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Early Theatre Essay Prizes 2015

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Early Theatre A Journal Associated with the Records of Early English Drama Editors Helen Ostovich (McMaster University) Melinda J. Gough (McMaster University) Associate Editors Erin E. Kelly (University of Victoria) Sarah E. Johnson (Royal Military College of Canada) Book Review Editor Peter Kirwan (University of Nottingham) Paleographer Patrick Gregory (REED) Editorial Board Gloria Betcher (Iowa State University) Pamela Allen Brown (University of Connecticut, Stamford) Richard Cave (Royal Holloway, University of London) Theresa Coletti (University of Maryland) John Craig (Simon Fraser University) JoAnna Dutka (University of Toronto) Garrett P.J. Epp (University of Alberta) Vanessa Harding (Birkbeck College, University of London) Alexandra Johnston (REED and University of Toronto) M.A. Katritzky (The Open University) Anne Lancashire (University of Toronto) Marion F. O’Connor (University of Kent) Jill Stevenson (Marymount Manhattan College) Suzanne Westfall (Lafayette College) Paul Yachnin (McGill University) This journal is a member of the Canadian Association of Learned Journals (CALJ) and the Council of Editors of Learned Journals . Subscription Information Early Theatre: A Journal Associated with the Records of Early English Drama (ET/ REED) is published twice a year in June and in December. Volumes in print for two years or more are now available through open access at http://earlytheatre. org. The complete journal is published online through ITER, where subscrib- ers also have access to the REED Newsletter from 1976 to 1997, when it ceased publication. We gratefully acknowledge the financial assistance provided by the Dean of Humanities and the department of English and Cultural Studies at McMaster University. Online Subscriptions Online access to Early Theatre is available via subscription through ITER: Gateway to the Middle Ages and Renaissance at http://www.itergateway .org/. Please contact Marian Cosic ([email protected]) for subscriptions and access. Print Subscriptions The print version of Early Theatre is available by subscription through Becker Associates. For subscriptions inquiries, please email journals@ beckerassociates .ca, call 416-538-1650, or fax 416-489-1713. To subscribe or renew online through our secure site, go to https://beckerassociates.ca/client/earlytheatre. Payments may be made by VISA, MASTERCARD, or AMEX, or by cheque or money order payable to Becker Associates. Subscriptions are due in advance of publi- cation. Current subscribers receive with the December issue an invoice for the following year. New subscribers should contact Becker Associates prior to the June issue if possible. Back Issues Requests for back volumes 2 to the current issue should be directed to Becker Associates as above. Please include your email address in all correspondence. ISSN 1206-9078 © Early Theatre Submissions Early Theatre welcomes research in medieval or early modern drama and the- atre history, rooted in the records and documents of England, Scotland, Ire- land, and Wales. We likewise encourage articles or notes on related materi- als either in Europe or in parts of the world where English or European travellers, traders, and colonizers observed performances by other peoples. Although we are primarily interested in the performance history of any art, entertainment, or festive occasion of the period, we also invite submissions of interpretive or literary discussions relating to the performances themselves. Contributions should be sent to our website http://earlytheatre.org. Manu- scripts of articles (preferably 6000–7500 words, although longer articles will be considered) and notes (300–5000 words) should be double-spaced throughout and conform to et/reed house style (see the Style Sheet on the Early Theatre website). Style guides for manuscript documents in early mod- ern English or Latin are also available online. If you quote from unpublished records or documents, you must supply photos or scans for checking by the REED paleographer. You must obtain permissions to publish for any illustrations, whether digital or photographic, that may be printed with an accepted article. All articles must be submitted electronically to the website as Word documents. We will not consider articles being simultaneously submitted elsewhere, nor will we print essays which are to appear in a book published within a year of scheduled publication by et/reed. Early Theatre uses double-blind peer review. We request that all authors remove identifying information from their manuscripts prior to submission. The website requires your email and postal addresses, abstract, and short biographical statement. All editorial correspondence should be addressed to the editors Helen Ostovich ([email protected]) and Melinda Gough ([email protected]). Contents Editorial 7 Announcement of essay prize-winners 9 Articles An Acoustical Approach to the Study of the Wagons of the York Mystery Plays: Structure and Orientation Mariana Lopez 11 ‘Here may we se a merveyl