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usual about the traffic problems associated with the theatre, which blocked access to the local churches. (All the playing companies were required to cease activity during Lent – a requirement they flouted whenever possible, often with impunity.) In response to this local opposition, the King's Men obtained a renewal of their royal patent dated 27 March 1619. The patent named the twelve current shareholders in the company; in addition to the veterans
Burbage, Lowin, Heminges, and Condell, the list includes William Ecclestone, Robert Gough, Richard Robinson, Nicholas Tooley, and John Underwood, and the newest members, Nathan Field, Robert Benfield, and
1219:; would he make them the new King's Men? The existing company's established prestige – they were widely recognised the best in the land – led to a continuance of royal patronage. The Prince Charles's company folded after their patron became king, with three of its members, Thomas Hobbs, William Penn, and Anthony Smith, joining the King's Men. Though the early-to-mid-1620s was a period of economic depression in England, the King's Men prospered: the company had fifteen sharers in 1625. This abundance of personnel allowed the company to stage productions with larger casts than before .
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327:/Queen's Revels company. The company left London and performed in Oxford in August, 1610. They were paid by the Oxford Municipal Authorities. A letter by Oxford student at Corpus Christi, Henry Jackson and dated September 1610 and in latin, describes the King's Men performing Ben Jonson's The Alchemist and describes Desdemona (in Othello) both of which had been performed earlier that year in London. The record is held at Corpus Christi and a copy can be viewed at the Folger Exhibition, Shakespeare Documented.
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1386:(1637); they were rewarded with the lavish costumes of the productions. The company's repertory narrowed in this era; they produced fewer new plays, and those they did stage were mainly these subsidised courtly works. Their economic situation also worsened; from a high of fifteen in 1625, the number of sharers dropped to nine by 1636.
288:.; 1 shilling = 12 pence). The cheapest admission at the Blackfriars equalled the most expensive at the Globe; the most expensive seat at the Blackfriars cost five times as much as its Globe counterpart. Adding the Blackfriars to the Globe should have allowed the King's Men to at least double their income from public performances.
256:, owned by the Burbage family, was organised into a partnership in August that year, with five of the seven shares going to members of the King's Men – Shakespeare, Burbage, Heminges, Condell, and Sly. Sly, however, died soon after, and his share was split among the other six. (The two non-actors involved in the arrangement were
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The King's Men accompanied
Charles I on a royal progress in 1636. In so doing they evaded, at least to some degree, the consequences of the prolonged theatre closing due to plague in 1636–37. Comedian John Shank died in 1636, as did Cuthbert Burbage. A royal warrant of 1636 reveals that Shakespeare's
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sold off the theatre shares he'd inherited from his father upon John
Heminges's death (1630). He sold (clandestinely, perhaps) two shares in the Blackfriars and three in the Globe to King's Man John Shank, for £506. In response to the sale, three other King's Men, Eliard Swanston, Thomas Pollard, and
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instead. On 21 October, Herbert addressed a letter to Edward Knight, the "book-keeper" or prompter of the company, on the subject of the "oaths, profaneness, and public ribaldry" in their plays. And on 24 October, John Lowin and Eliard
Swanston apologised to Herbert for giving offence. (Joseph Taylor
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Opposition from the King's Men's
Blackfriars neighbours reached another peak around 1630. In 1631 a commission investigated the possibility of buying out the Blackfriars property, and concluded that the company's investment in the property, over the coming fourteen years of their unexpired lease, was
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again. When the play was first printed two years later, in 1623, the quarto featured a combined cast list for both the King's Men's productions, c. 1614 and c. 1621 (the latter occurred between the deaths of
Burbage in 1619 and Tooley in 1623). Together these cast lists give a mixed picture of change
241:
The company gave ten court performances in the winter of 1605–06 and, unusually, three Court performances in the summer of 1606, during a state visit by the King of
Denmark. Each Court performance earned them £10. They also toured that summer, and were in Oxford at the end of July, among other stops.
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The acquisition of the
Blackfriars represented an enormous advantage for the company. It allowed the company to perform year round instead of only in clement weather. The Blackfriars hall is thought to have been 66 by 46 feet (20 by 14 metres), including the stage; its maximum capacity was likely in
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the previous year. This may have been John
Heminges' last production; in 1613 he's described as "stuttering." Heminges normally received the payments for the company's Court performances, as far back as 1595; he continued to be active in the company's financial affairs even after he left the stage.
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By the time the theatres formally re-opened in 1660, few of the old players and playwrights remained, and the old theatrical practices and traditions had largely been lost. Female roles were soon performed by women rather than boys , and the open-air playhouses common in the past were no more; the
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Their new wealth allowed the King's Men to overcome major adversity: when the Globe
Theatre burned down in 1613 (see below), the company could afford an expensive rebuild, replacing the vulnerable thatch roof with tile. The fact that the King's Men had a second theatre meant that they did not lose
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When the petitioners began their campaign, the eight Blackfriars shares were distributed this way: Shank held two, and Taylor, Lowin, Underwood, Cuthbert Burbage, Mrs. Condell (Henry Condell's widow), and Winifred Robinson (Richard Burbage's widow and Richard Robinson's wife) had one each. Of the
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1619 was a pivotal year in the company's history. The residents of the upscale Blackfriars neighbourhood, many of whom were wealthy and influential politically and socially, had never been happy about the presence of a theatre in their midst; in the spring of 1619 they complained more loudly than
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sixteen shares in the Globe, Cuthbert Burbage and Mrs. Robinson each owned three and a half shares, Shank had three, and Taylor, Lowin, and Mrs. Condell each owned two. Herbert ordered the existing shareholders to sell shares to Swanston, Benfield, and Pollard, though Burbage and Shank resisted.
