. Introduction, Marissia Fragkou (Aristotle University of Thessaloniki, Greece)3.2. Women’s Suicide in Contemporary British Theatre, Jon Venn (University of Birmingham, UK)3.3. Black Women’s Health and Theatre: Staging Care in Mojisola Adebayo’s STARS and Zawe Ashton’s for all the women who thought they were Mad, Veronica Rodriguez-Morales (University of Alicante, Spain) and Paola Prieto Perez (University of Oviedo, Spain)3.4. ‘A Strong, Older Woman’: Lived Experiences of Female Ageing in Contemporary British Theatre, Faye Rigopoulou (Independent researcher)Part 4: Ecodramaturgies4.1. Introduction, Marissia Fragkou (Aristotle University of Thessaloniki, Greece)4.2. ‘Auspicious Terrain’: The Ecological Imprints of Caryl Churchill’s Escaped Alone and What if if Only, Patrick Lonergan (University of Galway, Ireland)4.3. ‘For the Future, Now’: Climate Crisis and Futurity in Nina Segal’s In the Night Time (Before the Sun Rises) and Dawn King’s The Trials, Catherine Love (University of York, UK)4.4. Decolonizing Ecodramaturgies in Sheila Ghelani’s Atmospheric Forces and Ray Young’s Thirst Trap, Lisa Woynarski (University of Reading, UK)4.5. ‘No Theatre on a Dead Planet’: (Eco)Care in the Work of Lucy Kirkwood and Andrea Carr, Shelby Brewster (Independent researcher)Part 5: Institutional Ecologies and Theatre Cultures5.1. Introduction, Rebecca Benzie (University of York, UK)5.2. Assembling Diverse Voices: Female Migrant Artists in the British Theatre System, Kasia Lech (University of Amsterdam, The Netherlands)5.3. Women and the Contemporary Scottish Stage, Trish Reid (University of Reading, UK)5.4. ‘Don’t Fucking Clap Me’: Applauding Bryony Kimmings and Deborah Pearson’s Maternal Dramaturgies in English Play Development, Lucy Tyler (University of Reading, UK)Part 6: Collaborative Practices6.1. Introduction, Rebecca Benzie (University of York, UK)6.2. Rewriting Women, Crime, and Punishment: Commissioning and Collaboration Process in the Work of Clean Break Theatre Company, Caoimhe McAvinchey (Queen Mary, University of London, UK) and Sara Bartley (Royal Central School of Speech and Drama, UK)6.3. The 'Human Snowball': Emma Rice’s Collaborative Practice, Lisa Peck (University of Sussex, UK) 6.4. Scenographic Doing: Performance Making Partnerships and Design-Led Collaboration, Katherine Graham (University of York, UK)Part 7: Women in the Theatre Industry 7.1. Roundtable Discussion with Kate Lovell, Sabrina Mahfouz, Helen Paris and Sarah Sigal, Marissia Fragkou (Aristotle University of Thessaloniki, Greece) and Rebecca Benzie (University of York, UK)ReferencesAnnotated BibliographyIndex