Warsaw Pact Invasion of Czechoslovakia, Hewett subsequently left the Party along with many others. She was attacked by former friends who remained Stalinist hardliners. Mature work In 1968 her first volume of verse Windmill Country was published, including all her best poems up to that time. Concerned about critical comments that her first play was dated, she wrote an overtly outré play, the "savage but hilarious attack on academic suburbia" Mrs Porter and the Angel. It caricatured members of the UWA English department, so the play was unable to be staged in Perth for fear of defamation proceedings, and it was first performed at the PACT Theatre in Sydney in May 1969. She continued with a series of expressionist plays. At the end of 1970, her tour-de-force play The Chapel Perilous was staged in Perth. The self-parodying hero, Sally Banner, resonated with the emerging feminist movement and ensured Hewett's lasting fame. She followed it in 1972 with Bonbons and Roses for Dolly, a musical play about failed dreams set in an idealised Regal Theatre. In 1973, Hewett received the first of eight grants from the new Literature Board of the Australia Council. She was over 50 years old when she was at last enabled to become a full-time professional writer. She returned in 1974 to her "city of marvellous experience" Sydney, where she bought a rambling terrace in Woollahra with her share of her recently deceased mother's estate. Here she enjoyed her most productive years, creating in quick succession: The Tatty Hollow Story (a woman who cannot be defined by her former lovers); The Golden Oldies (for two actors and two dummies); the opera extravaganza Joan (her only work set outside of Australia, with 75 actors and 40 musicians); the show musical Pandora's Cross; the rock opera Catspaw; The Fields of Heaven for the Festival of Perth; and two books of poetry Rapunzel in Suburbia and Greenhouse. In 1977 she wrote her most popular play The Man from Mukinupin. In collaboration with poets associated with the "Generation of '68" and New Poetry magazine, particularly Robert Adamson (with whom she maintained a close lifetime friendship), her work became more sparse and directed and the romantic element more controlled. In 1980, after her children had left home, she moved to another large, semi-ruined terrace in the centre of Darlinghurst. In the 1980s, she published the poetry collections Alice in Wormland and Peninsula.