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William Ingram: Introduction: Early Modern Theatre History: where we are now, how we got here, where we go next; Section A: Theatre Companies; 1: W.R. Streitberger: Adult Playing Companies to 1583; 2: Sally-Beth MacLean: Adult Playing Companies, 1583 to 1593; 3: Roslyn Knutson: Adult Playing Companies, 1593 to 1603; 4: Tom Rutter: Adult Playing Companies 1603 to 1613; 5: James Marino: Adult Playing Companies 1613 to 1625; 6: Martin Butler: Adult playing companies 1625 to 1642; 7: Michael Shapiro: Early (pre-1590) Boy Companies & their Acting Venues; 8: Mary Bly: The boy companies 1599-1613; Section B: London Playhouses; 9: David Kathman: Inn-yard Playhouses; 10: Gabriel Egan: The Theatre in Shoreditch, 1576-1599; 11: Andrew Gurr: Why the Globe is Famous; 12: Ralph Alan Cohen: The Most Convenient Place: The Second Blackfriars Theatre and Its Appeal; 13: Mark Bayer: The Red Bull Playhouse; 14: Frances Teague: The Phoenix and the Cockpit-in-Court Playhouses; Section C: Other Playing Spaces; 15: Suzanne Westfall: ’He who pays the piper calls the tune’: Household Entertainments; 16: Alan H. Nelson: The Universities and the Inns of Court; 17: Peter Greenfield: Touring; 18: . John H. Astington: Court theatre; 19: Anne Lancashire: London Street Theatre; Section D: Social Practices; 20: Alan Somerset: Not Just Sir Oliver Owlet: From Patrons to ’Patronage’ of Early Modern Theatre; 21: Richard Dutton: The Court, The Master of the Revels and The Players; 22: Susan Cerasano: Theatre Entrepreneurs and Theatrical Economics; 23: Ian W. Archer: The City of London and the Theatre; 24: David Kathman: Players, Livery Companies, and Apprentices; 25: Kathleen E. McLuskie: Materiality and the Market: the case of the Lady Elizabeth’s Men. The Lady Elizabeth’s Men and the challenge of theatre history; 26: Heather Hirschfeld: ’For the author’s credit’: Issues of Authorship in English Renaissance Drama; 27: Natasha Korda: Women in the Theatre; Section E: Evidence of Theatrical Practices; 28: Jacalyn Royce: Early Modern Naturalistic Acting: The Role of the Globe in the Development of Personation; 29: Tiffany Stern: Actors’ Parts; 30: Alan C. Dessen: Stage Directions and the Theatre Historian; 31: R. B. Graves: Lighting; 32: Lucy Munro: Music and sound; 33: Andrew Sofer: Properties; 34: Thomas Postlewait: Eyewitnesses to History: Visual Evidence for Theatre in Early Modern England; 35: Eva Griffith: Christopher Beeston, His Property and Properties; Composite Bibliography; Index

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