met Oscar Wilde. Throughout her career, he would come see her act and give her critiques, such as in one of her roles in Frances Hodgson Burnett's The Real Little Lord Fauntleroy in 1889. Wilde's comment was "you have definitely asserted your position as an actress of the first order. Your future on our stage is assured." Early in her time in London, she became enamored with Ibsen's plays. In 1891 a London matinee revival of A Doll's House put Robins in contact with Marion Lea. Together they would form a joint management, making this the "first step toward the theatre that Robins had dreamed of … a theatre of independent management and artistic standards." Finding work in "'women's plays' written by men like Ibsen," Robins and Lea brought strong female characters to the stage. George Bernard Shaw noted "what is called the Woman Question has begun to agitate the stage." Together Elizabeth Robins and Marion Lea brought Ibsen's Hedda Gabler to the stage for the first time ever in England. A Doll's House "marked an important step in the representation of women by dramatists" and Hedda marked an important step for Elizabeth Robins, becoming her defining role. "Sarah Bernhardt could not have done it better," wrote William Archer in a publication of The World. From then on, Hedda became synonymous with Robins on the English stage. Robins and Lea would go on to produce a handful of Ibsen's other 'New Woman' plays. "The experience of acting and producing Ibsen's plays and the reactions to her work helped transform Elizabeth over time into a committed supporter of women's rights." In 1898, she joined forces with William Archer, an influential critic, and together they produced non-profit Ibsen plays. She became known in Britain as "Ibsen's High Priestess." In 1902, she was Lucrezia in Stephen Phillips's Paolo and Francesca at the St. James's Theatre, London. Ending her acting career at the age of forty, Robins had made her mark on the English stage as not only an actress but an actress-manageress. Writing career Robins realised her income from acting was not stable enough to carry her. While Robins was busy being a successful actress, she had to leave England to look for her brother in Alaska, who had gone missing. Her experiences searching for her brother led her to write her novels, Magnetic North (written in 1904) and Come and Find Me