Margaret is ready to commit to a life in the convent but when she discovers Lacy was only testing her she changes her mind and agrees to marry him. The gender politics of this scene highly problematic today but in keeping with the SQM approach the actors were asked to play the scene without resorting to parody. Julian DeZotti (Margaret) was praised in an early review for committing to her character’s submission without irony but creatively adapted his performance under the pressure of the modern audience’s ironic laughter. He developed a knowing relationship with them, and especially the women in the audience, that put his character’s actions in a kind of performative quotation marks. He played out the scene as written but his relationship with the audience set up a critical perspective on the action that was likely not present in the original Queen’s Men performance. It is possible to imagine an early modern audience of conservative patriarchs enjoying this scene as a comical confirmation of the weakness of women, but our modern audience and DeZotti created an interpretation a little more suited to our times. It is also possible to imagine a more heterogenous early modern audience that contains women and an original performance that exhibits some of the political interplay around gender norms that emerged in the SQM production.