Repertory Studies: An Annotated Bibliography

Under construction—a collation of repertory studies scholarship, paying specific attention to theatre companies in England and theoretical frameworks of ensemble-based decision-making.


Anonymous (Columbia Pictures 2011) feat. Thomas Dekker (Robert Emms), Christopher Marlowe (Trystan Gravelle), and Thomas Nashe (Tony Way).

Playing Companies, Boys

  • Austern, Linda Phyllis. Music in English Children’s Drama of the Later Renaissance. Gordon and Breach, 1992.
  • Bly, Mary. Queer Virgins and Virgin Queans on the Early Modern Stage. Oxford University Press, 2000.
  • Gair, W. Reavley. The Children of Paul’s: The Story of a Theatre Company, 1553-1608. Cambridge University Press, 1982.
  • Kathman, David. “Grocers, Goldsmiths, and Drapers: Freemen and Apprentices in the Elizabethan Theater.” Shakespeare Quarterly 55, no. 1 (2004): 1–49. 
  • Knutson, Roslyn L. “What If There Wasn’t a ‘Blackfriars Repertory’?” In Inside Shakespeare: Essays on the Blackfriars Stage, edited by Paul Menzer, 54–60. Susquehanna University Press, 2006.
  • McCarthy, Jeanne H. The Children’s Troupes and the Transformation of English Theater 1509-1608: Pedagogue, Playwrights, Playbooks, and Play-Boys. Studies in Performance and Early Modern Drama. Routledge, 2017.
  • Munro, Lucy. Children of the Queen’s Revels: A Jacobean Theatre Repertory. Cambridge University Press, 2005.
  • Roberts-Smith, Jennifer. “‘What Makes Thou upon a Stage?’: Child Actors, Royalist Publicity, and the Space of the Nation in the Queen’s Men’s True Tragedy of Richard the Third.” Early Theatre, Issues in Review, 15, no. 2 (2012): 192–205.
  • Shapiro, Michael. Children of the Revels: The Boy Companies of Shakespeare’s Time and Their Plays. Columbia University Press, 1977.

Playing Companies, Adult

Essay Collections & Special Issues

  • Hirschfeld, Heather Anne. “Collaboration: Sustained Partnerships.” In Thomas Middleton in Context, edited by Susan Gossett, 219–28. Cambridge University Press, 2011.
  • Kanelos, Peter, and Matt Kozusko. Thunder at a Playhouse: Essaying Shakespeare and the Early Modern Stage. Susquehanna University Press, 2010.
  • Knutson, Roslyn L. “Marlowe Reruns: Repertorial Commerce and Marlowe’s Plays in Revival.” In Marlowe’s Empery: Expanding His Critical Contexts, edited by Sara Munson Deats and Robert A. Logan. University of Delaware Press, 2002.
  • Knutson, Roslyn L. “What’s So Special about 1594?” Shakespeare Quarterly 61, no. 4 (2010): 449–67. 
  • McInnis, David, and Matthew Steggle, eds. Lost Plays in Shakespeare’s England. Early Modern Literature in History. Palgrave Macmillan, 2014.
  • McMillin, Scott. “Headnote: Reading the Elizabethan Acting Companies,” Reading the Elizabethan Acting Companies. Early Theatre 4 (2001): 111–15. 
  • Rutter, Tom. “Headnote: The Repertory-Based Approach,” Dramatists, Playing Companies, and Repertories. Early Theatre 13, no. 2 (2010): 121–32.
  • Tribble, Evelyn B., and Julie E. Cumming. “Distributed Cognition, Improvisation, and the Arts in Early Modern Europe.” In Distributed Cognition in Medieval and Renaissance Culture, vol. 2, edited by Michael Wheeler and Miranda Anderson, 21–28. Edinburgh University Press, 2019.
  • Walsh, Brian. “Marlowe and the Elizabethan Theatre Audience.” In Christopher Marlowe in Context, edited by Emily C. Bartels and Emma Smith, 68–79. Literatures in Context. Cambridge University Press, 2013.

Reference