Up to the present time, no one has ventured to say who wrote _The Female Wits_. The titlepage gives "Mr. W. M." as the author, but this information is immediately refuted by the preface signed "W. M." which gives most of the facts of composition, performance, and publication. According to the preface, the satire was written by a friend (now dead), and the "Quality" had insisted it be played at Drury Lane, where it had enjoyed a run of six nights and could have continued longer "had the Company thought fit to oblige the Taste of the Town in General rather than that of some particular Persons." _The Female Wits_ was published in 1704 even though "the Town has almost lost the Remembrance of it," but unless the taste of the critics today is different from what it was in 1696, readers cannot fail to have as much satisfaction as the earlier audience had in seeing it. W. M.'s identification of Mrs. Manley as Marsilia, Mrs. Pix as Mrs. Wellfed, and Mrs. Trotter as Calista as well as his commendation of the acting of Mr. and Mrs. Powell, and his praise of Mrs. Verbruggen (now deceased also) are expressions of nostalgia from a man whose duty to his dead friend is now accomplished. He ends his laconic preface with a reference to the reformers led by Jeremy Collier, "a Fig for their Censures, which can neither affect him that Wrote this Play, nor him that Publishes it." [7]
It is evident that the anonymous author knew all of the actors at Drury Lane intimately: "honest" George Powell, who "regards neither Times nor Seasons in Drinking," Mrs. Lucas, the dancer, and her coffee habit, hoydenish Letitia Cross with her sassy aside of "now have I such a mind to kick him i'th'chops" about some show-off fop who wished to kiss the strap of her shoe in homage, Frances Marie Knight's haughty withdrawal from any complication with Mrs. Manley or the other playwrights. His knowledge of Mrs. Manley's colossal arrogance, of Mrs. Pix's easy-going acceptance of her great bulk and lack of charm, of beautiful Mrs. Trotter's considerable learning in the classics and her early tendency toward critical writing--all are sharply etched from observation and intimate knowledge.
_The Female Wits_ has all the remarks of having been put together by group effort, and the evidence points to the actors at Drury Lane, a number of whom had already shown writing ability: Joseph Haynes, Colley Cibber, Hildebrand Horden, and George Powell. Especially George Powell had been active with four plays and two operas already to his credit, one of which, _Brutus of Alba_, must have been running concurrently with _The Female Wits_ in October, 1696. Because _The Female Wits_ is episodic in character, loosely strung together with songs and dances, it may well have come from various sources recognizable to the audience. For example, Letitia Cross is asked to sing "her dialogue," readily consents, and Mr. Leveridge, a frequent partner, is called to sing the second part. It may or may not be a coincidence that _Brutus of Alba_ contains a dialogue between a flirtatious young girl and an impotent old man featuring Miss Cross [8]. The song achieved a certain notoriety because of its frankness, was re-issued as a separate piece, and is the type of entertainment that would have been repeated in a burlesque like _The Female Wits_. Other members of the company contribute their specialities: Miss Cross also performs "her dance," Mr. Pate sings an Italian Song. The only song that can be identified positively is "A Scotch Song Sung by Mrs. Lucas at the Theatre," the chorus of which one of the characters sings when he asks her to favor them with her "Last Dance." [9]