Cambridge University Press 978-1-107-19016-0 — Shakespeare's Two Playhouses Sarah Dustagheer Index More Information

Index

act breaks (intervals), 15, 117 Beaufort, Edmond, Duke of Somerset, 32 Act of Common Council 1574, 30, 38, 48, 50 Beaulieu refectory, 13 Agas Map of London, 35 Beaumont, Francis, 90, 134, 163 Alexander, Sam, 64 The Knight of the Burning Pestle, 76–77, 79, 82, Allen, Giles, 12, 21 84, 87–90, 95–98, 131, 134, 187 Allfree, Claire, 62 Beaumont, Francis and John Fletcher Anti-theatricality, 23, 52, 56, 59, 124, 126 Cupid’s Revenge, 28, 115, 132–134, 136–137, Antwerp, 102 145–148, 153, 155, 160, 171 Archer, Ian, 69, 129 Philaster., 117 Arterton, Gemma, 1 The Coxcomb, 131, 134 Astington, John, 38 The Faithful Shepherdess, 115 Audiences, 160 Bentley, G.E., 7, 116, 197 capacity at the Blackfriars, 19 Bermondsey, 69 capacity at the Globe, 25 Billington, Michael, 50 distraction at the Globe, 108 Blackfriars monastery, 12, 31–33, 70, 140, eﬀect of ‘crowd’ scenes at the Globe (ﬁrst and 176 modern), 50, 62–64, 168 nostalgia for, 142 gallants at the Blackfriars, 86–87, 90, 96, 121, Blackfriars playhouse, 3, 48, 58 125–126, 131–132, 135 acoustic properties of, 110–111 groundlings, 25, 60–63, 109, 121, 160 architectural features, 19 proximity to actors at the Blackfriars, as a ‘private’ space, 26, 42–49, 92, 118 86–90, 121 boxes, 18, 20 proximity to actors at the Sam Wanamaker building in which situated, 12 Playhouse, 89 built by James Burbage, 12 seated on the stage at the Blackfriars, 19–20, contract between James Burbage and Sir 86–87, 96, 131 William More, 13 seating and pricing at the Blackfriars, 18 cost of admission, 20 seating and pricing at the Globe, 25 decoration, 18, 126–128 social composition at the Blackfriars, 20, 47, 85 entry into, 13, 142 social composition at the Globe, 25 exterior, 13, 142 Austern, Linda-Phyllis, 113 history, design and main characteristics, 12–20 lighting, 2, 4, 6, 15, 123–138 Bachelard, Gaston, 3, 172 number of candles used, 17 Bacon, Francis, 18, 127, 130 number of galleries, 18 Baldo, Jonathan, 159 previously Parliament Hall, 13, 18, 33, 35, Bankside, 81 140–141, 157 Banqueting House, Whitehall, 14 roof, 13 Barnes, Barnabe shape, 14 The Devil’s Charter, 24, 105–108, 111, stage size, 19 115, 120 starting time of plays, 15 Bayer, Mark, 53, 69 windows, 15, 110

