There is a lot of debate in current historical accounts of what Rachel Crothers really thought about feminism. Most of her plays feature the “New Woman,” a strong, financially independent character, and deal with a woman’s place in society. That being said, Crothers was a very commercial playwright, seeking box office success rather than experimenting with new theatrical forms Her plays, therefore, often end happily, with a woman deciding to settle for love rather than her own freedom. Although she moved away from the Midwest and her family at a young age, Crothers maintained close ties to home and was celebrated back there. By all accounts, she remained in good standing in high society, meaning she wasn’t terribly radical in her time (Gottlieb 18). She explored feminist ideas without going too far over the acceptability line, and “refuted any intention to preach” (Gottlieb 39). This degree of agnosticism about her subject probably contributed to her commercial success in a time when feminism was nowhere near being universally celebrated.

She came under fire for one of her plays that satirized feminism, and was accused of hypocrisy. She defended herself eloquently, calling herself “the most ardent of feminists” and a “natural woman’s champion” (Murphy). It is clear that she believed in the feminist cause. We can certainly debate about the feminist merits of her work, but it is most important to remember that she made her living in a male-dominated industry, doing what she loved, alone. It’s hard to argue that her very existence is feminist.

Sources:

Gottlieb, Lois C. Rachel Crothers. Twayne, 1979.

Murphy, Brenda. “Feminism and the marketplace: the career of Rachel Crothers”. Cambridge Companion to American Women Playwrights. New York: Cambridge University Press, 1999. ProQuest Literature Online. Web. 26 April 2018.