429:
recorded, undermining the influence of women performing in the theatre. An example of one of the women that was first to perform was Mrs. Eastland. Although her name appears on the prompter of
Killigrew's original actresses, "her name appears on no dramatis personae until 1669 and she only ever played minor parts". In addition, she only appears on the cast list in 1669; nine years after the start of the company. In spite of the allowance of women in the theatre, it is evident that the patriarchal nature of the theatre was still very apparent. For men, the acting profession was a respected and successful career, however, "no woman with serious pretentions to respectability would countenance a stage career". But due to the nature and demands of being an actress; learning lines quickly, and needing to have a civilised etiquette meant that the company had to find women of a middle ground; this suggests the class differences, and the overall significance of men compared to women within the company.
438:
of large painted flats which could be moved along grooves set in the floor and flies of the stage". This was the first public playhouse in
England to use such innovation and so impacted the choice of play. The plays became spectacles; the Siege of Rhodes being a "magnificent production". Other productions such as Hamlet (1661), Love and Honour (1661) and The Tempest (1667) characterise the company's restoration spectaculars and operas. Downes remarked that the adaptation of Love and Honour, originally from 1643, in 1661 was "Richly Cloth'd" with Betterton robed in fine garments and the set extraordinary.
411:
which would therefore mean
William Davenant would be the owner for the period of 1660–1668. Thereafter Lady Davenant would be considered the owner, with Betterton and Harris as the managers. William Van Lennep supports this assumption writing "The formal structure, then, of this type of arrangement consisted of a proprietor (the largest shareholder), who was the master of the company in both theatrical and financial affairs; a small number of sharing actors, who received a proportion of the profits after the gross receipts had provided for the major expenses; and a large number of actors on salary."
402:
European theatres. Furthermore, they continued to boast new writers including Aphra Behn, Thomas Otway and once again John Dryden. Unlike
Davenant, neither wrote their own work. However, unlike the King's Company, the second managers wanted to make the transition as smooth as possible. Their decisions had "been reviewed by the board of sharing actors as well as by representatives of the Davenant family". Thus we see that despite having recognizable influence within the company, the duo didn't want to alienate or anyone involved in the company.
506:
to sustain acting as a full career due to the plays infrequency due to the uncertain status of theatre during the
Interregnum (1649 – 1660). Documents link Betterton's name to working with John Rhodes, a bookseller, during this time. John Downes, a theatre prompter for Davenant's acting troupe, first documents Betterton's participation in theatre in 1659, Drury Lane. Downes accredited Betterton's talents saying; "His voice being audible strong, full and Articulate, as in the Prime of his Acting".
19:
552:
Dukes theatre, on 24 December 1662. Together, they accumulated shares within the Dukes
Theatre Company by re-investing their money in part-shares. They never had children of their own, however had two adopted daughters who were both trained for the theatre. There is suggestion that Betterton may have fallen ill from 16 October 1667 to 6 July 1668, as Pepys notes in his diary; "Betterton, ill of fever- did not return for several months".
385:
as well as always updating these scenes to make performances feel fresh and new for the audiences. During his time as manager he set the standard for the Duke's company. After being lumbered with only 23 plays in comparison to the King's 108, Davenant turned his company in the direction of new writing and adaptations of pre-restoration work that he did have. He worked with writers such as George
Etheredge, John Dryden and Roger Boyle.
381:
theatre companies. Davenant could do this because he was rewarded with a warrant from
Charles I during 1639 to build his own theatre, which whilst defunct still added gravitas to his claims. Furthermore, his masque work with Charles I, also being the writer for the two operas performed during the Puritan regime certainly cemented him as an accomplished and reliable manager to the second company. Thus the Duke's company was created.
469:. During the run of Dryden and Davenant's The Tempest from 1667 to 1668, the Lord Chamberlain issued a warrant for the arrest of the comedian Edward Angel a member of the Dukes Company. Although the reasons behind the order remain unclear, one possible explanation is that Angel had caused offence with his talent for improvisation and unscripted political satire.
