The Restoration Period
With the return of the monarchy led by King Charles II in 1660, there was also a return of prominent theatre after an 18-year prohibition by Oliver Cromwell and his Puritan philosophy. The subsequent period then brought 'fun' (often being rude) entertainment which was harshly banned under Cromwell's rule, seen with many restoration comedies that dominated the period.
During the the time between 1642 and 1660, players and performers were relegated to performing in taverns and homes and working with very little. When they then returned to the large theatre stages, this experience changed the style of theatre as extravagance came to rise and many elements such as proscenium arch stages and elaborate sets against the Puritan philosophy that predated. However, in contrast to this the plays of the time satirised and mocked the wealth and aristocracy, which created a sense of irony whilst being performed in such eloquent spaces. These plays didn't only satire the rich though, and focused on the satirisation of social norms as well as the complexities of court life and its exaggerated relationships.
Once of the more important aspects of this period of theatre was the mark of women entering the stage. Before this with works such as Shakespeare, female roles would be played by male actors, usually being boys. Women at the time were simply not allowed to enter the world of the stage. With the restoration of the monarchy, and thanks to influence of French theatrical conventions that Charles II saw during his time in exile, women were for the first time allowed to perform on stage. Margaret Hughes had the honour of being the first documented English female actress, performing the role of Desdemona in Thomas Killigrew's production of Shakespeare's Othello in December of 1660.
With restoration comedy being the main style of theatre performed, one of its best showcases would be The Country Wife written by William Wycherley; an explicit (even for its time), aristocratic, anti-Puritan and satirical play full of complicated plots and love triangles. Between the period of 1753 and 1924, the play was seen as "too outrageous to be performed" and was instead replaced by cleaner and more bland version by David Garrick, titled The Country Girl. However that version has now been lost and the orginal is once again a stage favourite, praised for its linguistic energy, sharp social satire, and openness to different interpretations.