220

Index 221

Blackfriars playhouse, ﬁrst, 37–41, 43 chandeliers, 1, 15, 17, 126, 128 in contrast with second Blackfriars Chapman, George, 8, 46, 134 playhouse, 40 Bussy D’Ambois, 115, 120, 133–134, 137 repertory, 39 May Day, 45, 112, 134 Blackfriars precinct, 9, 12, 21, 26, 44, 49, 99, 147 Monsieur D’Olive, 113 as liberty of London, 12, 27, 68, 70–71, 79, 94 Sir Giles Goosecap, 19, 45, 112 as site of retail, 35, 70 The Gentleman Usher, 45–47, 112, 130, 134 history of, 28, 31–37, 140, 159 The Widow’s Tears, 20, 45, 112, 115, 134 Blackfriars’ residents’ 1596 petition, 20, 39–42, Tragedy of Byron, 112 44, 92, 111 Chapman, George, Ben Jonson and John Blesser, Barry, 110 Marston Bliss, Lee, 155 Eastward Ho!, 19, 74–75, 77, 79, 83–84, 89, 95, Blue Anchor tavern, 83, 89 132–134, 136 Bly, Mary, 5, 78 Cheapside, 74, 79 Brend, Nicholas, 21 Chester refectory, 13 Bridewell, 32, 35, 82, 84–85, 91 Cheyne, Sir Thomas, 33 Brixton, 98 Children of Paul’s, 38, 112 brothels, 21, 80, 84–85, 187 Children of the Chapel, 37–39, 42 Bryan, Sir Francis, 33 Children of the Queen’s Revels, 3, 170 Burbage, Cuthbert, 12, 20–21 closure of the Blackfriars playhouse, 25 Burbage, James, 12–13, 15, 18, 20–21, 34, 37, 40–41, Edward Kirkham, 128 46–47, 141 Henry Evans, 20, 42, 128–129, 146 Burbage, Richard, 12, 21, 25, 42 lack of ‘crowd’ scenes in plays, 56 Burgundy, Duke of, ‘John the Fearless’, 32 lack of sound eﬀects in plays, 111 Butler, Martin, 20 length of time playing at the Blackfriars, 9 material culture in plays, 5, 27, 124, 129–134, 138 Cake, Jonathan, 62 music in plays, 27, 110–115, 123, 138 Calder, David, 122 Reformation memories in plays, 28, 143–148 Camden Town, 98 rental of the Blackfriars playhouse, 20 Campeius, Cardinal, 157 representation of private space in plays, 31, candlelight, 1, 4–6, 10, 15, 17–18, 27, 101, 112, 123, 43–49 125–127, 129–131, 134–135, 146, 168 representation of urban space in plays, 27, at the Sam Wanamaker Playhouse, 1, 128 82–90, 98 Carey, George (Lord Hunsdon), 40–42 supernatural and otherwordly in plays, Carey, Henry (Lord Hunsdon), 41 113–116, 123 Carlson, Marvin, 54 city comedy, 78–81 Casey, Edward, 148, 165 City of London, 3, 12, 21, 27, 32, 53, 55, 57, 68–70, Cavalli, Francesco, 112 77, 79, 95, 99 Cawarden, Thomas, 34, 39, 49, 141 1608 charter with James I, 71, 74, 94 as Master of the Revels in the Blackfriars, 34–37 constables, 76–77 Cerasano, S. P., 124 representation in the Children of the Queen Certeau, Michel de, 3–4, 27, 67, 71, 82, 99 Revels’s repertory, 72–78 strategies and tactics, 77 walls, 27, 32, 68, 70, 72, 74, 78–79, 95 Chamberlain, Lord, 19, 40–41, 48 Clapp, Susannah, 63 Chamberlain’s Men, 20, 24, 52, See King’s Men Clerkenwell, 22, 24, 35, 82, 84 dismantling Theatre, 21 Clink, The, 69 Globe playhouse consortium, 21 Cobham, Lord, 33, 39, 48 leasing of land in Southwark and construction Collinson, Patrick, 141 of the Globe, 21 combined practices, 3, 6, 7–10, 66, 121 negotiations over the Theatre, 12 in Coriolanus, 10, 26, 59 purchase of rooms in the Blackfriars in Henry VIII, 10, 151–152 precinct, 12 in The Tempest, 10, 27, 101 renting Blackfriars playhouse to the Children Condell, Henry, 26 of the Queen’s Revels, 20 Connerton, Paul, 143, 147, 165 Chambers, E. K., 197 Cook, Ann-Jennalie, 20

