Abstract
The surviving theatrical “plot” of The Battle of Alcazar is usually dated 1598, on the authority of W. W. Greg. His argument deserves closer scrutiny than it has often received: having accurately identified the outer limits, any more precise dating required him to choose between two “impossible” things: either Edward Alleyn broke his retirement to appear in the revival or a female role was played by an adult actor. This paper contends that Greg made the wrong choice, and that the plot probably dates from 1601. It seeks to identify evidence of the revival in Henslowe’s records, and places it in the context of the commercial and artistic strategies of the Admiral’s Men season that year. The revival emerges as a contribution to two strands of the company’s repertory: its exploitation of popular Edward Alleyn vehicles and its themed sequence of Spanish plays.
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