This project charts two tandem phenomena in late modern Britain: the emergence of a new mode of political theatre that I term “claustrophobic dramaturgy” and the growth of the carceral state. Through close textual analysis, performance reconstruction, and archival research, I demonstrate how two generations of feminist playwrights have honed and exchanged a complement of narrative and/or theatrical strategies which stage their dramatic protagonists as entrapped. These literal representations of confinement work to suggest more abstract, structural modes of confinement, including criminalized social identities, punitive public policies, and new carceral technologies. I draw together a surprising constellation of plays, produced since 1979, and united by a common investigation of the impacts of privatization and austerity on British state institutions. Chapter 1 identifies social housing plays as a distinct sub-genre of British social realism. This sub-genre reveals how, as social housing became increasingly residualized, social renters were subjected to increasing state surveillance. Chapter 2 extends overdue critical attention to Clean Break Theatre Company, which has, since 1979, dedicated its entire oeuvre to the topic of women’s incarceration. Chapter 3 investigates theatre’s surprising preoccupation with psychiatric hospitals in the midst of broadscale deinstitutionalization and funding cuts to the mental health sector. Finally, Chapter 4 examines the conjunction of Shakespeare adaptation and claustrophobic dramaturgy, both to reveal how carceral logics are embedded in the Shakespeare texts themselves and to demonstrate the new political dramaturgy’s saturation of British theatre culture. To the field of theatre studies, this project advances a critical reevaluation of late modern and contemporary British theatre history. While Socialist theatre often has been characterized as the province of a white boys’ club of the 1970s, I demonstrate how women playwrights take up this Socialist mantle to decry the carceral consequences of dismantling the welfare state. Case studies of plays by Black British playwrights are central to each chapter, weaving the history of Afrodiasporic theatre in the UK into the heart of my account of dramaturgical innovation. This project also offers one of the earliest examinations of professional theatre guided by questions and insights from the growing, multi-disciplinary field of carceral studies. If, as carceral studies scholars assert, the carceral is an ever moving and expanding target, we, as audiences and scholars, can look to claustrophobic dramaturgy to illuminate new carceral incursions on civic life and institutions.