The Restoration of 1660 not only restored the English monarchy to the throne, but brought theatrical performances back to previously closed national theatres. In reality, however, this “restoration” promised to be more of a revolution. Bold new practices were put in place. Rather than tread carefully, to avoid upsetting Parliament or religious groups, playwrights embraced controversial, even scandalous topics, rewriting practices, challenging social taboos, and even pushing beyond the boundaries established by the Elizabethans. It soon became clear that, like the new King Charles II, Restoration theater would have a taste for bawdy comedy, an eye for beauty and a willingness to take risks and arouse public disapproval. Perhaps one of the most controversial, and certainly the most A noticeable change in the theater was the introduction of actresses. Although other countries, such as France, had already integrated women into plays, when English theaters were closed, boys still played female roles. (Ironically, though, while this was intended to reinforce notions of female modesty, it also offended those who thought it promoted effeminacy among men.) Then, following the patents for the King's Company and the Duke's Company, Charles II issued a royal patent in 1662. proclaiming: As...the female parts [in many comedies] have been acted by men according to the habits of women, which some have taken offence,...we do...permit and we give permission for all female parts to be played in one of the two companies from this moment on it can be played by women. (Styan 90)This was enough of a change in national popular entertainment to require legislation, yet when it came time for the first female performances, their presence saw... middle of paper......But in Actually the Restoration managed to take one step in the right direction towards women's equality and two steps back. Real control remained in the hands of male playwrights, spectators, and, of course, the monarch himself. Actresses were able to briefly feel the power they might have had if they were just born men – and then it was taken away from them. Ultimately, instead of simply stripping women of their power, the Restoration era stripped them of their clothing and dignity on the stage, calling it theater and selling tickets to the show. Works Cited Feminism and Theater by Sue Ellen Case, The first English Actresses by Elizabeth Howe, Restoration Comedy in performance by JL Styan, The Story of World Theater by Felicia Harrison Lordre, A dependence of the first English Actress by Pippa Guard, Rape on the Stage of restoration by Derek Hug He