'Andrew Gurr has spent his career illuminating what he calls the 'dark penumbra' around every early modern play … Gurr's approach, which has influenced so much of the field, moves from specific pragmatic or historical questions ('were there three doors for players to enter the stage, or only two? What might the first players have done to cope with the Globe's two large structural pillars on the stage?') to the much broader 'whether the ear or the eye had priority in early modern theatre?' Elizabeth Scott-Baumann, The Times Literary Supplement
List of illustrations; Acknowledgements; Note on the text; 1. Introduction; 2. Henry Carey's peculiar letter; 3. Venues on the verges: London's theatre government between 1594 and 1614 ; 4. Three reluctant patrons and early Shakespeare; 5. The great divide of 1594; 6. The choice between plays and poems; 7. Accommodating the Revels Office; 8. The war of 1614–18: Jacobean absolutism, local authority, and a crisis of overproduction; 9. Metatheatre and the fear of playing; 10. Why was the Globe round?; 11. The general and the caviar: learned audiences in the early theatre; 12. Headless Coriolanus; 13. Rethinking Shylock; 14. Measure for Measure's hoods and masks: the Duke, Isabella, and liberty; 15. The transforming of Henry V; 16. Headgear as a paralinguistic signifier in King Lear; 'The cause is in my will': a bibliography.