Abstract
Ernest L. Rhodes’ Henslowe’s Rose: The Stage and the Staging is the latest learned study of Elizabethan stagecraft for specialis ts interested in further speculation about the playhouses of Shakespeare and his contemporaries. And speculation it remains. Although Professor Rhodes has logically synthesized all available information to form his hypotheses concerning the appearance of the Rose Theatre, the characteristics of its stage, and how it was used, he has few surprising revelations. His precise reasoning is continually interrupted by qualifiers such as “I suggest”, “I believe that”, “It seems likely”, “I think”, “Apparently”, and “It may have been”. Of course no one really knows, and barring miraculous new discoveries, scholars must content themselves with cogent thoroughly-researched conjectures such as this. Like similar works on the Red Bull, the Globe, and Blackfriars, Henslowe’s Rose examines one playhouse in detail wisely avoiding the necessity of generalizing from the particular.
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