Daniels in the Lion's Den

Writing her introduction to sixth volume in Methuen's Plays By Women series, Mary Remnant focussed on British playwright Daniels as one of very few-some would say most notorious--of women playwrights in Britain to have reached mainstream audiences.' Remnant cited Daniels's reputation, created by critics, as venom-spitting virago of radical feminist theatre, but went on to argue that it is precisely critical reactions to her visibility as woman writing thus politically for stage which provide barometrical insight into attitude towards women playwrights in general in this country.2 Although Remnant cited few examples of negative views from women, by and large, her overview of reactions to Daniels's theatre points to gender-bias in way in which her work is reviewed. The critical map which Remnant pieced together would read very differently if routed through feminist criticism: a spirited, anarchically funny, angry young writer (Carol Woddis, Bloomsbury Theatre Guide); Sarah Daniels has great skill in one-liners, an eye for absurd and gut level feminist anger (Jill Posener, Spare Rib), or the most extraordinary experience I've ever had (Jules Wright, on directing Masterpieces

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