222 Index

Coombe Park, 76, 79, 84, 89, 91 Feld, Steven, 121 cosmetics, 11, 123, 134, 137 Fetter Lane, 81 costumes, 5, 34–35, 37, 63, 88, 93, 101, 124, Fitzgeﬀrey, Henry, 18, 125, 132 128–129, 131, 133, 135, 146, 149, 162, 164 Flecknoe, Richard, 142 at the Blackfriars, 130–134 Fleet prison, 80 at the Globe, 134 Fletcher, John, 134, 145, 153, 155, 163, 171, See at the Sam Wanamaker Playhouse, 130 Beaumont, Francis and John Fletcher and Cotgrave, Randle, 50–51, 53 Shakespeare, William and John Fletcher, court performance, 7, 39, 45, 118, 128, 175 Henry VIII Cox, John, 152 The Tragedy of Valentinian, 6, 124, 136–138 Crust, Richard, 51 Florio, John, 50–51, 53 Crutched Friars, 141 Fortune playhouse, 22 Crystal, Ben, 109 Peter Streete contract, 22, 24 Cuckold’s Haven, 83 Foucault, Michel, 3, 9, 68 cultural memory, 11, 28, 142–143, 148, 158, 165–169 Cumbus, Philip, 109 Gager, William, 65 Curtain playhouse, 7, 103 Gair, Revealy, 78 Garner, Stanton B., 101 Daniels, Phil, 87 Garnon, James, 128 Davenant, William Gaveston, Piers, 32 The Wits, 15 Gil Harris, Jonathan, 105 Dawson, David, 1 Giles, Nathaniel, 112 Day, John, 145, 163 Gilman Sherman, Anita, 161 Law Tricks, 28, 113, 127, 144, 147, 153, 163 Glancey, Jonathan, 165 de Witt, Johannes, 22, 24 Globe playhouse, 3, 21 Dekker, Thomas, 15, 125–126, 131, 137 architectural features, 24 Blurt Master Constable, 39 as a ‘public’ space, 26, 54–59, 168 The Gull’s Hornbook, 19–20 decoration, 24 Dessen, Alan C., 10 exterior, 22 Dillon, Janette, 4, 72, 89, 157 ﬁre and destruction in 1613, 21, 28, 153, 163 discovery space, 19, 24 history, design and main characteristics, 21–26 Donaldson, Ian, 93 interior structure, 22 Donne, John, 31 Lords Rooms, 25 Drakakis, John, 10 size and shape, 22 Dromgoole, Dominic, 50, 62–63, 196 soundscape of, 102–110, 151 drums and trumpets, 111–112, 151–152 stage size, 24 Dryden, John, 116, 122 starting times of plays, 23 Dustagheer, Sarah, 197 symbolic vertical structure, 115–116, 123 upper gallery, 60–61 Edström, Per, 62 Globe playhouse, modern, 11, 26–28, 50, 59, 98, Edward I, 32–33, 70 99, 122, 163–169, See reconstructed Edward II, 32 playhouses Edward VI, 34 Antony and Cleopatra (1999), 110 Edwards, Richard, 112 Antony and Cleopatra (2006), 63 Egan, Gabriel, 164 Antony and Cleopatra (2014), 152 Eleanor, Queen of Edward I, 32 as a ‘public’ space, 63–65, 167–168 Elizabeth I, 18, 34, 37, 48, 53 Coriolanus (2006), 62, 64, 167 Emperor Charles V, 32 ‘Dousing of Shakespeare’s Globe’ 2010, 163, Escolme, Bridget, 57, 109 165, 168 Essex, Captain, 18 exposed timbers of exterior, 164–165 Essex, Lady, 18 Henry VIII (2010), 149, 151, 161, 163, 165, 168 Evans, Henry. See Children of the Queen’s Revels Holding Fire (2007), 63 Julius Caesar (1999), 60–61, 64, 167 Fair Maid of Bristow, The (Anonymous), 46, 79 Julius Caesar (2014), 62, 64, 152, 167 Farrant, Richard, 37, 39–40, 112 King Lear (2008), 121