551:
Much of
Betterton's private life and character remains a mystery, as he did not leave behind any personal journals or records. His shadowy reputation is encouraged by Pepys description of him as "a very sober, serious man, and studious and humble". Betterton married Mary Saunderson, an actress in the
542:
Betterton as a writer is never recorded to have created any original texts, however he took a key role in production adaptation and revamping old texts, which meant combining plot lines. He worked very closely with contemporary playwrights of the time such as Aphra Behn and John Dryden, and very much
526:
Betterton undertook the responsibility of many lead roles in both
Shakespeare, such as Hamlet, and in newer plays, such as Solyman the Magnificent. He is described as versatile actor, being able to play both villainous and comedic roles, however he did not play farce. In Milhous's "Census" there are
514:
On 6 October 1660, Betterton was a part of the Kings Company led by Thomas Killigrew. However, by 5 November, he had moved to a formal sharing agreement with Davenant to constitute the Dukes Company, as he may have felt his talent was overshadowed in the Kings Company. Betterton, in the Dukes Company
505:
As a young boy, Betterton's education is unclear, however he is described to have had a "great propensity" for reading, which may explain why he was bound to Sir William Davenant's publisher, John Holden, in an apprenticeship. He may have performed in Davenant's early-unlicensed plays, however unable
455:
William Davenant, as a manager and on good terms with the King, was able to use his patency and Betterton's talents to produce performances of his own plays. Killigrew and Davenant planned to put on tragedies, comedies, plays, operas, and all other similar entertainments, setting reasonable admission
437:
The new theatre the Duke's Playhouse opened on 28 June 1661 in Dorset Gardens, with the spectacular The Siege of Rhodes. The new theatre encompassed new possibilities for the company to create rich and dramatic theatre. "A small stage and proscenium arch; the scenery consisted of wings fronting pairs
388:
Not only did he attempt to keep the work performed for the Duke's men modern, he also had plans to keep the theatres as functional and of the highest quality. This new and exciting theatre manifested as Dorset Garden. Whilst this was not created until after his death, he managed to fund the project.
384:
Davenant, with a background in masque, grew to believe that spectacle was the way forward for British theatre. Mary Edmond comments that he "realised very early on that play goers would soon be demanding scenic theatres". Thus he went forward with creating theatre spaces that used changeable scenes,
522:
Charles Gildon quotes Betterton as saying the company were "obliged to make Study business", and even learning the parts before rehearsals to "enter thoroughly into the Nature of the Part". We can see here an early Stanislavskian approach to acting, where Betterton even "kept his mind in the same
518:
The Dukes theatre, with the help of Betterton's acting, were recognized for passing on a "traditional" and "correct" way to perform older plays, such as Shakespeare. The actors in the company owned some of the repeat roles as long as they remained in the company, which meant the actors could create
304:
saw many of their productions, and recorded them in his Diary. King Charles witnessed many of their productions too; in a break with past practice, the King sometimes came to the theatre to see the plays, which in previous reigns had never happened. (Instead, the acting companies had always gone to
410:
As for who owned the company, it doesn't appear that there was one owner. Instead the companies were owned by shareholders who all had some say in the running of the company, and who helped with raising funds. Indeed, the main shareholder and patent holder should be considered the principal owner,
380:
Sir William Davenant was the first manager for the Duke's Company. Moreover, he was the patent holder and fundamentally the creator of the theatre group. After Killigrew had been granted his patent for the King's Company, Davenant drafted a document to give him and Killigrew duel monopoly over the
534:
On 7 April 1668 Sir Davenant died, and Betterton and Augustus Harris, being elected by all parties involved in the theatre, took over as administrators until 1677 whilst the heir to the company, Charles Davenant was too inexperienced. They successfully took control and led the construction of the
464:
The King's theatre monopoly was controlled by the legislative power the Lord Chamberlain, who had the power to censor dramatic and printed work, having patents submit work 14 days before the performance. The Duke's Company found themselves subject to Chamberlain's legislation because of the comic
538:
Betterton throughout his career travelled to France regularly to learn about the Spectaculars and foreign Operas in order to increase the Dukes repertoire. However, Bettertons role in the spectaculars remained as chief consultant as he could neither sing nor dance, but he continued performing in
530:
Betterton's most successful role in the Dukes Company was Hamlet, which he first played in the aftermath of Charles II's coronation in 1661. John Downes writes that Davenant had seen Joseph Taylor act the part before the interregnum and then taught Betterton "in every particle of it". The Dukes
446:
The Duke's Company were granted exclusive rights to ten Shakespearean plays; Hamlet, Macbeth, King Lear, Romeo and Juliet, The Tempest, Twelfth Night, Much Ado About Nothing, Measure for Measure, Henry VII and Pericles, Prince of Tyre. This, combined with the talented actors, such as Betterton,
428:
In 1660, for the first time women were allowed to perform on the commercial stage. However, the significance of this at the time was evidently not as apparent. One can assume this because the records of this precise actress that performed is yet to be found; therefore suggesting that it was not
401:
under the watch of Davenant's wife. Both Betterton and Harris were star players of Davenant. They continued the legacy of the Duke's company well. The theatre house that was erected during their time as managers was state of the art, boasting machinery, something that was no doubt inspired by
419:
People joined the company by buying shares within the company, as "the companies were a business, and shares in them were sold to raise money needed to furnish theatres, hire personnel, and produce plays". Therefore, it is assumed that only those of a certain class could join the company.
