The Business of Theatre in Caroline London: The Tamer Tamed and the King’s Men
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This paper delves into the relationships between the three divisions of the business of theatre associated with the 1633 King’s Men production of The Tamer Tamed. A connection between the revival and revision of Fletcher’s Jacobean text, The Tamer Tamed, and the preferences of the various types of audiences are shown as a reaction initiated by the playing troupe’s finances, stemming from a combination of public theatre performances, private theatre performances, and patronage. The moderating effect of censorship by the Master of Revels and the anti-Catholic leanings of London Puritans during Charles I’s reign are also interwoven into the discussion. To examine the business of theatre in this period, the roles of production, consumption, and supervision can be considered through the interactions of three distinct groups: producers (acting companies and playwrights), consumers (noble patrons and public audience), and supervisors (Master of Revels, court, and church).
Abstract
This paper delves into the relationships between the three divisions of the business of theatre associated with the 1633 King’s Men production of The Tamer Tamed. A connection between the revival and revision of Fletcher’s Jacobean text, The Tamer Tamed, and the preferences of the various types of audiences are shown as a reaction initiated by the playing troupe’s finances, stemming from a combination of public theatre performances, private theatre performances, and patronage. The moderating effect of censorship by the Master of Revels and the anti-Catholic leanings of London Puritans during Charles I’s reign are also interwoven into the discussion. To examine the business of theatre in this period, the roles of production, consumption, and supervision can be considered through the interactions of three distinct groups: producers (acting companies and playwrights), consumers (noble patrons and public audience), and supervisors (Master of Revels, court, and church).
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