Index 223

Macbeth (2010), 121 Jones, Gwilym, 104 Othello (2007), 110 Jones, Mark Lewis, 60 soundscape of, 109–110 Jones, Oliver, 13 The Frontline (2008), 63, 98–100 Jonson, Ben, 38, 43, 45–46, 92, 124, 126, 131, 171, The Merchant of Venice (2007), 109 See Chapman, George, Ben Jonson and The Tempest (2005), 121 John Marston, Eastward Ho! Titus Andronicus (2006), 63 Bartholomew Fair, 81 use of the yard as playing space, 63 Cynthia’s Revels, 15, 20, 31, 43–45, 47–48, 112, Globe playhouse, second, 21, 178 113, 123, 125–126, 129–130, 134, 137 Globe Research, 63 Every Man Out of His Humour, 24, 81 Gosson, Stephen, 23, 38 Poetaster, 45–46, 112, 115 Grantley, Darryl, 79 The Alchemist, 7, 9, 27, 67, 81, 86, 90–100, Graves, R. B., 13, 17, 131 161, 171 Great Wardrobe, 35, 37, 128–129, 130 The Alchemist (performance at Oxford Greene, John, 52 University), 91, 158 Greenfield, Jon, 128 The Devil Is an Ass, 19, 124–125, 136–138 Greenwich, 7 The Magnetic Lady, 15 Grey, Lady, 33 The New Inn, 126 Griffiths, Paul, 85 Volpone, 51, 80, 134 Guildford, Sir Richard, 33 Justices of Surrey, 69, 71 Guildhall, London, 13, 33 Gurr, Andrew, 5–6, 19–20, 116, 120, 164, 197 Karim-Cooper, Farah, 5, 11, 110, 134, 197 Katherine of Aragon, 13, 139, 144–145, 153, 156, Hall, Joseph, 101–102, 137 159, 163 Hampton Court Great Hall, 13 Kaye, Nick, 159 Harbage, Alfred, 197 Kear, Adrian, 159 Harcourt, John, 106 Kempe, William, 21 Hardwick Hall, 127 Kesson, Andy, 39 Harringworth, Lord Zouch of, 33 Killigrew, Henry Harrowing of Hell, The (Medieval Cycle The Conspiracy, 15 playlet), 106 King’s Men, 3, 170 Haynes, Jonathan, 131 Blackfriars playhouse consortium, 25 Hemmings, John, 21, 25 building of the second Globe, 21 Henrick, Robert, 91 length of time playing at the Blackfriars, 9 Henry VIII, 13, 32–34, 140, 144–145, 153, 156, 163 length of time playing at the Globe, 9 Henslowe, Philip, 21 material culture in plays, 6, 27, 124, 134–137 Heywood, Thomas, Apology for Actors, 55 music in plays, 114, 117, 119, 149, 152 Hobgood, Allison, 101, 176, 210 patronage of James I, 25, 42, 96 Holden, Anthony, 61 post-1609 repertory, 5–7, 10, 59, 117, 138, 171 Holinshed, Raphael, 140, 144, 153, 157–158 Reformation memories in plays, 28, 148–163 Hollar, Wenceslaus, 13, 22, 164 representation of public space in plays, 26, Hope playhouse, 81 54–59 Hounslow, 81 representation of urban space in plays, 27, Howard, Jean, 4, 84 90–100 Howell, James, 51 sound effects in plays, 27, 102–108, 122, 138 Hunnis, William, 37–38 supernatural and otherwordly in plays, 120, 123, 138 immersive theatre, 89 two venue arrangement, 3, 10, 26, 160 Ingram, William, 53 Kingsley-Smith, Jane, 146 Inns of Court, 7, 20, 32, 80 Kingston, Lady, 33, 41 Isle of Dogs, 83 Kingston, Sir William, 33 Ives, E. W, 154 Kirkham, Francis The Wits, 15, 127 James I, 25, 71, 73, 118, 160 Kirwan, Peter, 88 Johnson, Boris, 98 Knole House, 127