308:
After Davenant's death in April 1668, Betterton took command of the company, in collaboration with Davenant's widow Lady Mary Davenant. Their management team expanded its strategies to ensure success: the company engaged in three consecutive (and profitable) summer seasons in
531:
Companies reparatory system was commercially influenced to catch and shape the social mood of the time. As the Dukes Company had royal monopoly, he created a king in Hamlet to reflect the positive influence of the return of the monarchy; his Hamlet was valiant.
245:(Davenant even had to petition for the right to perform his own pre-1642 plays). The Duke's Company was driven to seek out new work by a new generation of writers, and to experiment with new forms and styles. The company performed the plays of Davenant,
389:
He did this by selling 7 7/10ths of his shares to people at a price range of £600 – £800. Then sharers then managed to raise the rest of the substantial sum of £9000 which it is roughly considered to have cost.
317:, sometimes called the Queen's Theatre, "the most elegant of all the Restoration playhouses...". The Duke's Company exploited the scenic capacities of the Dorset Garden Theatre to produce many of the
515:
became one of the most famous actors of the Restoration period. He was Samuel and Elizabeth Pepys's favourite actor; "He is called by us both, the best actor in the world."
1126:
998:
894:
213:
saw their production on 24 August; he described it as "done with scenes very well, but above all, Betterton did the Prince's part beyond imagination".
1288:
265:'s plays from 1670 to 1682. The company also acted many translations and adaptations of French and other foreign plays; their 1662 production of
497:
Thomas Patrick Betterton (ca. 1635 – 28 April 1710), English actor in Dukes Theatre Company, son of an undercook for Charles I, born in London.
344:
in 1682, under the Duke's Company's management. The United Company began performances in November of that year. The King's Company theatre, the
325:
and semi-operas that characterized the Restoration era. The most successful of the company's semi-operas was the Dryden/ Davenant adaptation of
527:
180 documented appearances of Betterton in the Dukes company however the real figure is most likely higher as 128 plays are left undocumented.
472:
The licensing act even controlled the schedule and permitted attendees. For example, on 6 February 1720 he ordered Gay's new pastoral tragedy
1278:
340:
period, 1678–81. When the King's Company fell into difficulties due to mismanagement, the Duke's Company joined with them to form the
1273:
1263:
397:
The theatre house was built under the next set of managers for the Duke's company. This was the collaboration of Thomas Betterton and
286:
Like the King's Company, the Duke's pioneered the use of the first English actresses in the early 1660s. Their standout performer was
1258:
1283:
230:. It was the earliest of the many Shakespearean adaptations produced during the Restoration era and the eighteenth century.
1106:
348:
in Drury Lane, was used mainly for plays, while the Duke's Dorset Garden theatre was devoted to operas and spectaculars.
1202:
50:. During that period, theatres began to flourish again after they had been closed from the restrictions throughout the
305:
Court to perform.) In its busiest seasons, the company staged fifty different plays in a year, ten of them new works.
141:, who quickly became their star. In December 1660, the King granted the Duke's Company the exclusive rights to ten of
1187:
1164:
1114:
1091:
1040:
959:
932:
290:, later Mrs. Betterton, who acted many of the lead female roles in Shakespeare's plays. Anne Gibbs (later married to
519:
and sustain their interpretations of the characters. Betterton is noted today as being "the first classical actor".
