Living at a time when women had such limited opportunities, Emilia Bassano is a fascinating subject for this speculative history. In presenting her story, Morgan Lloyd Malcolm presents the story of women everywhere whose narratives have been written out of history.

‘A spicy work of biographical conjecture ... It's also a rousing reminder of the countless creative women who have been written out of history or have had to fight relentlessly to make themselves heard.’ EVENING STANDARD ‘The great virtue of Lloyd Malcolm’s speculative history lies in its passion and anger: it ends with a blazing address to the audience that is virtually a call to arms. It is throughout, however, a highly theatrical piece ... In rescuing Emilia from the shades, [the play] gives her dramatic life and polemical potency.’ GUARDIAN The little we know of Emilia Bassano Lanier (1569 - 1645) is that she may have been the Dark Lady of Shakespeare's Sonnets, mistress of Lord Chamberlain, one of the first English female poets to be published, a mother, teacher who founded a school for women, and radical feminist with North African ancestry. Living at a time when women had such limited opportunities, Emilia Lanier is therefore a fascinating subject for this speculative history. In telling her story, Morgan Lloyd Malcolm represents the stories of women everywhere whose narratives have been written out of history. Originally commissioned for Shakespeare's Globe with an all-female cast, Emilia is published here as a Methuen Drama Student Edition with commentary and notes by Elizabeth Schafer, Professor of Drama at Royal Holloway, University of London, UK.

"It is incredibly heartening to hear unabashed feminist rhetoric, spoken by a diverse all-female cast, in a commercial theatre space. [Emilia Bassano] provides a clear way in for discussing the centuries-long silencing of women, the oppression they have faced – and still face today. And you’re never far from a totally topical line, the mix of past and present underlined by Lloyd Malcolm’s use of cheerfully anachronistic slangy contemporary phrases. It can be really fun; this is a gently meta-theatrical and very jolly historical romp of a show, in the mould of ‘Nell Gwyn’ or ‘Shakespeare in Love’. The winkingly modern perspective on the nonsense men spouted and women were expected to put up with is frequently amusing." - Time Out

"If Shakespeare's Globe had a roof, it would have been blasted off by the thunderous ovations and cheers ... greeting [this] extraordinarily rousing ... play ... In many honourable ways, this feels like a therapeutic blast in the #metoo era and it ends with an appropriately spine-tingling call to arms. “If they try to burn you, may your fire be stronger than theirs, so you can burn the whole f***ing house down”. In the weight of her anger, [Emilia] convinces you that she holds “a muscle memory of every woman who came before me". ... [This] is a landmark moment in the history of Shakespeare Globe." - Independent

"History is written by the victor, and as Malcolm's ... piece shows, the victor in the sixteenth century (and indeed, most of the time now) was male, white, privileged and uncompromising. The elder Emilia notes at one point, "We read what is recorded and see what is missing". That's what Emilia, the play, does so brilliantly; it fills in the gaps ... Malcolm writes eloquently, at times beautifully, showing Emilia's suffering and brilliance in equal measure. She also uses the context of the Globe masterfully – shattering the fourth wall with direct address to bring the audience into the story. There are romantic squabbles, fun capers ... the piece has a near-constant humour ... An outright feminist triumph and a brilliant call-to-arms." - Whatsonstage

"A spicy work of biographical conjecture ... It's also a rousing reminder of the countless creative women who have been written out of history or have had to fight relentlessly to make themselves heard." - Evening Standard

"The great virtue of Lloyd Malcolm’s speculative history lies in its passion and anger: it ends with a blazing address to the audience that is virtually a call to arms. It is throughout, however, a highly theatrical piece ... In rescuing Emilia from the shades, [the play] gives her dramatic life and polemical potency." - Guardian