School for Scandal opened at the Drury Lane Theatre in London, England, in May of 1777. It was an enormous success. Reviews heralded the play as a "real comedy" that would supplant the sentimental dramas that had filled the stage in the previous years. While wildly popular in the eighteenth century, the play has not been as successful with contemporary audiences.

One significant problem is the anti-Semitism that runs throughout the play. Post-World War II audiences are understandably sensitive to the disparaging remarks made about moneylenders, who were often Jewish. That the character of Moses is portrayed as honest and concerned is depicted in the play as an aberration. When Sir Oliver is learning how to disguise himself as a moneylender, he is told that he must ask 100% interest because it is expected that he must behave as an "unconscionable dog."

But anti-Semitism is not the only problem with modern staging. By current standards, the play appears artificial in the characters' speech, dress, and motivations. A comedy about manners is not as interesting to twentieth century audiences because manners and the rules of society are far more permissive and wide-ranging than they were in the 1700s. When School for Scandal was revived on the London stage in 1990, the director stated that another problem with staging was the lack of any one strong character to drive the play.

Perceptions regarding the nature of drama also play into contemporary perceptions of Sheridan's work. Peter Woods, who directed the 1990 revival, stated in an interview in Sheridan Studies, that "today's audience supposes itself to be watching ART. Sheridan's audience was looking at the funnies." Woods believed that audiences taking themselves and historical plays too seriously are what prevents Sheridan's comedy from being as successful today. Nevertheless, School for Scandal remains a standard for comedies of manner and is considered Sheridan's defining work.