'To celebrate the year’s memorable plays, films, concerts, operas, ballets, and exhibitions, we invited twenty-six critics and arts professionals to nominate some personal favourites.' (Introduction)

'Dorothy Hewett belongs to a long line of women who spoke out of turn.

'So does Sally Banner.

'Dorothy Hewett blazed a trail for women writers, and for Australian playwrights (of all genders) interested in theatrical innovation.

'I like to think that I’m part of that lineage.' (Introduction)

It is eight o’clock in the evening on the 21st of January, 1971, and the heat from an 100-plus degree day dissipates in the night air. Dorothy Hewett’s third serious play, The Chapel Perilous, is opening at The New Fortune Theatre. Built as a fourth wall to the Arts Building at the University of Western Australia in 1964, The New Fortune is a multi-storey outdoor space designed as an Elizabethan stage. The play’s director is Aarne Neeme, a young, sympathetic collaborator with whom Hewett has been working closely in rehearsals. Helen Neeme, Aarne’s wife, is in the demanding central role, and between the Acts she feeds their new daughter, only a few months old. Hewett’s twenty-year-old son Joe Flood is among the musicians tuning up at the side of the stage and his future wife Adele Marcella has a role in the Chorus. Hewett’s other four children, the youngest eight years old, sit in the audience with her husband, writer Merv Lilley. Also attending are some of her students and colleagues from the English Department at UWA, which a week or so earlier had finally awarded her a permanent tutorship, after first appointing her in 1964. Friends of Hewett’s from literature and politics have come too: T.A.G. Hungerford, Hal Colebatch, Dorothy and Bill Irwin, and Nicholas Hasluck among others, as well as a reviewer for the West Australian. As Hasluck recalls, in the front row, in seats reserved especially, are the prominent left-wing lawyer Lloyd Davies, Hewett’s first husband from whom she’d divorced in 1950, and his wife Jo. With a clap of thunder, the action begins in darkness, and a chorus of young actors in school uniforms, with dual roles as ushers, listen to a declaratory female voice: ‘I rode forward through the blackened land. I saw the forests burning and the fields wasted, waiting for rain. Upon a slope I saw a glimpse of light. Then I came to the Chapel Perilous.’ (Introduction)