Since her first two plays were produced in 1981, Sarah Daniels has become one of Britain's leading feminist playwrights. Her success has, however, been tinged by controversy and, often, by extreme critical backlash. Apart from the storm created by certain reviewers following Masterpieces (1983) and Beside Herself (1990), Carole Woddis's description of the playwright in the Bloomsbury Theatre Guide (1988) as "the only radical lesbian feminist to have made it into the mainstream" may help to explain the source of her notoriety. The "lesbian" label does not adequately characterize her work, but, in spite of Trevor R. Griffiths's view that Daniels's radical, as opposed to socialist, feminist stance has made her an "acceptable face of feminism," it is the term radical that has done the most harm to her reputation. Both Woddis and Griffiths, although no doubt attempting to endorse Daniels's work, have done her a disservice: by seeing only certain facets...