Plotting the “Female Wits” Controversy: Gender, Genre, and Printed Plays, 1670–16991 Mattie Burkert Utah State University
[email protected] At the end of the 1694–95 theatrical season, a group of actors defected from the United Company, housed at the Theatre Royal in Drury Lane, to begin their own cooperative. The split of London’s theatrical monopoly into two rival playhouses—Christopher Rich’s “Patent Company” at Drury Lane and Thomas Betterton’s “Actors’ Company” at Lincoln’s Inn Fields—generated demand for new plays that might help either house gain the advantage. This situation cre- ated opportunities for novice writers, including an unprecedented number of women. Paula Backscheider has calculated that more than one-third of the new plays in the 1695–96 season were written by, or adapted from work by, women, including Delarivier Manley, Catherine Trotter, and Mary Pix (1993, 71). This group quickly became the target of a satirical backstage drama, The Female Wits: or, the Triumvirate of Poets at Rehearsal, modeled after George Vil- liers’s 1671 sendup of John Dryden, The Rehearsal. The satire, which was likely performed at Drury Lane in fall 1696, was partially the Patent Company’s re- venge on Manley for withdrawing her play The Royal Mischief during rehearsals the previous spring and taking it to Betterton. However, The Female Wits was also a broader attack on the pretensions of women writers, whom it portrayed as frivolous, self-important upstarts reviving the overblown heroic tragedy of the 1660s and 1670s with an additional layer of feminine sentimentality.2 1 This research was made possible by a grant from the Andrew W.