With characters in disguise, mistaken identity gags that run through most of the play and countless curly wigs, Stratford Festival's She Stoops to Conquer is essentially the 18th-century equivalent to a modern-day farce.

But the Oliver Goldsmith classic is also shaped by complex class and gender dynamics that speak to that era — and ours.

The story centres on Kate Hardcastle and her family, who are eagerly anticipating the arrival of her new suitor, Charles Marlow.

"He has a strange affliction," explains actress Maev Beaty, who portrays Hardcastle.

"With upper-class women, he is absolutely frozen stiff with fear. He is intimidated, he stutters — can barely look at them. But when it comes to barmaids and friendly lower-class ladies, he feels very much at home and, in fact, rather lascivious."

Hardcastle decides to disguise herself as a barmaid, hoping to break down the barriers between herself and her new beau.

Thus, "stooping" to "conquer" him and his fears.

"It's probably a very mild form of Sex and the City; she sees a man and she goes after him," says Eleanor Ty, an english professor who specializes in 18th century literature at Wilfrid Laurier University.

"It does say a lot about what men fear then — and perhaps now."

So is Kate Hardcastle a trailblazer for her time, overcoming class conflicts? Or is she just re-enforcing the gender norms of her day?

For the full discussion with Beaty and Ty, listen to the audio below.