As one somewhat surprised reviewer noted, Maconchy’s The Sofa contained what was possibly the first explicit representation of copulation on the British stage. Given that the opera was composed during the period of the Lord Chamberlain’s censorship rules, it seems surprising indeed that Maconchy and her librettists Ursula Vaughan Williams were able to include such a scene. This chapter explores how censorship affected the British theatre scene in the mid twentieth century, and how The Sofa managed to evade its very particular restrictions. The chapter also suggests that the source material for the opera had scandal and censorship baked into its very origin story.