986:
1268:
276:
1293:
271:
266:
216:
Davenant tried to make the most of the limited Shakespearean materials available to him. In 1662 he staged
456:
charges to meet "the great expences of scenes, musick and new decorations as have not bin formerly used".
1233:
978:
951:
242:
87:
1156:
1083:
1032:
566:
234:
345:
55:
973:
Rare Sir William Davenant: poet laureate, playwright, Civil War general, Restoration theatre manager
1179:
201:
924:
318:
134:
130:
118:
351:
218:
183:
142:
480:
314:
79:
35:
31:
1025:
598:
466:
398:
283:, ran for thirteen straight performances and was the first great hit of Restoration drama.
22:
The Duke's Theatre at Dorset Gardens, on the riverfront, London's most luxurious playhouse.
8:
189:
110:
95:
83:
43:
1227:
362:, the "main source of information about the Restoration theatre" for later generations.
336:
Both the Duke's and King's Companies suffered poor attendance during the turmoil of the
1076:
971:
944:
355:
1237:
1214:
1183:
1160:
1110:
1087:
1062:
1036:
982:
955:
928:
447:
allowed the company to create adaptations of the Shakespeare's within the playhouse.
195:
91:
75:
59:
51:
333:
acted with the Duke's Company and became recognized as one of the stars of the era.
1210:
1206:
1131:
1003:
899:
295:
254:
238:
165:
138:
114:
39:
1143:
1015:
911:
592:
330:
291:
287:
258:
122:
101:
The Duke's Company had the patronage of the King's younger brother Prince James,
1050:
903:
341:
106:
63:
1135:
1007:
1252:
1241:
1066:
1058:
313:
starting in 1669. On 9 November 1671 the company moved into a new theatre in
177:
74:
The Duke's Company was one of the two theatre companies (the other being the
18:
1218:
561:
474:
301:
250:
210:
102:
47:
337:
246:
205:. In 1661, their first year at Lincoln's Inn Fields, the company revived
171:
58:. The Duke's Company existed from 1660 to 1682, when it merged with the
262:
241:
controlled more of the "Old Stock Plays", the traditional repertory of
126:
946:
Treading the bawds: Actresses and playwrights on the Late Stuart stage
1103:
Shakespeare Adaptations from the Early Eighteenth Century: Five Plays
159:
1124:
Milhous, Judith (2004). "Betterton, Thomas (bap. 1635, d. 1710)".
358:
of the Duke's Company from 1662 to 1706. In 1708 he published his
209:, in a production that employed the innovation of stage scenery.
153:
782:
748:
746:
310:
147:
1153:
Thomas Betterton: The Greatest Actor of the Restoration Stage
322:
743:
695:
996:
Edmond, Mary (2004). "Davenant, Sir William (1606–1668)".
237:
and his collaborators. Yet the rival King's Company under
233:
The company also acted some of the plays in the canon of
133:, a building on Portugal Street that had previously been
1078:
The First English Actresses: Women and Drama, 1660–1700
845:
137:(it opened on 18 June 1661). There they were joined by
1027:
The Cambridge Companion to English Restoration Theatre
758:
719:
647:
869:
835:
833:
659:
129:. After a year, the actors moved to a new theatre in
857:
731:
392:
329:, which premiered on 7 November 1667. From 1675 on,
86:
era, when the London theatres re-opened after their
1229:
All the King's Ladies: Actresses of the Restoration
892:Brayne, Charles (2004). "Angel, Edward (d. 1673)".
770:
671:
590:In 1668, five more Shakespearean plays were added:
1075:
1024:
970:
943:
830:
806:
683:
42:was manager of the company under the patronage of
1031:. Cambridge Companions to Literature. Cambridge:
818:
794:
1250:
707:
500:
543:encouraged the development of their new works.
1176:Beaumont and Fletcher on the Restoration Stage
950:. Women, Theatre and Performance. Manchester:
1199:The London Stage 1660–1800: Part 1: 1660–1700
1130:(online ed.). Oxford University Press.
1002:(online ed.). Oxford University Press.
898:(online ed.). Oxford University Press.
941:
701:
423:
1201:. Vol. 1 (1st ed.). Carbondale:
1196:
788:
764:
752:
298:and Mary Lee also had noteworthy careers.
921:The Oxford Illustrated History of Theatre
1100:
1049:
725:
665:
653:
523:temperament as his character required".
