Philip Massinger's tragedy The Roman Actor, was first performed in 1626, as King James I's reign came to an end and his son Charles I acceded to the throne. Three years later, when the play was published, relations between the king and many in parliament and the country had worsened. The Roman Actor - until recently neglected in the theatre but regarded by many critics, and Massinger himself, as his finest play - explores the balance between private and public moralities, effectively condemns tyranny, and defends plays, anatomising both the theatre of power and the power of theatre. This new...

This work explores Restoration theatre practice and staging. It covers questions of contemporary playhouse design, verse and language, staging and rehearsal practices, and acting styles. The author relates the characteristics of Restoration theatre to the issues involved in staging the plays today and examines the history of the plays on the English stage from the 17th century to the present day. The book explores questions arising from reconstructions, with particular reference to the new Globe theatre, and includes discussion of plays such as The Duchess of Malfi and Tis Pity She's a Whore...

This introductory guide to one Shakespeare's most read and performedplays offers a scene-by-scene theatrically aware commentary, a brief history of the text and first performances, case studies of key performances and productions, a survey of film and TV adaptations, and a wide sampling of critical opinion and annotated further reading."

"To Catch the Conscience of the King" is set against the background of King Edward II's downfall and is told from the perspective of Brother Stephen, who, as the king's confessor, sets out to save the royal soul, but instead places his own in jeopardy.