Abstract
One of the most consistently overlooked topics in Elizabethan theatre history is the internal organization of the acting companies. Modern scholarship has considerably enlarged our knowledge of the public and private playhouses, and of certain aspects of acting and staging, but we remain woefully ignorant of the way in which the actors went about the actual business of producing their plays. Our ignorance in these matters is the more surprising in that a substantial amount of primary evidence relating to production management and finance has long been known to exist in the so-called ‘diary’ and papers of Philip Henslowe and Edward Alleyn. Whereas the relatively less accessible material relating to the theatres has been subjected to increasingly sophisticated analysis by various commentators in this century, Henslowe's diary remains a curiously neglected document.
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