W. S. Gilbert and Arthur Sullivan were a librettist and composer, respectively, who began teaming up in the 1870s to write comic operas. Throughout the next few decades, Gilbert and Sullivan wrote some of the most well known works of theater, including The Pirates of Penzance, H.M.S. Pinafore, and The Mikado. Gilbert and Sullivan's work highly influenced the development of musical theater in the twentieth century.

Henrik Ibsen wrote both of the plays Ghosts and A Doll's House. He was a 19th century Norwegian playwright. He is sometimes called the "father of realism."

Moliere helped popularize and develop theater during the seventeenth century by combining elaborate and genteel French comedy styles with the broader and more jovial Italian commedia dell'arte. Moliere's works such as The Misanthrope, Tartuffe, and The Miser all were essentially farces that mocked upper-class values, religious people, and social habits. These elements made Moliere equally controversial and influential in subsequent centuries.

The "Restoration" in "Restoration comedies" refers to the return of the monarchy to England under the Stuart King Charles II. Following the deeply Puritan Commonwealth of Oliver Cromwell, which banned all forms of theater and celebrations, theater companies and audiences found a taste for bawdy and over-the-top comedies that featured outlandish characters and bizarre situations.

Eugene O'Neill was a landmark figure in American theater, as he introduced the realism of European writers like Strindberg, Ibsen, and Chekhov to America. His plays Mourning Becomes Electra, Long Day's Journey Into Night, and The Iceman Cometh all have become standard parts of repertoire for many American theater companies. O'Neill won the Nobel Prize for Literature in 1936.

David Mamet came out of the Chicago theater scene in the late 1970s with a distinctive, fully-formed style with short, snappy dialogue referred to as "Mamet-speak," demonstrated in early work like 1976's American Buffalo. He was immediately considered one of the leading playwrights in America, with his Glengarry Glen Ross winning a Pulitzer Prize for Drama in 1984, and Speed-the-Plow winning the same award in 1988.

Lillian Hellman had an instant Broadway success in 1934 with her first play, The Children's Hour, which also caused controversy over its themes of lesbianism, false accusations, and suicide. The pattern would continue throughout her career, as 1939's The Little Foxes and 1941's Watch on the Rhine both dealt with anti-semitism in America. Both plays were so successful that they were turned into movies with Hellman screenplays.

Brendan Behan joined the IRA as a teenager in the 1940s, and because of crimes he committed against the British government, was imprisoned while still young. Upon being pardoned in 1947, Behan left the IRA behind and began a full-time literary career. An icon of Irish literature, Behan's first two plays, 1954's The Quare Fellow and 1958's An Giall (The Hostage), both depicted life in an Irish prison like the ones in which Behan was held.

A Raisin in the Sun was considered a risky proposition when it was first produced on Broadway in 1959, dealing as it did with the story of an African-American family. The play proved to be a success anyway, helping launch not only Hansberry's career, but also that of actor Sydney Poitier. The play was the first on Broadway with a cast that had an African-American majority.

Beginning with his play 1982 play Jitney, August Wilson undertook a project to write one play representing each decade of the twentieth century that took on the African-American experience. All but one, 1984's Ma Rainey Black Bottom took place in Pittsburgh, often featuring members of the same family. Two of the plays won Wilson the Pulitzer Prize for Drama, 1987's Fences and 1990's The Piano Lesson.