30:was a theatre company chartered by King
17:
1173:
1150:
1127:Oxford Dictionary of National Biography
1123:
999:Oxford Dictionary of National Biography
895:Oxford Dictionary of National Biography
875:
863:
776:
572:
375:
1289:English early modern theatre companies
1251:
1225:
995:
968:
891:
851:
839:
737:
689:
478:be acted "immediately after Hughes"'s
414:
918:
1279:Organizations disestablished in 1682
1107:Fairleigh Dickinson University Press
1073:
1022:
824:
812:
800:
713:
677:
365:
492:
465:performer and renowned improvisor,
13:
1203:Southern Illinois University Press
14:
1305:
1274:Organizations established in 1660
1264:1682 disestablishments in England
1197:Van Lennep, William, ed. (1960).
1055:A Shakespeare Companion 1564–1964
1023:Fisk, Deborah Payne, ed. (2000).
919:Brown, John Russell, ed. (2001).
393:Henry Harris and Thomas Betterton
117:. The company started at the old
1101:Johanson, Kristine, ed. (2013).
509:
226:that blended in characters from
627:
618:
609:
546:
535:Dorset Garden Theatre in 1671.
222:, a heavily adapted version of
1259:1660 establishments in England
1174:Sprague, Arthur Colby (1926).
584:
441:
78:) that were chartered by King
1:
501:Early life and apprenticeship
459:
370:
1284:Theatre companies in England
1226:Wilson, John Harold (1958).
1151:Roberts, David, ed. (2010).
1144:UK public library membership
1016:UK public library membership
912:UK public library membership
640:
577:
405:
272:The Adventures of Five Hours
121:, and occasionally used the
7:
1234:University of Chicago Press
979:Manchester University Press
952:Manchester University Press
942:Bush-Bailey, Gilli (2006).
555:
450:
90:(1642–60) during the
10:
1310:
1157:Cambridge University Press
1084:Cambridge University Press
1033:Cambridge University Press
885:
69:
487:
281:Los Empeños de Seis Horas
243:English Renaissance drama
113:). It was managed by Sir
1180:Harvard University Press
1074:Howe, Elizabeth (1992).
432:
424:Least influential member
319:Restoration spectaculars
261:and others; it produced
202:Pericles, Prince of Tyre
1211:2027/mdp.39015020696632
925:Oxford University Press
119:Salisbury Court Theatre
904:10.1093/ref:odnb/39756
228:Much Ado About Nothing
219:The Law Against Lovers
184:Much Ado About Nothing
23:
1136:10.1093/ref:odnb/2311
1008:10.1093/ref:odnb/7197
969:Edmond, Mary (1987).
791:, pp. lviii–lix.
633:Pepys, 2 October 1662
481:The Siege of Damascus
88:eighteen-year closure
21:
1269:17th-century theatre
599:Troilus and Cressida
573:Notes and references
376:Sir William Davenant
135:Lisle's Tennis Court
131:Lincoln's Inn Fields
82:at the start of the
40:Sir William Davenant
34:at the start of the
1294:James II of England
539:traditional plays.
415:Joining the company
224:Measure for Measure
190:Measure for Measure
143:Shakespeare's plays
84:English Restoration
360:Roscius Anglicanus
111:James II & VII
24:
1178:. Cambridge, MA:
1142:(Subscription or
1014:(Subscription or
910:(Subscription or
854:, pp. 143–4.
755:, p. cxliii.
704:, pp. 28–33.
615:Pepys, 4 Nov 1661
366:Company structure
92:English Civil War
52:English Civil War
1301:
1245:
1222:
1193:
1170:
1147:
1139:
1120:
1097:
1081:
1070:
1046:
1030:
1019:
1011:
992:
976:
965:
949:
938:
915:
907:
879:
873:
867:
861:
855:
849:
843:
837:
828:
822:
816:
810:
804:
798:
792:
786:
780:
774:
768:
762:
756:
750:
741:
735:
729:
723:
717:
711:
705:
702:Bush-Bailey 2006
699:
693:
687:
681:
680:, pp. 43–4.
