Radicalism is endemic to any discussion of women in the theatre. In what is traditionally a male-dominated art form (every major theatre in Toronto has a male artistic director at its helm), the contribution of women remains relegated to lesser roles, except on the stage where sexism must take second place to the demands of the author’s creation. It comes as no surprise, then, that many women eager for expression and the emotional fulfillment which comes from shaping a work in its totality, have departed the mainstream to strike out solo or to form new companies. It also follows that these same pioneers, fed up with artistic structures that simply emulate or propagate male values, would explore the development of new forms. The attitudes guiding and molding their work are more than a simple rejection of male-dominated culture; they express the burgeoning political consciousness which oppression of any kind often engenders. Not only are many of these artists battling a socially, politically, and economically repressive mainstream, they are also, in many cases, creating a groundswell of new evaluative criteria. Consequently, they are a most positive force. Others not as committed to overtly political art are toiling with questions of performance structure, leading the way for those seeking new forms in which to express radical content.