The article discusses two plays by noblewomen: Lady Mary Sidney Herbert's translation The Tragedy of Antony (1998[1591]) and Lady Mary Wroth's pastoral tragicomedy Love's Victory (1614-16), to explore how drama, as a genre, provides unique opportunities for remaking home as a woman's space. Irigaray's vision of woman's self-dispossession within the home and Elizabeth Grosz's injunction to recover a female-centered chora, provide a framework to read the texts. Drawing on the classical idea of a memory-theater, the article analyzes how the scripts creatively manipulate relationships between domestic venues and settings in order to reshape memories and promote alternative constructions of woman's place.