one’: Miracles and the Psalter in the N-Town ‘Marriage of Mary and Joseph’ Frank M. Napolitano 37 From Court to Playhouse and Back: Middleton’s Appropriation of the Masque Caroline Baird 57 ‘I will keep and character that name’: Dramatis Personae Lists in Early Modern Manuscript Plays Matteo Pangallo 87 Note ‘We have this day, expell’d our Men the Stage’: Dating the Prologue and Epilogue of The Parson’s Wedding Riki Miyoshi 119 Issues in Review Early Modern Women Theatre Makers Contributing Editor: Elizabeth Schafer 125 Introduction: Attending to Early Modern Women as Theatre Makers Elizabeth Schafer 125 Reproducing Iphigenia at Aulis Alison Findlay 133 Performing The Tragedy of Mariam and Constructing Stage History Ramona Wray 149 Daniel’s Cleopatra and Lady Anne Clifford: From a Jacobean Portrait to Modern Performance Yasmin Arshad, Helen Hackett, and Emma Whipday 167 A Performance Studies Approach to The Tragedy of Mariam Rebecca McCutcheon 187 Early Theatre 18.2 (2015), 7–10 DOI: http://dx.doi.org/10.12745/et.18.2.2726 Editorial As we announced in our June issue, this Early Theatre issue is the last that will appear in print. From this point forward, we will be an online-only jour- nal. This occasion is a momentous one in terms of how far the journal has come in its eighteen years of history. Our first three years were difficult in production terms, working with the now-defunct McMaster University Press, but we gained a superb cover design out of the experience. The first issue (1998) began what became a yearly and now much anticipated event: the Issues in Review section, a ser- ies of short essays offering a close study of a particular trending topic. And we achieved our first special issue (2000), The York Cycle Then and Now (co-edited by Alexandra Johnston and Helen Ostovich), based on the 1998 performance and colloquium at the University of Toronto (Victoria). That special issue was reprinted to meet demand for classroom copies. For our fourth issue (2001), we moved to join forces with the Centre for Renaissance and Reformation Studies and, with the assistance of its then director William Bowen, won our first Social Sciences and Humanities Research Board of Canada grant to support the journal, under the proviso that we move to two issues a year. We had already added a book review editor for volume 4 (Karen Bamford) and an associate editor (Gloria Betcher), who oversaw the uploading of the digital archive for the reed Newsletter, Early Theatre’s predecessor, and for the gradual online life of Early Theatre on Iter, soon to be followed by other online distributors disseminating our work. We now have a desirable string of such distributors (called ‘aggregators’ in the business), including our latest partnerships for worldwide circulation: JSTOR and Project Muse. Since volume 5 (2002), we have printed Book Reviews in the June issue, and Issues in Review in the December issue. As our readers may remember, Gloria also edited volume 6 (2003) as a special issue in two parts entitled Performance, Politics, and Culture in the Southwest of Britain, 1350–1642. By volume 9 (2006), Roberta Barker had taken over the job of book review editor and continued this work up to volume 13 (2010), when Peter Kirwan accepted the position. Luckily, Roberta has continued to stay on as a board member. We also featured another important special issue guest-edited by Mary Polito and Amy Scott in 14.2 (2015), Circles and Circuits: Drama and 7 8 Politics in the Midlands, followed swiftly by Peter Parolin’s special issue in 15.1 (2012), Access and Contestation: Women’s Performance in Early Modern England, Italy, France, and Spain. We have been through many publisher changes over the years, but have felt most settled with the growing Toronto-based company Becker Associates. Thanks to Adam Becker, the physical quality of the print journal improved, alongside the impressive quality of content we’ve been able to maintain, as this issue (among many) demonstrates. We have notable new work in medieval drama streaming in, thanks perhaps to the energy of our new board members Theresa Coletti and Jill Stevenson. This final paper issue includes a study of the acoustics of pageant wagons in York by Mariana Lopez, and a critical reading of N-Town’s apocryphal ‘Mar- riage of Mary and Joseph’ by Frank Napolitano. Early modern drama con- tinues to be a strong focus of this journal: this issue includes an argument about Middleton’s incorporation of court masque into his plays for London’s commercial theatres by Caroline Baird, and a striking bibliographical history of the appearance of dramatis personae lists in manuscript plays by Matteo Pangallo. Riki Miyoshi’s note addresses the longstanding uncertainty about whether the prologue and epilogue of Killigrew’s The Parson’s Wedding origin- ated with the 1664 performance or emerged with the play’s staging in 1672. Our imminent shift to solely online publication and distribution, begin- ning with 2016’s volume 19, will allow us to continue the tradition of pro- ducing a high-quality journal while adding several features.
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