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was established, it had little in common with its predecessor other than a royal patron (though a few members of the old company, like Charles Hart and Walter Clun, made the transition). The Restoration drama in which it participated was largely a new foundation. While Elizabethan and Jacobean
640:. Ostler's death may have been sudden, and was problematic in that he died intestate. His father-in-law, John Heminges, seized control of his theatre shares. Ostler's widow, Thomasine Heminges Ostler, sued her father in 1615 for control of the shares – a suit that was apparently unsuccessful.
1489:. The first seven men on that list also signed a contract as sharers in the King's Men on 28 January 1648, showing that the company was re-activating, or attempting to re-activate, at that time. This iteration of the company collapsed in July the same year when it failed to make a payment.
1258:. This figure, however, covered only theatre rent and interest; in response the King's Men produced an itemised account of their investment, valuing the whole at £21,990, more than seven times as much as the commission's figure. The company's interest in the theatre was never bought out.
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1623: The First Folio gives a list of names of the 26 "principal actors" in Shakespeare's plays, providing a fairly comprehensive roster of important members of the Lord Chamberlain's/King's Men through the previous thirty years. In addition to eight men on the original 1603 royal patent
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An upper estimate of 1000 has been proposed, dependent on the arrangement of boxes and galleries; but a thousand people in a 66x46-foot space stretches credibility. It is more sensibly maintained that the Blackfriars theatre "can hardly have seated many more than six hundred" – Gurr,
1500:, who had played with the King's Men as boys before the 1642 closing. These two plus eight others signed a contract on 27 December 1648 with one Walter Conway, an upholsterer who was their financier. This effort also failed, and was producing litigation as late as 1661.
1354:) for a chance to buy shares for themselves. Several documents in this matter, including back-and-forth statements from the three petitioners and from Cuthbert Burbage and John Shank, still exist; they contain abundant information on the company's business c. 1635.
233:
May 1605 brought the death of Augustine Phillips. In his will, Phillips left legacies to Shakespeare, Burbage, and eight other members of the company, plus two apprentices, and £5 to the hired men "of the company which I am of". (Phillips also leaves a bequest to
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1609 was another plague year during which the company travelled, although nine plays were still performed at Court. (Royal patronage was an advantage in difficult times: special payments in times of plague were made to the company in 1603, 1608, 1609, and 1610.)
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the hundreds of spectators. This can be compared with the maximum capacity at the Globe Theatre of 2500 to 3000. Yet the ticket prices at the Blackfriars were five to six times higher than those at the Globe. Globe tickets ranged from a penny to sixpence (1
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folio of 1647 gives a list of the principal cast in the company's production of the play, which included Burbage, Field himself, John Underwood, Richard Sharpe, Henry Condell, Robert Benfield, John Lowin, and Thomas Holcombe. (Sharpe and Holcombe were
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in addition to their other roles. Along with the permanent company members or sharers, the cast included four hired men or boys, Pallant, Pollard, Sharpe, and Thompson; note also the doubling (and in the case of Pallant, more than doubling) of roles.
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were acted by the King's Men in this period. Casts lists in the first Beaumont and Fletcher folio give the same roster for all three plays: Taylor, Lowin, Underwood, Benfield, Tooley, Ecclestone, and the boys Richard Sharpe and Thomas Holcombe.
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Upon John Heminges' death in 1630, his shares in the Globe and Blackfriars Theatres passed to his son William. William Heminges's disposal of his shares five years later would cause a major controversy within the company; see 1635 below.
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In their first winter season, between December 1603 and February 1604 the company performed eight times at Court and eleven times in their second, from November 1604 through February 1605, including seven plays by Shakespeare and two by
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at Court. The title role was reportedly played by Eliard Swanston; Joseph Taylor, at this point in his career, was too "grey" for the role of a young firebrand. The company played the same play at Court again on 27 March 1638.
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but Benfield and Taylor were not.) After this incident, the King's Men had their old play texts re-examined by Herbert for new productions, something that was previously not required. This meant more fees paid to Herbert.
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Shank would be the company's primary clown in the years to come; his specialties were dancing and knockabout physical comedy. He was a veteran of several troupes over the previous decades, going back perhaps to
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with the company.) The date of this production is unknown, but it must have occurred in the 1616–19 era, between Field's joining the company and Burbage's death. Field may also have played the title role in
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In the winter of 1614–15 the King's Men performed at Court only eight times, half their workload of the previous year. During the next winter, 1615–16, they were back up to fourteen Court performances.
765:. The cast list for that play in the 1679 Beaumont and Fletcher folio is the only surviving list that includes both Taylor and Condell. Not long after this, Condell must have retired from the stage.
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Clandestine and sporadic theatre activity occurred. 1647 was a year of relative official leniency, when theatrical performances were not uncommon. Ten actors signed the dedication in the 1647
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company in the 1610–13 period. Shank may have taken Robert Armin's place in the King's Men after Armin's death in 1615. Shank also trained apprentices for the company – Thomas Holcombe,
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629:. The Globe was rebuilt by the following spring, at a cost of £1400. The thatch roof was replaced with tile. During the winter of 1613–14 the company played at Court sixteen times.
735:, and he witnessed the 1605 will of Augustine Phillips, whose sister he most likely married. Gough was never a prominent actor, and little is known about the roles he played.
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Another attempt to revive the troupe followed during the winter of 1648–49, with a younger group of actors than the previous crew of veterans; this new group of 16 included
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On 23 April 1616, Shakespeare died. His role as the King's Men's leading playwright would be filled by Fletcher and his various collaborators through the coming years, with
750:, wrote to a colleague that while others had gone to see a play, "I being tender-hearted, could not endure to see so soon after the loss of my old acquaintance Burbage."
