Reviewed by: Early Modern Theatre and the Figure of Disability by Genevieve Love Lauren Coker Early Modern Theatre and the Figure of Disability. By Genevieve Love. Bloomsbury Arden Shakespeare, 2019. Cloth $110.00, Paper $29.95. 212 pages. Genevieve Love's Early Modern Theatre and the Figure of Disability offers a timely contribution to burgeoning conversations in early modern literary disability studies. Love acknowledges recent work on early modern disability, citing, for instance, Allison P. Hobgood and David Houston Wood's 2013 collection Recovering Disability in Early Modern England. However, her book departs from these works insofar as she is less concerned with the social construction of disability and more focused on disabled characters serving as meta-representational figures for theatricality, competing play texts, and historical movements. In this vein, Love's opening, "Introduction: Disability and/as theatricality," outlines a two-fold structure for the book instead of establishing an argument. The initial two chapters explore theatrical representation, while the latter two highlight issues of theatrical interpretation from text to the stage via depictions of physical disability, which Love deems a type of "theatrical meaning-making" (10). At first blush, the book's scope may seem ambitious; yet its four chapters and brief afterword posit how the prosthetic body can be interpreted—through metaphor and staged embodiment—in the early modern English theatre. The first chapter, "The Work of Standing and of Standing-For: Disability, Movement, Theatrical Personation in The Fair Maid of the Exchange," offers a compelling close reading of the anonymous play's central character, Cripple, and his reliance on crutches as prosthetic devices. In this chapter, Love calls readers' attention to the vexed verbs attached to Cripple—such as "stand" and "mount"—in that they ironically enable a character who epitomizes disability. Love teases out Cripple's character further, arguing that he becomes a meta-reflection of the play itself, and claiming, "Cripple is in the play because the play is a cripple" (55). In other words, for Love, the character embodies the play itself. Love also contends that an attempt to perform disability on stage extends to a larger problem of theatricality when an actor confronts a role, and Cripple's character elucidates this "refusal of likeness" in the impossibility of exact imitation (58). Indeed, theatre history and performance studies scholars may show particular interest in this chapter's consideration of staged attempts to embody Cripple, who demonstrates "prosthetic disabled embodiment" and thereby shows no discomfort with his crutches (68). Disability studies scholars and advocates frequently criticize stage and screen performances of disability in which actors and characters treat prostheses as burdensome accessories; Cripple, Love intimates, appropriates his crutches with ease. Chapter 2, "The Sound of Prosthetic Movement: Transnational and Temporal Analogy in A Larum for London," turns its focus toward the anonymously-authored [End Page 162] play's amputee soldier Stump, who relies on a wooden leg prosthetic. This chapter builds on existing scholarship that reads the play through historical and national lenses while emphasizing Stump's disabled identity. Love claims that Stump's name and prosthesis work as a symbolic link on stage between past and present and between geographic locations. Specifically, Love reads Stump's physicality as the metaphorical representation of the fluid relationship between the English and Dutch. This claim is fleshed out through another close reading—this time of the play's use of sound and motion, as well as thoughtful examination of the various denotations of "stump." The penultimate chapter, "'Faustus Has His Legge Again': Truncation and Prosthesis, Theatricality, and Bibliography in Doctor Faustus," addresses competing textual versions of Christopher Marlowe's play, underscoring scenes featuring decapitation and amputation discrepancies. Love proposes another meta-connection between the Doctor Faustus scenes and differing versions of the play text, claiming, "the recapitulation of theatrical figures of disability in biographical and critical discourse" are analogous (104). Indeed, conflicting moments of "dismemberment" in various versions of the play serve as metaphors for textual fragmentation in bibliographic studies. Love's final and arguably strongest chapter, "Richard's 'Giddy Footing': Degree of Difference and Cyclical Movement in Shakespeare's Richard III," offers a refreshing take on the much-studied historical-figure-turned-Shakespeare-villain with ambiguous...