675:
669:
663:
657:
651:
634:
631:
625:
622:
616:
613:
607:
588:
493:Thomas Betterton
296:Hester Davenport
255:George Etheredge
239:Thomas Killigrew
166:Romeo and Juliet
139:Thomas Betterton
115:William Davenant
1309:
1308:
1304:
1303:
1302:
1300:
1299:
1298:
1249:
1248:
1190:
1167:
1141:
1117:
1094:
1043:
1013:
989:
962:
935:
909:
888:
883:
882:
874:
870:
862:
858:
850:
846:
838:
831:
823:
819:
811:
807:
799:
795:
789:Van Lennep 1960
787:
783:
775:
771:
765:Van Lennep 1960
763:
759:
753:Van Lennep 1960
751:
744:
736:
732:
724:
720:
712:
708:
700:
696:
688:
684:
676:
672:
664:
660:
652:
648:
643:
638:
637:
632:
628:
623:
619:
614:
610:
593:Timon of Athens
589:
585:
580:
575:
558:
549:
512:
503:
495:
490:
462:
453:
444:
435:
426:
417:
408:
395:
378:
373:
368:
331:Elizabeth Barry
292:Thomas Shadwell
288:Mary Saunderson
275:, a version of
267:Sir Samuel Tuke
259:Thomas Shadwell
72:
36:Restoration era
12:
11:
5:
1307:
1297:
1296:
1291:
1286:
1281:
1276:
1271:
1266:
1261:
1247:
1246:
1223:
1194:
1188:
1171:
1165:
1148:
1121:
1115:
1098:
1092:
1071:
1051:Halliday, F.E.
1047:
1041:
1020:
993:
987:
977:. Manchester:
966:
960:
939:
933:
916:
887:
884:
881:
880:
868:
856:
844:
829:
817:
805:
793:
781:
769:
757:
742:
740:, p. 141.
730:
728:, p. 140.
718:
706:
694:
682:
670:
658:
656:, p. 145.
645:
644:
642:
639:
636:
635:
626:
617:
608:
582:
581:
579:
576:
574:
571:
570:
569:
564:
557:
554:
548:
545:
511:
508:
502:
499:
494:
491:
489:
486:
461:
458:
452:
449:
443:
440:
434:
431:
425:
422:
416:
413:
407:
404:
394:
391:
377:
374:
372:
369:
367:
364:
342:United Company
321:and the early
76:King's Company
71:
68:
64:United Company
60:King's Company
28:Duke's Company
9:
6:
4:
3:
2:
1306:
1295:
1292:
1290:
1287:
1285:
1282:
1280:
1277:
1275:
1272:
1270:
1267:
1265:
1262:
1260:
1257:
1256:
1254:
1243:
1239:
1235:
1231:
1230:
1224:
1220:
1216:
1212:
1208:
1204:
1200:
1195:
1191:
1189:9780674366084
1185:
1181:
1177:
1172:
1168:
1166:9780521195843
1162:
1158:
1155:. Cambridge:
1154:
1149:
1145:
1137:
1133:
1129:
1128:
1122:
1118:
1116:9781611474602
1112:
1108:
1104:
1099:
1095:
1093:9780521422109
1089:
1085:
1082:. Cambridge:
1080:
1079:
1072:
1068:
1064:
1060:
1057:. Baltimore:
1056:
1052:
1048:
1044:
1042:9780521588126
1038:
1034:
1029:
1028:
1021:
1017:
1009:
1005:
1001:
1000:
994:
990:
984:
980:
975:
974:
967:
963:
961:9780719072505
957:
953:
948:
947:
940:
936:
934:9780192854421
930:
926:
922:
917:
913:
905:
901:
897:
896:
890:
889:
878:, p. 15.
877:
872:
865:
860:
853:
848:
841:
836:
834:
826:
821:
815:, p. 24.
814:
809:
802:
797:
790:
785:
778:
773:
766:
761:
754:
749:
747:
739:
734:
727:
726:Halliday 1964
722:
715:
710:
703:
698:
691:
686:
679:
674:
668:, p. 62.