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and Robert Benfield were reportedly present at the meeting, but were uninvolved in either the offence or the apology; apparently Swanston and Lowin were in the cast of
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The works of Fletcher and his collaborators, especially Massinger, continued to make up a significant portion of the company's repertory in the 1619–22 era. Fletcher's
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classics were the mainstay of the Restoration repertory, many, particularly the tragedies, were adapted to conform to new tastes influenced by the French theatre of
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Unable to foresee the coming collapse of 1642, the King's Men undertook a major expansion around 1640. They brought in five new men as actors and sharers:
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in this period. He is reported to have played the role at some time in his career, and the King's Men had the play in their repertory for many years!!!!!
1152:) Joseph Taylor. Swanston is reported to have played Othello and Richard III during his years with the company (which extended at least through 1642).
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to take Burbage's place; he would play Hamlet and the other great Shakespeare/Burbage roles. Yet Burbage was missed: in May 1619 the Lord Chamberlain,
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joined the company in 1616; already a prominent actor, he would go on to write plays for the King's Men in his all-too-brief career with the company.
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From July to December 1608 the theatres were closed due to plague. The King's Men toured the countryside; they were in Coventry in late October. The
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186:. On 15 March 1604, each of the nine men named in the patent was supplied with four and a half yards of red cloth for the coronation procession.
1243:, aged 13. William Trigg was another boy playing female roles for the company in the 1626–32 period; but after that his activities are unknown.
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Another blow hit the company in the following year, 1620, when Nathaniel Field died at the young age of 33. His place as sharer was taken by
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1727:– twenty performances of eighteen plays. The specific dates of the performances are not in the extant records. Chambers, Vol. 2, p. 217.
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Repression grew stronger after 1647: in February 1648 and January 1649, King's Men players were arrested in the midst of performances.
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Henry Condell died in December 1627. He left shares in the company's theatres, the Blackfriars and the Globe, to his surviving family.
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725:. Robert Gough had been associated with the actors of the company perhaps as far back as 1591, when he may have been a boy player in
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No cast list for these performances has survived; but given the two companies' known personnel, this might have been the first time
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1167:, which ran for an unprecedented nine days straight (6–16 August, Sundays excepted), and also got them prosecuted and fined by the
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In one particular, the new patent was out of date the day it was issued. On 13 March 1619, Richard Burbage died. In April or May
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on 22 January 1641, along with Stephen Hammerton. With Massinger's death in 1640, the troupe also needed a new house dramatist;
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on 26 and 28 November 1633. According to Herbert, Shakespeare's play was "liked", but Fletcher's play was "very well liked."
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issued a list of the company's 21 hired men who could not be arrested or "press'd for soldiers" without the allowance of the
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joined the King's Men in 1632. Richard Sharpe died in the same year; he was the boy actor who played in both productions of
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The sharers in the King's Men depended upon a crew of hired men to make their performances work. On 27 December 1624, Sir
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1534:. The Elizabethan features of multitude of scenes, multitude of characters, and melange of genres lived on primarily in
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The royal patent of 19 May 1603 which authorised the King's Men company named the following players, in this order:
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nephew William Hart (1600–39), the son of the poet's younger sister Joan, was an actor in the company at the time.
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joined the King's Men for the final two years in his stage career. He would play the Fat Bishop in the next year's
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In 1646, the King's Men received back-pay from Parliament, money they were still owed for pre-1642 performances.
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in the Fortune Theatre fire of December 1621 (a disaster that was, for that company, the beginning of the end).
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Global Economics: A History of the Theatre Business, the Chamberlain's/King's Men, and Their Plays, 1599–1642.
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The Plays of Beaumont and Fletcher: An Attempt to Determine Their Respective Shares and the Shares of Others.
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to join the King's Men. Previous Lady Elizabeth's veterans to join include Nathan Field, John Rice, and (via
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of 1679 provides partial cast lists for three King's Men productions from the c. 1613 period, for Fletcher's
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In the later 1630s the company took up the practice of staging plays written by courtiers favoured by Queen
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1485:, Stephen Hammerton, John Lowin, Thomas Pollard, Richard Robinson, Joseph Taylor, Eliard Swanston, and
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In 1614 Alexander Cooke and William Ostler both died; their places as sharers were taken, perhaps, by
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Some company members chose alternative careers; Eliard Swanston became a jeweller, while hired men
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Nine performances at Court marked the winter of 1606-07, including a performance of 26 December of
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This increased workload was not unique to the King's Men; all the theater companies of London saw
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The text of Fletcher's play was repaired adequately by the next month, when the company performed
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acted with his old colleagues since leaving the Lord Chamberlain's Men nearly a decade earlier.
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1039:(Shakespeare, Burbage, Heminges, Condell, Phillips, Cowley, Sly, and Armin), the list includes
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terminated his brief period with the King's Men to become the leading man of the newly formed
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1196:. The list includes supporting actors like Robert Pallant, musicians, and functionaries like
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1297:, because of its "foul and offensive" content. The company acted the Fletcher/Beaumont play
759:. And sometime in this immediate post-Burbage period, they must also have staged Fletcher's
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Between October 1611 and April 1612 the King's Men performed 22 plays at Court, including
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and later graduated to young male leads, as Hammerton would do over the coming decade.
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were held. The King's Men gave 20 performances, including seven plays by Shakespeare (
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was performed again at Court on 8 June 1613, before the ambassador from Savoy. The
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was increased from eight or nine, ten, eleven and twelve. The new sharers included
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In the winter of 1612–13, great Court festivities celebrating the marriage of the
238:, as a former "servant". Beeston was almost certainly another former apprentice.)
