Over the past two decades, Naomi Wallace has established herself as one of the most important voices in activist theatre. All of Wallace's best plays address Empire—past and present—from the standpoint of social justice. In works as separated by time as The War Boys (1993) and The Fever Chart (2008), the playwright has consistently voiced her opposition to global capitalism and the violence that maintains it. Wallace has asserted, "We live in a culture that is hostile to creativity and original thought that does not serve capitalism, empire, and the most virulent by-products of those forces: racism, homophobia, dassism, and sexism" (Wallace 2008, 98). Exposing both these "virulent by-products' and their origin has been the dramatist's focus since the early 19905.¹