By Lucy Munro
Among 1603 and 1613, The Queen's Revels staged performs by means of Francis Beaumont, George Chapman, John Fletcher, Ben Jonson, John Marston and Thomas Middleton, all of whom have been at their so much leading edge whilst writing for this corporation. Combining theatre heritage and significant research, this learn offers a historical past of the kid's corporation, and an account in their repertory. It demonstrates the involvement in dramatic creation of dramatists, shareholders, buyers, audiences and actors alike, and reappraises matters equivalent to administration, functionality type and viewers composition.
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Among 1603 and 1613, The Queen's Revels staged performs by means of Francis Beaumont, George Chapman, John Fletcher, Ben Jonson, John Marston and Thomas Middleton, all of whom have been at their so much leading edge while writing for this corporation. Combining theatre historical past and demanding research, this examine presents a historical past of the kid's corporation, and an account in their repertory.
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Additional resources for Children of the Queen's Revels: A Jacobean Theatre Repertory
71 As a haberdasher, Kendall was particularly useful to a theatre company, as costumes were a major expense. An expensive costume could cost far more than the play text itself, and costumes may have been an even greater budgetary problem in the children’s companies, as the actors were constantly growing. The provision of ‘apparel’ is a constant theme in the lawsuits concerning the Queen’s Revels, and shareholders capitalised on their investment by renting clothes to other organisations. 73 Kendall also provided costumes for the Westminster School Christmas plays of 1605 and 1606.
128 In this way the Gray’s Inn connection also extends to Philip Rosseter, Campion’s friend and colleague. Patrons were also shared between Queen’s Revels dramatists and shareholders. 129 Marston and Fletcher shared the patronage of the Earl and Countess of Huntingdon. 131 In the first edition of The Faithful Shepherdess, Fletcher addresses dedicatory poems to three men: Sir Walter Aston, Sir William Skipwith and Sir Robert Townsend. 135 Townsend, ‘a mediatory figure between the Mermaid and Ashby’, was a patron of Jonson, receiving a copy of Sejanus with an autograph dedication: ‘The Testemony of my affection, & obseruance [.
151 It may not just have been the managers who took on apprentices. 152 The unreliability of the apprentice method, however, goes some way towards explaining why the company’s managers originally preferred to impress educated children. Although the name Children of the Queen’s Revels gives the impression that the actors were juveniles, in the Jacobean period the company was already moving away from the late Elizabethan children’s company model. 153 The fact that the oldest of the children were around fourteen is in line with evidence that male puberty was often assumed in early modern England to take place around this age.
Children of the Queen's Revels: A Jacobean Theatre Repertory by Lucy Munro