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276:.); tickets at the Blackfriars ranged from sixpence to two shillings sixpence (6
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In August 1619, the company premiered its production of the controversial play
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1171:. The company got into more trouble in December, for performing Massinger's
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1028:, 26 December 1622, The King's Men acted another Fletcher/Massinger play,
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Nathan Field's contribution to the King's Men is illustrated by the play
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17th-century English playing company associated with William Shakespeare
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also dates from this period; the manuscript of that play reveals that
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On Sunday 12 and Monday 13 January 1612, the King's Men joined with
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131:(1564–1616) belonged for most of his career. Formerly known as the
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The spring of 1625 brought a period of uncertainty. The new king,
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Also in 1624, the King's Men gave their sensational production of
210:. This represented a workload twice as great as was typical under
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260:, Richard's brother, and Thomas Evans, agent for theatre manager
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set off during a lavish performance of the Shakespeare/Fletcher
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1610 was a better year, with public performances at the Globe –
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gained control over the city of London at the beginning of the
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the following winter, 1607–08, saw thirteen Court appearances.
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in the Spring of 1642. The production of Shirley's next work,
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was cast as Memphonius, while Richard Robinson was the Lady.
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among others. By this time the company had been augmented by
1821:
The Privileged Playgoers of Shakespeare's London, 1576–1642.
345:
substitution for Armin, the cast roster was the same as for
214:. The King's Men needed more men, and in 1604 the number of
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Third edition, Cambridge: Cambridge University Press, 1992.
669:, which Field wrote with Fletcher and Massinger. The first
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more elite higher-priced indoor theatres became the norm.
1439:, was prevented by the theatre closure in September 1642.
1555:
The Duke of Lennox, 1574-1624: A Jacobean Courtier's Life
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to give Court performances of two Queen's Men's plays by
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was recruited for the job. The company staged Shirley's
292:
all their playscripts and costumes, as happened to the
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folio as the King's Men; these were Robert Benfield,
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In both productions, Tooley and Underwood played the
143:
ascended the throne and became the company's patron.
1463:. The theatres remained officially closed until the
46:. Unsourced material may be challenged and removed.
1560:
1239:late in 1626, the cast included a new boy player,
1132:company, also joined the King's Men late in 1623.
1751:The Privileged Playgoers of Shakespeare's London,
1697:(which was also performed twice). In addition to
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1823:Princeton, NJ: Princeton University Press, 1981.
1816:7 Volumes, Oxford: the Clarendon Press, 1941–68.
1626:Halliday, pp. 91–2; Chambers, Vol. 3, pp. 226–9.
709:in the reign of Elizabeth; he had been with the
1872:The Cambridge Companion to Shakespeare on Stage
1869:Wells, Stanley and Sarah Stanton, eds. (2002).
1809:Newark, DE: University of Delaware Press, 2003.
1276:In 1633, the company had difficulties with Sir
1580:greater demand from Court in the Jacobean era.
1939:
435:and the Beaumont and Fletcher collaboration
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731:; he received a legacy in the 1603 will of
1946:
1932:
1233:When the King's Men premiered Massinger's
804:and stability in the company in this era.
781:and the Fletcher/Massinger collaborations
651:assuming greater prominence in the 1630s.
139:, they became the King's Men in 1603 when
1915:CS1 maint: multiple names: authors list (
1875:. Cambridge: Cambridge University Press.
1832:4 Volumes, Oxford: Clarendon Press, 1923.
1215:, had long had his own troupe of actors,
106:Learn how and when to remove this message
189:
1953:
1865:New Haven: Yale University Press, 1927.
1673:; the Beaumont and Fletcher plays were
1639:the Shakespearean plays performed were
1327:On 7 April 1634, the King's Men played
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1842:Oxford: Oxford University Press, 1996.
1461:closing of all theatres on 2 September
797:Around 1621, the King's Men performed
2698:Complete Works of William Shakespeare
1927:
1868:
1566:
1014:The Fletcher/Massinger collaboration
748:William Herbert, 3rd Earl of Pembroke
3104:Organizations disestablished in 1642
1840:The Shakespearian Playing Companies.
1352:Philip Herbert, 4th Earl of Pembroke
1110:Sometime in 1623, the veteran clown
711:Admiral's/Prince Henry's/Palsgrave's
44:adding citations to reliable sources
15:
3058:
1725:A Bad Beginning Makes a Good Ending
1291:Fletcher's sequel to Shakespeare's
13:
2873:Shakespeare's influence on Tolkien
1856:A Shakespeare Companion 1564–1964.
1847:The Shakespearean Stage 1574–1642.
421:second Beaumont and Fletcher folio
14:
3125:
3099:Organizations established in 1603
3094:1642 disestablishments in England
1346:Robert Benfield, appealed to the
55:"King's Men" playing company
3057:
3048:
3047:
2401:
1814:The Jacobean and Caroline Stage.
127:was the acting company to which
20:
1787:
1778:
1765:
1756:
1743:
1701:the other plays performed were
31:needs additional citations for
3089:1603 establishments in England
2878:Works titled after Shakespeare
1730:
1629:
1620:
1611:
1598:
1584:
1572:
1547:
1:
3038:Shakespeare and other authors
1799:
1320:before the King and Queen at
445:
3084:King's Men (playing company)
2920:Shakespeare Birthplace Trust
1784:Chambers, Vol. 3, pp. 253–4.
