The 1695-96 season heralded the a notable influx of female playwrights to the London theater scene, including Catharine Trotter, Mary Delarivier Manley, Mary Pix, and Ariadne. Not only did all of these women debut their first plays at this time, but also many went on to write another within a relatively short period of time.Trotter’s first play Agnes de Castro was performed in December of 1695 and was relatively well received (Highfill). In March of the following year, Manley also produced her first play, The Lost Lover. Her second piece, The Royal Mischief, was completed and performed by April with varied reception from the public and critics. Pix made a notable impression on the contemporary audience with Ibrahim in late May; this play continued to be one of her most popular (Highfill). Like Manley, Pix was also produced her second play within the same year: The Spanish Wives was performed approximately in August. Though like many of the dramatic pieces of the Restoration Era, the exact date of the premiere is unclear.
Also notable is the one female playwright who chose to publish anonymously. She Ventures, And He Wins holds particular significance because it was penned by a woman under the pseudonym Ariadne, and it was not well received, nor was it ever performed again after its spring 1695 premiere. Scholars have relegated this play a "soft comedy" because of the moral plot involving an independent woman seeking a good man whom she more or less finds through a series of tests (Rubik). Though similar to The Rover and The Feign'd Curtizan's, She Ventures was a cleaner production by comparison fitting for the era. Stage queen Elizabeth Barry played the upright Urania who schools a cuckhold for trying to seduce the married woman. The play then parallels the moral comedy structure popular among other plays of the 1696 season, however, the timidity of the unknown female playwright may have pervaded the play's overall timidity of tone to the dismay of theater audiences (Rubik).
However, the presence of women authorship during this season was not restricted to new female playwrights. Aphra Behn, who died in 1689, remained a seasonal favorite and also had her works performed posthumously. In March of 1696, According to the London Stage, 1660-1800, The Rover was reprinted in 1697 and it appears that the play along with The Feign’d Curtizans was revived during this period as well as the following season of 1696-97. Behn continued to provide inspiration for her successors. Trotter's Agnes de Castro, in fact, was a dramatic adaptation of Behn’s novel of the same.