Some of the older actors of the Restoration provided a link between the pre- and post-Commonwealth stages by preserving their craft during the years from 1642 to 1660, despite the harsh and numerous restrictions enacted by the Parliament. Some of the younger players, on the other hand, quickly mastered their art and continued the tradition preserved for them by men such as Charles Hart and Michael Mohun. The greatest actors and actresses of the period certainly influenced the direction of Restoration drama in several ways. Thomas Betterton and Elizabeth Barry were so skilled that on several occasions leading dramatists asked their advice about dialogue, character development, and stage business. Other actors, such as Samuel Sandford and Colley Cibber, developed into great character actors, and the dramatists created roles especially suited to their talents. William Congreve 's admiration for Anne Bracegirdle's talent and beauty perhaps contributed substantially to the creation of the character of Millimant in The Way of the World. Actors such as William Penkethman and Joseph Haines often insured a play's success by their antics on the stage. In addition to the major figures of the period, a substantial number of competent minor actors and actresses mastered the character roles which appear with frequency in much Restoration drama. The Restoration players exerted an influence on both the direction and content of the drama of the period. A better understanding of their performances and personalities could well lead to a better understanding of the drama itself. I have followed the alphabetical listing of the actors and actresses given in Part I of The London Stage, making a few additions where I found them necessary. For the most part, each entry contains information on the player's first and last recorded performances and on his best roles. Whenever possible I have included commentary about his ability. In addition, I have tried to provide data about the character and personality of each player when possible. In some instances I felt that the physical appearance was important and included that information. Much of the information in each entry comes from Restoration and eighteenth century sources. John Downes's Roscius Anglicanus and Thomas Davies' Dramatic Miscellanies were especially valuable, as was John Genest's Some Account of the English Stage. In the twentieth century, the works of John Harold Wilson and Sybil Rosenfeld were very helpful. Finally, the massive scholarship of The London Stage pervades this dissertation. Without that work my task would have been impossible.

Recent criticism has cast the suburban playhouses of Early Modern London as marginalised institutions, in at least a topographic if not a symbolic sense. This thesis will contend that marginality is a relative term, and that for the inhabitants of the suburb, of Clerkenwell, the salient social function of the Red Bull theatre was not to serve the City as a site for licence, but to provide a neighbourhood space in which bonds of community could be formed. Arguing that theatres were built in particular locations not just to escape City prohibitions, but to draw on proximate audiences, I provide a brief history of Clerkenwell and place the Red Bull in its local context. By figuring the Red Bull, both in terms of its standard repertoire and its audience, as a prototypical "community theatre," I develop a sociology of dramatic production which understands this Early Modern theatre as a crucial nexus of local solidarity.

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