1709:, and four anonymous works,
1541:
1442:
1409:. All five were veterans of
7:
2726:English Renaissance theatre
2569:The Second Maiden's Tragedy
2548:The Merry Devil of Edmonton
2080:The Two Gentlemen of Verona
1712:The Merry Devil of Edmonton
1177:without a license from the
1155:Robert Gough died in 1624.
368:The Second Maiden's Tragedy
10:
3130:
2894:Folger Shakespeare Library
2440:The Phoenix and the Turtle
2030:The Merry Wives of Windsor
1557:(Edinburgh, 2022), p. 172.
1135:
658:
341:was performed; apart from
330:
200:
193:
3032:
2943:
2913:Royal Shakespeare Theatre
2908:Royal Shakespeare Company
2815:
2672:
2643:
2472:
2463:
2410:
2399:
2331:
2303:
2194:
2104:
2037:A Midsummer Night's Dream
1981:All's Well That Ends Well
1970:
1961:
1858:Baltimore: Penguin, 1964.
1762:Halliday, pp. 86 and 144.
1617:Chambers, Vol. 2, p. 216.
1413:; and all five were made
784:The Custom of the Country
294:Admiral's/Palsgrave's Men
2051:Pericles, Prince of Tyre
790:The Little French Lawyer
756:John van Olden Barnavelt
405:to King James' daughter
365:. Their connection with
2059:The Taming of the Shrew
1314:The Taming of the Shrew
1294:The Taming of the Shrew
1124:, a leading actor from
762:The Humorous Lieutenant
323:, both veterans of the
2741:Lord Chamberlain's Men
2652:The Passionate Pilgrim
2425:comparison to Petrarch
2044:Much Ado About Nothing
2023:The Merchant of Venice
1830:The Elizabethan Stage.
412:Much Ado About Nothing
325:Children of the Chapel
133:Lord Chamberlain's Men
2931:Shakespeare Institute
2900:Shakespeare Quarterly
2419:Shakespeare's sonnets
2087:The Two Noble Kinsmen
1475:Beaumont and Fletcher
1415:Grooms of the Chamber
1411:Queen Henrietta's Men
1271:The Duchess of Malfi,
1228:Queen Henrietta's Men
1208:the wardrobe keeper.
728:The Seven Deadly Sins
707:Queen Elizabeth's Men
671:Beaumont and Fletcher
611:On 29 June 1613, the
190:Chronologically typed
184:Grooms of the Chamber
2787:Spelling of his name
2627:Vortigern and Rowena
2605:Thomas Lord Cromwell
2185:Troilus and Cressida
2115:Antony and Cleopatra
2009:Love's Labour's Lost
1995:The Comedy of Errors
1819:Cook, Ann Jennalie.
1773:Shakespearean Stage,
1738:Shakespearean Stage,
1667:. Jonson's play was
1663:, and both parts of
1606:Shakespearean Stage,
1593:Shakespearean Stage,
1341:In the early 1630s,
1282:Master of the Revels
1217:Prince Charles's Men
1194:Master of the Revels
1179:Master of the Revels
1150:Prince Charles's Men
1146:Lady Elizabeth's Men
1024:on 22 June 1622. On
1022:Master of the Revels
1020:was licensed by the
800:The Duchess of Malfi
744:Prince Charles's Men
392:The Rape of Lucrece.
196:King's Men personnel
135:during the reign of
40:improve this article
3109:William Shakespeare
3011:Richard Shakespeare
2993:Gilbert Shakespeare
2925:Shakespeare's Globe
2830:Authorship question
2825:Attribution studies
2792:Stratford-upon-Avon
2634:A Yorkshire Tragedy
2612:Thomas of Woodstock
2598:The Spanish Tragedy
2539:Love's Labour's Won
2531:The London Prodigal
2488:The Birth of Merlin
2447:The Rape of Lucrece
2433:A Lover's Complaint
2313:Quarto publications
2016:Measure for Measure
1955:William Shakespeare
1861:Oliphant, E. H. C.
1749:Ann Jennalie Cook,
1553:David M. Bergeron,
1379:Sir John Suckling's
1174:The Spanish Viceroy
666:The Knight of Malta
415:twice), one by Jon
396:Christopher Beeston
254:Blackfriars Theatre
236:Christopher Beeston
152:William Shakespeare
129:William Shakespeare
3005:Edmund Shakespeare
2963:Hamnet Shakespeare
2860:Screen adaptations
2583:Sir John Oldcastle
2481:Arden of Faversham
1908:has generic name (
1805:Aaron, Melissa D.
1717:The Twins' Tragedy
1688:A King and No King
1676:The Maid's Tragedy
1536:Restoration comedy
1512:Andrew Pennycuicke
1459:, and ordered the
1371:William Cartwright
1322:St. James's Palace
1085:William Ecclestone
1031:The Spanish Curate
634:William Ecclestone
579:William Ecclestone
407:Princess Elizabeth
343:Richard Robinson's
160:Augustine Phillips
3071:
3070:
2975:Elizabeth Barnard
2939:
2938:
2668:
2667:
2397:
2396:
2095:The Winter's Tale
1721:The Knot of Fools
1654:The Winter's Tale
1457:English Civil War
1427:in 1641, and his
1318:The Woman's Prize
1306:The Woman's Prize
1300:The Scornful Lady
1287:The Woman's Prize
1267:Stephen Hammerton
1107:, and John Rice.
