A young Serbian woman who is essentially enslaved when she is forced into prostitution in London. A female pioneer of math and physics who confronts establishment sexism in 18th-century France. A pair of teenage girls who journey from high school outcast status to don’t-mess-with-us empowerment, with a big assist from a Hindu deity in (female) human form.

On the surface, these characters could hardly be more dissimilar. But what Lucy Kirkwood’s “It Felt Empty When the Heart Went at First But It Is Alright Now,’’ Lauren Gunderson’s “Emilie: La Marquise du Châtelet Defends Her Life Tonight,’’ and Aditi Brennan Kapil’s “The Chronicles of Kalki’’ have in common is that they are stories by and about women that offer illuminating perspectives on circumstances and issues that might not have drawn the sustained attention of male dramatists.

Recent productions of these plays on local stages and others by female playwrights have helped to underscore a point that shouldn’t need to be made at all: Namely, the more that women’s voices are heard, the closer theater comes to representing the full human experience.
More from the Boston Globe’s article here.