1. Introduction Cheryl Robson 2. Looking Through, Looking Beyond Sian Evans 3. Zofia Kalinska and the Demonic Woman: work in progress Betty Caplan 4. The Next Stage: devaluation, revaluation and after Diane Speakman 5. The Salon at Paines Plough Anna Furse and April de Angelis 6. Speaking in Tongues but in whose language? Nina Rapi 7. Director Training for Women Anna Birch 8. The Status of Women in Theatre Caroline Gardiner The Plays 1. Cochon Flambé Eva Lewin 2. Crux April de Angelis 3. Cut it Out Jan Ruppe 4. Ithaka Nina Rapi 5. Forced Out Jean Abbott 6. Fail/safe Ayshe Raif 7. The Taking of Liberty Cheryl Robson

The Plays Fail/Safe by Ayshe Raif “...a most disturbing lament for the way that some family ties become chains from which there will never be escape...” The Guardian The Taking Of Liberty by Cheryl Robson “...the French Revolution: a women's protest...escalates into savage retribution.” What's On Crux by April De Angelis: Four women who follow their own doctrine of pleasure and hedonism in opposition to the stifling dictates of the Church. Ithaka by Nina Rapi “Theatrically inventive, often surreal, witty and funny... sensitive charting of a woman's quest for love and freedom.” Bush Theatre Cochon Flamba by Eva Lewin: Explores the sexual politics of waitressing in a comic, one-woman play. Cut It Out by Jan Rupee: A sharp blend of humour and pathos, tells the story of Laura, a self-lacerator. Forced Out by Jean Abbott: A lesbian teacher's confrontation with her community's prejudices, unleashed by a newspaper's gay witch hunt.

WENDY: Here I stand in my neat apron. Like a white fig leaf. My black blouse and my comfy slip-on shoes. I’m a slight figure only half visible in the dim light of the restaurant. (Pause) This place specialises in a Victorian feel. Tankards on the wall, sawdust on the floor, framed cartoons of long lost politicians. Tables lit by imitation ships’ lanterns. A warm ambiance for businessmen and their lunchtime deals. The manager and his assistant creep around deferentially in three piece suits and expensive leather shoes. ( Pause) I am a real waitress. This is my life. I didn’t choose this job. The job centre got it for me. Peters and Co were kind enough to train me. Silver service and all that. A bright and shiny career in catering. It’s a growth industry. I take home fifty-six quid a week, plus tips. It’s not bad money except it’s not enough. We get free lunches. I’m sick of them. And ten quid a day tips if you’re lucky. “Excuse me, could you possibly leave the tip as cash? I don’t get it if you add it on the American Express. The Restaurant keeps it.” The customers don’t like it if I ask for cash. It makes them feel embarrassed or angry. It’s like begging they think. It is begging. I don’t like it but it’s my living isn’t it? We’re not meant to ask for cash tips either. The manager’s giving the waitress with the most credit card tips an Easter egg. Just the thought of it makes me feel servile. (Pause) I told him to shove it up his arse.