224 Index

Knowles, Ric, 9 McMullan, Gordon, 153 Knutson, Roslyn L., 5–6, 197 Menzer, Paul, 5, 10 Mermaid tavern, 82 Lady Elizabeth’s Men, 81 Merry Devil of Edmonton, The (Anonymous), Laoutaris, Chris, 41, 70 107, 111, 115 Larum for London, A (Anonymous), 24, 102–103, Middle Temple Hall, 7, 13 105, 107 Middleton, Thomas, 8, 38, 77, 85, 90, 124, Lefebvre, Henri, 3–4, 9, 26, 30, 37, 65, 175 133–134, 171 Leicester, Earl of, 38–39 The Lady’s Tragedy, 3, 124, 136–138, 173 Lennox, Duke of, 19 The Revenger’s Tragedy, 24, 46, 107, 112, Lenton, Francis, 126, 137 115, 120 Liberties of London, 67–72 Your Five Gallants, 46, 76, 79, 84, 86–87, Lindley, David, 118 89–90, 96–98, 112, 133–134, 136, 151 London Bridge, 73, 79 Mile End, 74, 77, 79 London Prodigal, The (Anonymous), 79 Minories, 141 Lord Mayor of London, 12, 21, 30, 32, 52–53, 68 Miola, Robert S., 55 ‘lost’ plays, 5–6 Mitre tavern, 81–82, 86–87, 89 ‘Clothe Breeches and Velvet Hose’, 135 Mock Tudor architecture, 165 ‘Stuhlweissenburg’, 105 Moorfields, 83 Louis XI, 32 More, Christopher, 33 Love, Catherine, 128 More, Sir William, 12–13, 37, 39 Low, Jennifer A., 47 Mullaney, Steven, 58, 68, 73, 78 Low, Setha M., 87 Munday, Anthony, 52 Ludgate, 12, 89 Munro, Ian, 57 Lyly, John, 39 Munro, Lucy, 5, 42, 58, 197 Campaspe, 39, 43 music, 27, 110–115, 117, 152, See Children of the Love’s Metamorphosis, 43 Queen’s Revels and King’s Men, music in Sappho and Phao, 39, 43 plays musicians, 20, 24, 112, 149, 179 MacIntyre, Jean, 133 Myhill, Nova, 47 MacLean, Sally-Beth, 5 Madden, John, Shakespeare in Love (1998), 64 Neill, Michael, 48 Manley, Lawrence, 5 Neville, Sir Henry, 37, 39 Mardock, James, 94 Newington, 69 Marston, John, 46, 77, 145, 163, See Chapman, Newington Butts, 7 George, Ben Jonson and John Marston, Nora, Pierre, 167 Eastward Ho! Norberg-Schulz, Christian, 116 Antonio and Mellida, 39 Northbrooke, John, 52 Sophonisba, 20, 27, 113–114, 115, 119 The Dutch Courtesan, 5, 18–19, 45–47, 75–76, O’Connor, Marion, 147 79, 82, 84, 112, 131, 134 Olivier, Laurence, Henry V (1941), 64 The Fawn, 28, 45, 47, 112–113, 144, 147, 153, 163 one-on-one theatre, 89 The Malcontent, 45–46, 112–113, 134, 137, 143, Orlin, Lena Cowen, 48 146–147, 153, 182 Orrell, John, 14–15, 25 What You Will, 39 Overbury, Thomas, 126, 137 masques, 112–113, 117–118, 128–130, 152 Oxford University, 7, 9, 91 Master of the Revels. See Cawarden, Thomas and Christ Church College, 18 Tilney, Edmund Oxford, Earl of, 43 Master of the Revels Office, 35, 37, 128–129 material culture. See Children of the Queen’s Parr, Sir William, 33 Revels and King’s Men, material culture Paul’s playhouse, 38–39, 43, 78, 152 in plays Pearce, Edward, 112 McAuley, Gay, 9 pearl(s) McLucas, Clifford, 158 as facial cosmetic, 134 McMillin, Scott, 5 as prop, 133–134, 136