667:
666:Halliday 1964
662:
655:
654:Halliday 1964
650:
646:
630:
624:Cibber, 7.301
621:
612:
605:
601:
600:
595:
594:
587:
583:
568:
565:
563:
560:
559:
553:
544:
540:
536:
532:
528:
524:
520:
516:
510:Acting career
507:
498:
485:
483:
482:
477:
476:
470:
468:
457:
448:
439:
430:
421:
412:
403:
400:
390:
386:
382:
363:
361:
357:
353:
349:
347:
346:Theatre Royal
343:
339:
334:
332:
328:
324:
320:
316:
315:Dorset Garden
312:
306:
303:
299:
297:
293:
289:
284:
282:
278:
274:
273:
268:
264:
260:
256:
252:
248:
244:
240:
236:
235:John Fletcher
231:
229:
225:
221:
220:
214:
212:
208:
204:
203:
198:
197:
192:
191:
186:
185:
180:
179:
178:Twelfth Night
174:
173:
168:
167:
162:
161:
156:
155:
150:
149:
144:
140:
136:
132:
128:
124:
120:
116:
112:
108:
104:
99:
97:
93:
89:
85:
81:
77:
67:
65:
61:
57:
53:
49:
45:
41:
37:
33:
29:
20:
16:
1228:
1198:
1175:
1152:
1125:
1102:
1077:
1054:
1026:
997:
972:
945:
920:
893:
876:Roberts 2010
871:
866:, p. 1.
864:Roberts 2010
859:
847:
827:, p. 8.
820:
808:
803:, p. 4.
796:
784:
777:Milhous 2004
772:
760:
733:
721:
716:, p. 6.
709:
697:
692:, p. 8.
685:
673:
661:
649:
629:
620:
611:
603:
597:
591:
586:
562:George Jolly
550:
547:Private life
541:
537:
533:
529:
525:
521:
517:
513:
504:
496:
479:
473:
471:
467:Edward Angel
463:
454:
445:
436:
427:
418:
409:
399:Henry Harris
396:
387:
383:
379:
359:
350:
335:
326:
307:
302:Samuel Pepys
300:
285:
280:
270:
251:Thomas Otway
232:
227:
223:
217:
215:
211:Samuel Pepys
206:
200:
194:
188:
182:
176:
170:
164:
158:
152:
146:
109:(later King
103:Duke of York
100:
73:
62:to form the
48:Duke of York
44:Prince James
27:
25:
15:
1232:. Chicago:
852:Edmond 1987
840:Edmond 2004
738:Edmond 1987
690:Wilson 1958
567:John Rhodes
442:Shakespeare
352:John Downes
338:Popish Plot
327:The Tempest
247:John Dryden
172:The Tempest
96:Interregnum
56:Interregnum
1253:Categories
1146:required.)
1018:required.)
988:071902286X
923:. Oxford:
914:required.)
602:, and the
460:Censorship
371:Management
277:Calderón's
263:Aphra Behn
196:Henry VIII
127:Drury Lane
80:Charles II
32:Charles II
1242:492052383
1067:222822680
825:Howe 1992
813:Howe 1992
801:Fisk 2000
714:Fisk 2000
678:Fisk 2000
641:Citations
578:Footnotes
406:Ownership
160:King Lear
107:of Albany
1053:(1964).
606:trilogy.
604:Henry VI
556:See also
451:Davenant
356:prompter
354:was the
94:and the
54:and the
38:, 1660.
1219:1083463
1059:Penguin
886:Sources
279:comedy
154:Macbeth
123:Cockpit
70:History
1240:
1217:
1186:
1163:
1140:
1113:
1090:
1065:
1039:
1012:
985:
958:
931:
908:
488:Actors
323:operas
311:Oxford
207:Hamlet
199:, and
148:Hamlet
475:Dione
433:Plays
1238:OCLC
1215:OCLC
1184:ISBN
1161:ISBN
1111:ISBN
1088:ISBN
1063:OCLC
1037:ISBN
983:ISBN
956:ISBN
929:ISBN
105:and
26:The
1207:hdl
1132:doi
1004:doi
900:doi
294:),
269:'s
125:in
1255::
1236:.
1213:.
1205:.
1182:.
1159:.
1109:.
1105:.
1086:.
1061:.
1035:.
981:.
954:.
927:.
832:^
745:^
596:,
484:.
257:,
253:,
249:,
193:,
187:,
181:,
175:,
169:,
163:,
157:,
151:,
145::
98:.
66:.
46:,
1244:.
1221:.
1209::
1192:.
1169:.
1138:.
1134::
1119:.
1096:.
1069:.
1045:.
1010:.
1006::
991:.
964:.
937:.
906:.
902::
842:.
779:.
767:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
