This is not the innocuous subject it may seem at first glance. Representation in art has a long and debated history; representation in the theatre is complex and is now being systematised by performance theory. Moreover, isolating women characters entails another specialised area of criticism. Feminist approaches to literature and the theatre have ensured closely argued views from both male and female critics, who have been made wary of gender-centred interests and judgements. I find myself in the position of a woman scholar writing about women. It is almost certain that I will fail to meet the expectations, whether negative or positive, of at least some sections of the readership of this book. I shall approach this topic wishing neither to engage with the heavily jargonised language used in performance theory, nor to assume a stance which is feminist or anti-feminist, but to acknowledge and to have learnt from each one.