1026:St. Stephen's Day
1004:
1003:
742:transferred from
615:burned down, its
609:
608:
356:The Winter's Tale
335:In 1611 Jonson's
148:Lawrence Fletcher
137:Queen Elizabeth I
116:
115:
108:
90:
3121:
3061:
3060:
3051:
3050:
2999:Joan Shakespeare
2981:John Shakespeare
2884:
2883:
2865:Shakespeare and
2576:Sejanus His Fall
2543:
2503:Double Falsehood
2470:
2469:
2454:Venus and Adonis
2405:
2178:Titus Andronicus
2164:Romeo and Juliet
1968:
1967:
1948:
1941:
1934:
1925:
1924:
1920:
1913:
1907:
1903:
1901:
1893:
1891:
1889:
1794:
1791:
1785:
1782:
1776:
1769:
1763:
1760:
1754:
1747:
1741:
1734:
1728:
1633:
1627:
1624:
1618:
1615:
1609:
1602:
1596:
1588:
1582:
1576:
1570:
1564:
1558:
1551:
1436:The Court Secret
1348:Lord Chamberlain
1343:William Heminges
1190:Lord Chamberlain
1126:Queen Anne's Men
1101:Richard Robinson
863:Richard Robinson
807:
806:
649:Philip Massinger
595:Richard Robinson
444:
443:
403:Elector Palatine
380:Queen Anne's Men
258:Cuthbert Burbage
111:
104:
100:
97:
91:
89:
48:
24:
16:
3129:
3128:
3124:
3123:
3122:
3120:
3119:
3118:
3074:
3073:
3072:
3067:
3028:
2977:(granddaughter)
2935:
2882:
2811:
2777:Religious views
2755:Curtain Theatre
2676:
2664:
2639:
2590:Sir Thomas More
2536:
2510:Edmund Ironside
2459:
2406:
2393:
2367:Ghost character
2327:
2299:
2190:
2171:Timon of Athens
2100:
1957:
1952:
1914:
1905:
1904:
1895:
1894:
1887:
1885:
1883:
1853:Halliday, F. E.
1827:Chambers, E. K.
1812:Bentley, G. E.
1802:
1797:
1792:
1788:
1783:
1779:
1770:
1766:
1761:
1757:
1748:
1744:
1735:
1731:
1635:In addition to
1634:
1630:
1625:
1621:
1616:
1612:
1603:
1599:
1589:
1585:
1577:
1573:
1565:
1561:
1552:
1548:
1544:
1525:Although a new
1508:Alexander Gough
1479:Theophilus Bird
1445:
1407:William Robbins
1395:Theophilus Bird
1375:The Royal Slave
1367:Henrietta Maria
1265:The boy player
1236:The Roman Actor
1224:Richard Perkins
1164:A Game at Chess
1142:Eliard Swanston
1138:
1122:Richard Perkins
1117:A Game at Chess
1093:Robert Benfield
1081:Nicholas Tooley
1065:Samuel Gilburne
1061:Alexander Cooke
997:Robert Pallant
907:Nicholas Tooley
880:Robert Benfield
826:Richard Burbage
661:
638:Robert Benfield
563:Nicholas Tooley
531:Alexander Cooke
467:Richard Burbage
333:
228:Nicholas Tooley
224:Alexander Cooke
203:
198:
192:
156:Richard Burbage
119:
112:
101:
95:
92:
49:
47:
37:
25:
12:
11:
5:
3127:
3117:
3116:
3114:James VI and I
3111:
3106:
3101:
3096:
3091:
3086:
3069:
3068:
3066:
3065:
3055:
3044:
3043:
3040:
3033:
3030:
3029:
3027:
3026:
3020:
3014:
3008:
3002:
2996:
2990:
2984:
2978:
2972:
2966:
2960:
2954:
2947:
2945:
2941:
2940:
2937:
2936:
2934:
2933:
2928:
2922:
2917:
2916:
2915:
2905:
2904:
2903:
2890:
2888:
2881:
2880:
2875:
2870:
2862:
2857:
2852:
2847:
2842:
2837:
2832:
2827:
2821:
2819:
2813:
2812:
2810:
2809:
2804:
2799:
2794:
2789:
2784:
2779:
2774:
2769:
2764:
2759:
2758:
2757:
2752:
2738:
2733:
2728:
2723:
2718:
2716:Collaborations
2713:
2708:
2707:
2706:
2701:
2689:
2683:
2681:
2670:
2669:
2666:
2665:
2663:
2662:
2655:
2647:
2645:
2641:
2640:
2638:
2637:
2630:
2623:
2615:
2608:
2601:
2594:
2586:
2579:
2572:
2565:
2558:
2551:
2544:
2534:
2527:
2520:
2513:
2506:
2499:
2491:
2484:
2476:
2474:
2467:
2461:
2460:
2458:
2457:
2450:
2443:
2436:
2429:
2428:
2427:
2414:
2412:
2408:
2407:
2400:
2398:
2395:
2394:
2392:
2391:
2386:
2381:
2376:
2371:
2370:
2369:
2364:
2359:
2351:
2346:
2341:
2335:
2333:
2329:
2328:
2326:
2325:
2320:
2315:
2309:
2307:
2305:Early editions
2301:
2300:
2298:
2297:
2289:
2282:
2281:
2280:
2273:
2266:
2251:
2244:
2243:
2242:
2235:
2223:
2216:
2208:
2200:
2198:
2192:
2191:
2189:
2188:
2181:
2174:
2167:
2160:
2153:
2146:
2139:
2132:
2125:
2118:
2110:
2108:
2102:
2101:
2099:
2098:
2091:
2083:
2076:
2069:
2062:
2055:
2047:
2040:
2033:
2026:
2019:
2012:
2005:
1998:
1991:
1988:As You Like It
1984:
1976:
1974:
1965:
1959:
1958:
1951:
1950:
1943:
1936:
1928:
1922:
1921:
1882:978-0521797115
1881:
1866:
1859:
1850:
1845:Gurr, Andrew.
