A Jacobean Company and its Playhouse: The Queen's Servants at the Red Bull Theatre (c.1605–1619)

Cover
Half-title
Title page
Copyright information
Dedication
Dedication
Table of contents
List of illustrations
Acknowledgements
Note on transliteration
List of abbreviations
Introduction: The Red Bull playhouse, St John Street
Chapter 1 Elizabethan contexts for a Jacobean playhouse: Clerkenwell, East Anglia, the Strand and the Liberty ...
	Thomas Seckford and his almshouses
	Anne Bedingfeild, Eustace Bedingfeld, Francis Naylor and the Seckford Estate
	Anne Bedingfeild née Draper and her sixteenth-century family
	Repertoire 1 Eustace Bedingfeld and his Uncle Henry: the strange case of If You Know Not Me You Know Nobody, Part i
	The true story of Princess Elizabeth’s custody and Thomas Heywood’s play
Chapter 2 The earl of Worcester, the Essex circle, the Queen’s Servants and their playhouses (1589–1607)
	The earl of Worcester and the formation of the Queen’s Servants company
	Aaron Holland and Martin Slatiar
	New playhouse-ownership: Thomas Greene and Christopher Beeston
Chapter 3 Who were the Queen’s Servants? What was the Red Bull like?
	Thomas Heywood, actor and City dramatist
	Repertoire 2 The Foure Prentises of London and the Queen’s Servants’ civic cohesiveness
	The company at the Rose, 1602–1603
	A new start c. 1604: Thomas Greene, and all the Queen’s Servants’ theatres
	How big was the Red Bull playhouse? What was it like?
Chapter 4 The court and its women: Queen Anna, her circle and some women-centred plays
	Queen Anna of Denmark: her family and her culture
	Danish fireworks
	Queen Anna: made in Denmark, forged in Scotland
	Making new friends: Queen Anna’s English circle of women
	Queen Anna’s women-centred circle and the Red Bull’s plays for women
	The courtly woman and her awkward situation: the countess of Hertford and the Sowernam/Swetnam pamphlets
	Repertoire 3 Swetnam the Woman-Hater, Arraigned by Women
	(a) The pamphlet debate
	(b) The anonymous Red Bull play
	Swetnam for women, two kinds of court, and the cross-dressed plays of the Queen’s Servants’ repertoire
	Swetnam the Woman-Hater: the title-page
Chapter 5 Entities and splinter groups: the Queen’s Servants companies at the courts, in England and in Europe
	Song
	Repertoire 4 Thomas Heywood’s The Rape of Lucrece (London, 1608)
	The Queen’s Servants on tour – in England and Europe
		(i) English touring
	Robert Leigh
		(ii) European touring
Chapter 6 The company: 1605–1612
	Social mobility and northern playhouse audiences
	Repertoire 5 Greene’s Tu Quoque; or, The Cittie Gallant (London, 1614)
	The year 1612 and Greene the good clown
Chapter 7 The company: 1612–1619
	The year 1612 and Christopher Beeston
	Susan Greene’s 1612 claims and a succession of subsequent agreements
	Christopher Beeston, the Cockpit playhouse and further Susan Baskervile considerations
	Attitudes to Beeston after 1612
	Robert Leigh’s ‘leaving’ and changes for the Queen’s Servants
	Repertoire considerations, the Cockpit riot and Robert Leigh’s ‘return’
	Robert Leigh’s seven ‘young men’?
	The players up to 1622
	The Revels Players at the Red Bull and beyond
Conclusion:  St John’s Day at night
Select bibliography
	The National Archives, Kew
	London Metropolitan Archives
	Other manuscript sources
		British Library
		Cambridge University Archives
		College of Arms
		Dulwich College, London
		Essex Record Office, Chelmsford
		Gloucestershire Archives, Gloucester
		Guildhall Library
		Huntington Library, San Marino, California
		Islington Local History Centre, Finsbury Library, St John Street
		Kent History and Library Centre, Maidstone
		Lambeth Palace Library
		Oxburgh Hall, Norfolk
		Suffolk Record Office, Ipswich
		Surrey History Centre, Woking
		Westminster City Archives
	published works
Index