Since the second wave of the feminist movement in the United States, feminist theories and criticism have attempted to renegotiate the status quo and modify gender relations and representations in all social, political, economic, and cultural arenas. Children`s drama has been one of the fields that that has been slow in terms of embracing the modified and advanced gender consciousness. Mainstream theater productions for children and young adults still are not only lacking in number of productions but also in need of more creative new materials to meet the changes in the psychological development of children and young adults today. Any kind of cultural impact for children at an early age can be powerful and long lasting, since they internalize gender concepts as early as they are able to recognize differences in people. This article examines representation of female protagonists in children`s drama from a feminist perspective. Historically, children`s literature has been regarded as marginal and peripheral, just as women`s literature has been devalued in the history of literature. Although there has been a growing body of scholarship on feminist theory and criticism in children`s literature since the 1990s, mainstream children`s theater has been frequently presented with adaptations of fairy tales and Disney movies and adventure stories that are still limited in their scope, topicality, and characterization. Particularly lacking in current children`s theater and drama are strong well-developed young female protagonists whom any audience of children and young adults, regardless of age and gender, can easily identify with. Suzan Zeder`s plays for a young audience cover a wide range of topics and familiar theatrical devices borrowed from traditional fairy tales and children`s literature, blending fantasy and realism. More than anything else, her female protagonists go through internal change and depart from the traditional female protagonists, whose femininity is frequently associated with passivity and docileness. Both Ellie in Step on a Crack (1974) and Girl in Mother Hicks (1990) are the best examples of an androgynous young female protagonist who struggles to adjust to a major change in life. Theater practitioners must seek mature themes and use a wide range of theatrical devices that are socially and psychologically relevant to the needs of contemporary young audiences.