Abstract
The cultural politics of professional theatre, its developing relationship with its audience and its interaction with élite culture raises the question of the extent to which the popular theatre was also implicated in a politics of opposition.1 Dekker’s use of millennial Protestant imagery, and his support for the poor and neglected in both his pamphlets and the passages in the plays which derive from them, have suggested to many critics2 that his work echoes the factional and class politics of a radical Protestant opposition. Heywood, too, has been connected to the tradition of drama which ‘appealed, if fleetingly and cautiously, to grievances about economic distress among craftsmen, the burdens of taxation, the exactions and extortions of courtiers, and the city rich’.3
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