1843:
1833:
1824:
1817:
1810:
1801:
1798:
1796:
1795:
1793:Aaron, p. 159.
1786:
1777:
1764:
1755:
1742:
1729:
1703:Cyril Tourneur
1628:
1619:
1610:
1597:
1583:
1571:
1559:
1545:
1543:
1540:
1527:King's Company
1444:
1441:
1399:Michael Bowyer
1334:Bussy D'Ambois
1329:George Chapman
1222:Also in 1625,
1137:
1134:
1112:William Rowley
1077:John Underwood
1069:William Ostler
1017:The Sea Voyage
1002:
1001:
998:
995:
988:
987:
984:
982:Robert Pallant
979:
973:
972:
969:
964:
958:
957:
954:
952:Richard Sharpe
949:
943:
942:
939:
937:Thomas Pollard
934:
928:
927:
924:
919:
913:
912:
909:
904:
898:
897:
894:
892:John Underwood
889:
883:
882:
877:
875:William Ostler
872:
866:
865:
860:
855:
849:
848:
845:
840:
834:
833:
828:
823:
817:
816:
813:
810:
719:Thomas Pollard
703:Pembroke's Men
686:Bussy D'Ambois
681:George Chapman
660:
657:
607:
606:
603:
600:
597:
591:
590:
587:
584:
581:
575:
574:
571:
568:
565:
559:
558:
555:
552:
549:
547:John Underwood
543:
542:
539:
536:
533:
527:
526:
523:
520:
517:
511:
510:
507:
504:
501:
499:William Ostler
495:
494:
491:
488:
485:
479:
478:
475:
472:
469:
463:
462:
457:
452:
447:
388:The Silver Age
384:Thomas Heywood
332:
329:
321:William Ostler
317:John Underwood
202:
199:
194:Main article:
191:
188:
180:Richard Cowley
117:
114:
113:
28:
26:
19:
9:
6:
4:
3:
2:
3126:
3115:
3112:
3110:
3107:
3105:
3102:
3100:
3097:
3095:
3092:
3090:
3087:
3085:
3082:
3081:
3079:
3064:
3056:
3054:
3046:
3045:
3041:
3039:
3035:
3034:
3031:
3024:
3023:Thomas Quiney
3021:
3018:
3015:
3013:(grandfather)
3012:
3009:
3006:
3003:
3000:
2997:
2994:
2991:
2988:
2985:
2982:
2979:
2976:
2973:
2970:
2969:Judith Quiney
2967:
2964:
2961:
2958:
2955:
2952:
2951:Anne Hathaway
2949:
2948:
2946:
2942:
2932:
2929:
2926:
2923:
2921:
2918:
2914:
2911:
2910:
2909:
2906:
2902:
2901:
2897:
2896:
2895:
2892:
2891:
2889:
2885:
2879:
2876:
2874:
2871:
2869:
2868:
2863:
2861:
2858:
2856:
2853:
2851:
2848:
2846:
2843:
2841:
2838:
2836:
2833:
2831:
2828:
2826:
2823:
2822:
2820:
2818:
2814:
2808:
2805:
2803:
2800:
2798:
2795:
2793:
2790:
2788:
2785:
2783:
2780:
2778:
2775:
2773:
2770:
2768:
2765:
2763:
2760:
2756:
2753:
2751:
2748:
2747:
2746:
2742:
2739:
2737:
2734:
2732:
2731:Globe Theatre
2729:
2727:
2724:
2722:
2719:
2717:
2714:
2712:
2709:
2705:
2702:
2700:
2699:
2695:
2694:
2693:
2690:
2688:
2685:
2684:
2682:
2680:
2675:
2671:
2661:
2660:
2656:
2654:
2653:
2649:
2648:
2646:
2642:
2636:
2635:
2631:
2629:
2628:
2624:
2621:
2620:
2616:
2614:
2613:
2609:
2607:
2606:
2602:
2600:
2599:
2595:
2592:
2591:
2587:
2585:
2584:
2580:
2578:
2577:
2573:
2571:
2570:
2566:
2564:
2563:
2559:
2557:
2556:
2552:
2550:
2549:
2545:
2541:
2540:
2535:
2533:
2532:
2528:
2526:
2525:
2521:
2519:
2518:
2514:
2512:
2511:
2507:
2505:
2504:
2500:
2497:
2496:
2492:
2490:
2489:
2485:
2483:
2482:
2478:
2477:
2475:
2471:
2468:
2466:
2462:
2456:
2455:
2451:
2449:
2448:
2444:
2442:
2441:
2437:
2435:
2434:
2430:
2426:
2423:
2422:
2421:
2420:
2416:
2415:
2413:
2409:
2404:
2390:
2387:
2385:
2382:
2380:
2377:
2375:
2372:
2368:
2365:
2363:
2360:
2358:
2355:
2354:
2352:
2350:
2347:
2345:
2344:Late romances
2342:
2340:
2339:Problem plays
2337:
2336:
2334:
2330:
2324:
2321:
2319:
2316:
2314:
2311:
2310:
2308:
2306:
2302:
2295:
2294:
2290:
2288:
2287:
2283:
2279:
2278:
2274:
2272:
2271:
2267:
2264:
2263:
2259:
2258:
2257:
2256:
2252:
2250:
2249:
2245:
2241:
2240:
2236:
2234:
2233:
2229:
2228:
2227:
2224:
2222:
2221:
2217:
2214:
2213:
2209:
2207:
2206:
2202:
2201:
2199:
2197:
2193:
2187:
2186:
2182:
2180:
2179:
2175:
2173:
2172:
2168:
2166:
2165:
2161:
2159:
2158:
2154:
2152:
2151:
2147:
2145:
2144:
2140:
2138:
2137:
2136:Julius Caesar
2133:
2131:
2130:
2126:
2124:
2123:
2119:
2117:
2116:
2112:
2111:
2109:
2107:
2103:
2097:
2096:
2092:
2089:
2088:
2084:
2082:
2081:
2077:
2075:
2074:
2073:Twelfth Night
2070:
2068:
2067:
2063:
2061:
2060:
2056:
2053:
2052:
2048:
2046:
2045:
2041:
2039:
2038:
2034:
2032:
2031:
2027:
2025:
2024:
2020:
2018:
2017:
2013:
2011:
2010:
2006:
2004:
2003:
1999:
1997:
1996:
1992:
1990:
1989:
1985:
1983:
1982:
1978:
1977:
1975:
1973:
1969:
1966:
1964:
1960:
1956:
1949:
1944:
1942:
1937:
1935:
1930:
1929:
1926:
1918:
1911:
1899:
1884:
1878:
1874:
1873:
1867:
1864:
1860:
1857:
1854:
1851:
1848:
1844:
1841:
1837:
1834:
1831:
1828:
1825:
1822:
1818:
1815:
1811:
1808:
1804:
1803:
1790:
1781:
1774:
1768:
1759:
1752:
1746:
1739:
1733:
1726:
1722:
1718:
1714:
1713:
1708:
1705:'s lost play
1704:
1700:
1696:
1695:
1690:
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96:November 2021
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29:This article
27:
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3025:(son-in-law)
3019:(son-in-law)
2957:Susanna Hall
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2704:Translations
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2692:Bibliography
2659:To the Queen
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2323:Second Folio
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1886:. Retrieved
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38:Please help
33:verification
30:
3063:WikiProject
2750:The Theatre
2736:Handwriting
2562:The Puritan
2353:Characters
2318:First Folio
2286:Richard III
2066:The Tempest
1888:17 November
1682:The Captain
1648:The Tempest
1494:Walter Clun
1465:Restoration
1430:The Sisters
1206:John Rhodes
1160:Middleton's
1045:Thomas Pope
733:Thomas Pope
617:thatch roof
460:Valentinian
438:The Captain
432:Valentinian
362:The Tempest
262:Henry Evans
172:William Sly
3078:Categories
2987:Mary Arden
2971:(daughter)
2959:(daughter)
2835:Bardolatry
2745:King's Men
2687:Birthplace
2374:Chronology
2293:Henry VIII
2220:Richard II
2212:Edward III
2122:Coriolanus
1800:References
1753:pp. 120–1.
1567:Wells 2002
1516:stationers
1483:Hugh Clark
1453:Parliament
1447:1642: the
1403:Hugh Clark
1377:(1636) or
1105:John Shank
1053:John Lowin
1035:at Court.
843:John Lowin
695:John Shank
676:boy actors
626:Henry VIII
515:John Lowin
220:John Lowin
208:Ben Jonson
125:King's Men
66:newspapers
3017:John Hall
3007:(brother)
2995:(brother)
2927:(replica)
2867:Star Trek
2855:Memorials
2850:Influence
2840:Festivals
2782:Sexuality
2772:Portraits
2767:New Place
2619:Ur-Hamlet
2555:Mucedorus
2465:Apocrypha
2205:King John
2196:Histories
2143:King Lear
2106:Tragedies
2002:Cymbeline
1898:cite book
1775:pp. 70–1.
1699:Cardenio,
1694:Philaster
1637:Much Ado,
1542:Footnotes
1532:Louis XIV
1467:in 1660.
1443:Aftermath
1213:Charles I
1144:left the
922:John Rice
902:Forobosco
821:Ferdinand
770:John Rice
245:King Lear
212:Elizabeth
3053:Category
3001:(sister)
2989:(mother)
2983:(father)
2495:Cardenio
2384:Settings
2332:See also
2255:Henry VI
2226:Henry IV
1972:Comedies
1665:Henry IV
1449:Puritans
1250:£2900 13
1202:prompter
1130:Red Bull
1128:and the
962:Mistress
853:Cardinal
815:c. 1621
812:c. 1614
417:Cardenio
338:Catiline
2845:Gardens
2721:Editors
2524:Locrine
2517:Fair Em
2349:Henriad
2248:Henry V
2157:Othello
2150:Macbeth
1642:Othello
1595:p. 117.
1514:became
1383:Aglaura
1369:, like
1192:or the
1136:To 1642
994:, etc.
977:Cariola
947:Duchess
917:Pescara
870:Antonio
659:To 1623
455:Bonduca
426:Bonduca
347:Sejanus
331:To 1616
312:Sejanus
306:Othello
216:sharers
201:To 1610
80:scholar
3042:† Lost
2953:(wife)
2944:Family
2817:Legacy
2389:Scenes
2129:Hamlet
1879:
1771:Gurr,
1740:p. 61.
1736:Gurr,
1723:, and
1691:, and
1608:p. 12.
1604:Gurr,
1405:, and
1350:(then
1280:, the
1140:1624:
1008:Madmen
992:Doctor
932:Silvio
838:Bosola
721:, and
621:squibs
280:. to 2
272:. to 6
226:, and
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2965:(son)
2807:Grave
2797:Style
2762:Music
2679:works
2644:Poems
2473:Plays
2411:Poems
1963:Plays
1000:same
986:same
971:same
956:same
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911:same
896:same
887:Delio
847:same
87:JSTOR
73:books
2802:Will
2677:and
2674:Life
1917:link
1910:help
1890:2013
1877:ISBN
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2357:A–K
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