This is a ground-breaking edition of three seventeenth-century plays that all engage in diverse and exciting ways with questions of gender and performance. The collection, edited by three pioneering scholars of elite female culture and early modern drama, makes the texts of three much-discussed plays - John Fletcher's The Wild-Goose Chase, James Shirley's The Bird in a Cage and Margaret Cavendish's The Convent of Pleasure - available together in a full scholarly edition for the first time. The Wild Goose Chase (1621) and The Bird in a Cage (1633) were both performed in the commercial London theatres in the Jacobean and Caroline periods respectively. The Convent of Pleasure (1668) is a so-called 'closet' drama, designed primarily for reading but drawing on a tradition of aristocratic theatricals. In a wide-ranging co-authored introduction to the volume, the editors explore the concerns of these playtexts in relation to contemporary debates surrounding popular festivity and anti-theatricalism, as well as the agency of elite female culture in the Stuart period and the emergence of the professional female actor in the Restoration. The volume will be an invaluable teaching and research tool for students and scholars of early modern drama, women's writing and performance studies more generally, as well as providing a rich sourcebook for the reader interested in seventeenth-century theatrical culture. -- .

The Family of Love charts a successful love intrigue between the cash-strapped Gerardine, and Maria, the sequestered niece of the mercenary Doctor Glister. Their romance unfolds against the dissection of two citizen marriages, the Glisters' and the Purges'. Mistress Purge attends Familist meetings independently, arousing her husband's suspicions about her marital fidelity. Two libertines, Lipsalve and Gudgeon, go in search of sex and solubility (freedom from constipation), receiving more than they bargain for in respect of the latter. This scholarly edition of Family of Love marks the first occasion on which the comedy is attributed to Lording Barry in print. It brings together literary and historical discussion with a thorough analysis of the play's disputed authorship. Tomlinson highlights Barry's rich vein of burlesque humour in a comedy that combines magic, a trunk, and a mock-court session with vigorous colloquial language. -- .

Women on Stage in Stuart Drama provides a 'prehistory' of the actress, filling an important gap in established accounts of how women came to perform in the Restoration theatre. Sophie Tomlinson uncovers and analyzes a revolution in theatrical discourse in response to the cultural innovations of two Stuart queens consort, Anna of Denmark and the French Henrietta Maria. Their appearances on stage in masques and pastoral drama engendered a new poetics of female performance which registered acting as a powerful means of self-determination for women. The pressure of cultural change is inscribed in a plethora of dramatic texts which explore the imaginative possibilities inspired by female acting. These include plays by the key royalist women writers Margaret Cavendish, Duchess of Newcastle, and Katherine Philips. The material explored by Tomlinson illustrates a fresh vision of theatrical femininity and encompasses an unusually sympathetic interest in questions of female liberty and selfhood.

Women on Stage in Stuart Drama provides a 'prehistory' of the actress, filling an important gap in established accounts of how women came to perform in the Restoration theatre. Sophie Tomlinson uncovers and analyzes a revolution in theatrical discourse in response to the cultural innovations of two Stuart queens consort, Anna of Denmark and the French Henrietta Maria. Their appearances on stage in masques and pastoral drama engendered a new poetics of female performance, which registered acting as a powerful means of self-determination for women. The pressure of cultural change is inscribed in a plethora of dramatic texts that explore the imaginative possibilities inspired by female acting. These include plays by the key royalist women writers Margaret Cavendish, Duchess of Newcastle, and Katherine Philips. The material explored by Tomlinson illustrates a fresh vision of theatrical femininity and encompasses an unusually sympathetic interest in questions of female liberty and selfhood.

Brings together three much-discussed seventeenth-century plays in an accessible and scholarly edition for the first time, allowing for comparative and contextual studies A substantial co-authored introduction addresses questions of elite female culture in the early modern period and the emergence of the professional female actor All three editors have an established reputation in the field of seventeenth-century scholarship, and have produced pioneering work on elite female culture and the stage The volume is innovative in terms of its attention to questions of gender and performance as they are staged and explored in seventeenth-century drama Offers varied examples of theatrical practice and performance while also considering lines of interaction and influence between the writers and plays discussed