Index 225

Peele, George ‘Concerts by Candlelight’, 112 The Arraignment of Paris, 39 interior, 127 Percivale, Richard, 50–51 intimacy of, 89 performance duality. See combined practices Julius Caesar (2014), 10, 112, 151 Performance Studies, 175 L’ Ormindo, co-production with Royal Opera Phillips, Augustine, 21 House (2015), 112 Platter, Thomas, 25 Measure for Measure (2014), 10 Pope, Thomas, 21 Richard II (2014), 10 Portinari, Sir John, 35 The Duchess of Malfi (2014), 1, 128, 130 Prescott, Paul, 164 The Knight of the Burning Pestle (2014), 87–89, 168 Price, Eoin, 38 Sanders, Eve Rachele, 57 Prior’s Hall Barn, 13 Sanders, Julie, 85 Priory of St. John, Clerkenwell, 35 Sapani, Danny, 60 Privy Council, 20, 33, 40, 53, 55, 57, 70, 140 Schneider, Rebecca, 169 props, 5, 19, 27, 34–35, 37, 46, 93, 101 Schoenbaum, Samuel, 197 at the Blackfriars, 136–137 Scholl, Andreas, 112 at the Globe, 134 Schwyzer, Philip, 142, 147 different use at the Globe and the Scragg, Leah, 43 Blackfriars, 135 Seng, Peter J., 117 prostitution, 80, 82–84 Serlio, Sebastiano, Archittetura, 15, 127 Prynne, William, 124 Serra, Richard, 157 Punchdrunk, 89 Shakespeare, William, 3–4, 8, 21, 25, 50, 55, 57, 59, Purcell, Stephen, 64 64–65, 145, 163, 167–168, 189 Puritans, 70 All’s Well That Ends Well, 104, 134–135 Antony and Cleopatra, 24, 51, 104–105, 111, Rainoldes, John, 65 114–115, 119 reconstructed playhouses, 10, 65, 99, 163–169 As You Like It, 24 Red Bull playhouse, 8 Coriolanus, 50, 54–59, 64, 80, 140 Reformation, 12–13, 28, 33, 67, 70, 165 Cymbeline, 120 effect on perceptions of space and landscape, Hamlet, 28, 46, 104, 108, 111, 115 141–142 Julius Caesar, 49, 54, 64, 80, 103–105, 111, effect on the Blackfriars precinct, 33–34 115, 120 representation in Children of the Queen’s King Lear, 105, 111 Revels plays, 143–148 Macbeth, 25, 105–108, 111, 114–115, 120 representation in King’s Men plays, 148–163 Measure for Measure, 80, 194 repertory, 4–5, 90 Othello, 24, 111 interactive relationship with theatre space, 6, 9 The Comedy of Errors, 156 revivals, 175 The Merchant of Venice, 51 Richards, Nathaniel, 126, 132 The Tempest, 2, 6, 59, 101, 116–123, 124, 135, 138, Richardson, Catherine, 197 140, 161 Ronayne, John, 24, 164 The Winter’s Tale, 120 Rose playhouse, 21–22 Timon of Athens, 46, 80, 112, 134 Royal Chancery (at the Blackfriars), 33 Titus Andronicus, 104 Royal Exchange, 73, 80–81, 129 Twelfth Night, 7, 111, 134 Ruffians’ Hall, Smithfield, 83 Shakespeare, William and George Wilkins Russell, Dowager Countess Elizabeth, 40, 70 Pericles, 25, 111, 114–115, 120 Rylance, Mark, 62, 110 Shakespeare, William and John Fletcher Henry VIII, 7, 59, 117, 120, 135, 143, 148–163, 171 Salisbury Court, 17 Shapiro, Michael, 39 Salter, Linda-Ruth, 110 Sharpham, Edward Sam Wanamaker Playhouse, 10–11, 27, 131, 168, The Fleer, 79, 84, 131 169, See reconstructed playhouses Shaughnessy, Robert, 59 acoustics of, 111 Shepherd, Jack, 64 Antony and Cleopatra (2014), 10, 112, 130, 151 Shirley, James As You Like It (2014), 10 The Doubtful Heir, 8, 19

