She was a remarkable woman whose work frequently made bold political commentary and strongly advocated women’s rights through comedy and satire, but also in the creation of strong empathetic female characters and emotionally engaging plotlines.

Nowhere is this more apparent than in Wives as they Were, where we meet Miss Maria Dorillion, an intelligent and independent-minded young woman continually criticised and repressed by her fusty male guardians. Although virtuous, loyal and caring, she is constantly tempted by the high life of 18th century London and suffers from gambling problems and debt. Throughout the play we follow her journey to find her place in society, to either reconcile herself to old ways or to modern fashion. Should she be a ‘wife of former times’ or a ‘maid of the present day’?

When first performed in 1797 the play was attacked as subversive for its portrayal of women – debt and gambling were commonplace in fashionable society, but it was not an issue that was publicly discussed.

The Theatre Royal’s production of Wives as they Were was focussed around the central theme of old fashions contrasting with the new. Actors dressed in authentic and exquisite Georgian costume, but the set, designed by Kit Surrey, was an intensely modern series of Perspex display cases against a light cloth.

The production was played in repertoire with Inchbald’s a three act farce Animal Magnetism.