By Siobhan Keenan
Appearing businesses and their performs in Shakespeare's London explores the intimate and dynamic dating among appearing businesses and playwrights during this seminal period in English theatre heritage. Siobhan Keenan's research comprises chapters at the traditions and workings of up to date performing businesses, playwriting practices, levels and staging, audiences and buyers, each one illustrated with precise case experiences of person appearing businesses and their performs, together with troupes resembling woman Elizabeth's gamers, 'Beeston's Boys' and the King's males and works by way of Shakespeare, Jonson, Middleton, Brome and Heywood. we're familiar with targeting person playwrights: performing businesses and their performs in Shakespeare's London makes the case that we additionally have to take into consideration the corporations for which dramatists wrote and with whose contributors they collaborated, if we want to larger comprehend the dramas of the English Renaissance degree.
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Additional info for Acting Companies and Their Plays in Shakespeare's London
1622–5 The company of Lady Elizabeth’s players that took up residence at Christopher Beeston’s Cockpit Theatre in 1622 appears to have been largely new in its membership. The first evidence of the new London-based company appears in the office books of the Master of the Revels and is the entry recording the licensing of The Changeling for performance by the troupe (7 May 1622). 105 With the exception of Moore, these players appear to have been new to Lady Elizabeth’s Men. Beeston started his playing career as an apprentice to Augustine Phillips of the King’s Men, later joining the Queen’s players (1603) and becoming a theatre investor and manager in 1616 when he built the Cockpit Playhouse.
Either way, with a guaranteed playing space and the backing of an entrepreneur with a stock of plays and playing gear, the newly constituted Lady Elizabeth’s Men was well placed to succeed in London and seems to have thrived. 107 Part of the troupe’s success appears to have derived from the fact that its repertory mixed old plays and revivals with a wave of exciting new dramas. indd 47 24/01/2014 15:16 48 ACTING COMPANIES AND THEIR PL AYS 1622); The Black Lady (10 May 1622); The Valiant Scholar (3 June 1622); The Spanish Gypsy (9 July 1623) (attributed on publication to Middleton and Rowley but thought to be written by Dekker and Ford); a revival of Dekker’s Match Me in London (21 August 1623); Henry Shirley’s The Martyred Soldier (23 August 1623); William Bonen’s The Cra… Merchant or Come to my Country House (12 September 1623); Massinger’s The Bondman (3 December 1623); Dekker and Ford’s The Sun’s Darling (3 March 1624); Massinger’s The Renegado (17 April 1624); Heywood’s The Captives (3 September 1624); Robert Davenport’s The City Nightcap (14 October 1624); Massinger’s The Parliament of Love (3 November 1624) and James Shirley’s Love Tricks or the School of Compliment (11 February 1625).
In the case of those who were primarily theatre landlords this appears to have been, in part, a response to the greater financial risks that they faced and their desire to exercise more control over their investments. This second model of company management, whereby playhouse owners or company leaders sought to control the activities of individual acting troupes, is often described as impresario- or managerled. indd 20 24/01/2014 15:16 The acting companies 21 are Philip Henslowe and Christopher Beeston.