226 Index

Shoreditch, 12, 22 thunder and lightning (stage effect), 103, 105, Site-specific performance, 143 107–108, 115, 119–121, 189 Sly, William, 26 Thurles, Lord, 18 Smallwood, R. L., 97 Tilney, Edmund, 35 Smith, Bruce R., 11, 102, 110, 152 tiring-house, 19, 22, 124, 129 Smith, Irwin, 13, 33, 197 trapdoors, 20, 25, 105, 115 Soame, Sir Stephen, 68 Tuan, Yi-Fu, 27 Southern, Richard, 24 Turnbull Street, 82, 84, 91 Southwark, 3, 21, 27, 71, 79, 81, 99 Turner, Cathy, 144, 158 as liberty of London, 69 Two Merry Milkmaids, The (Anonymous), 8, Maiden Lane, site of the Globe, 21 170 spatial turn, 3–4, 173 Spencer, Charles, 61, 162 van Buchell, Arend, 22 St Anne’s Parish (Blackfriars), 141 Van Es, Bart, 7 St Katharine’s dock, 83–84 Visscher, Cornelius de, 22 St Paul’s Cathedral, 32, 81 stage directions, 60, 103 Walker, Ché, 63, 98 Starkey, David, 32 Walsham, Alexandra, 142 States, Bert O., 110 Waltham Forest, 89 Stephens, John, 142 Wapping, 83 Stern, Tiffany, 126, 142 Webb, John, 15 Stettin-Pomerania, Duke of, 111 Webster, John, 1 Stoler Wagonheim, Sylvia, 197 The Duchess of Malfi, 1–2, 6 stools. See Audiences: seated on the stage The White Devil, 8 at the Blackfriars Weburgh Street Theatre, 8 Stow, John, 32, 140–141, 146, 163 Westcott, Sebastian, 38 Strand, The, 80 Westminster, 32 Streete, Peter, 21–22 Westminster Abbey, 32 Streitberger, W.R, 37 Westminster Hall, 13, 33 Stuart, Esme, 92 White, Martin, 17–18 Stubbes, Phillip, 52 Whitefriars playhouse, 78 Summit, Jennifer, 141 Whitehall, 7 sumptuary laws, 124 Wickham, Glynne, 106 Swan playhouse, 21–22 Wiggins, Martin, 197 Swan sketch (de Witt/van Buchell), 22 Wiles, David, 61, 65 Syme, Holger Schott, 12 Wilkie, Fiona, 143, 158 Wilkins, George Tallis, Thomas, 112 The Miseries of Enforced Marriage. See Taylor, William, 140 Shakespeare, William and George Wilkins, Thames, river, 3, 12, 80, 83, 89 Pericles Thatcher, Margaret, 64 Wilson, Bronwen, 51 Theatre playhouse, 7, 12, 21–22, 52, 103 Windsor, 37 discovery of remains in 2008, 22 Wolsey, Cardinal, 145, 156, 159 theatre space, 3, 65, 175 Woodrose, Lord Mayor of London, 52–53 as embodied and sensory environment, 10, 27, Worcester College drawings, 15, 18, 177 101, 176 Worthen, W. B., 64 definition, 3–4 Wotton, Sir Henry, 139, 151 interactive relationship with repertory, 6, 9 Wyatt, Sir Henry, 33 tradition of circular spaces, 62 Wycliffe, John, 140 Thomas Lord Cromwell (Anonymous), 79, 111 Thomas, Thomas, 51, 53–54 Yachnin, Paul, 51, 58