Johnson, Nora

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Review Of  Global Economics: A History Of The Theater Business, The Chamberlain\u27s/King\u27s Men, And Their Plays, 1599-1642  By M. D. Aaron

Swarthmore College 
Works 
English Literature Faculty Works English Literature 
2008 
Review Of "Global Economics: A History Of The Theater Business, 
The Chamberlain's/King's Men, And Their Plays, 1599-1642" By M. 
D. Aaron 
Nora Johnson 
Swarthmore College, njohnso1@swarthmore.edu 
Follow this and additional works at: https://works.swarthmore.edu/fac-english-lit 
 Part of the English Language and Literature Commons 
Let us know how access to these works benefits you 
 
Recommended Citation 
Nora Johnson. (2008). "Review Of "Global Economics: A History Of The Theater Business, The 
Chamberlain's/King's Men, And Their Plays, 1599-1642" By M. D. Aaron". Medieval And Renaissance 
Drama In England. Volume 21, 296-299. 
https://works.swarthmore.edu/fac-english-lit/174 
This work is brought to you for free by Swarthmore College Libraries' Works. It has been accepted for inclusion in 
English Literature Faculty Works by an authorized administrator of Works. For more information, please contact 
myworks@swarthmore.edu. 
Rosemont Publishing & Printing Corp DBA Associated University Presses
 
 
Review
Reviewed Work(s): Global Economics: A History of the Theater Business, the
Chamberlain's/King's Men, and Their Plays, 1599–1642 by Melissa D. Aaron
Review by: Nora Johnson
Source: Medieval & Renaissance Drama in England, Vol. 21 (2008), pp. 296-299
Published by: Rosemont Publishing & Printing Corp DBA Associated University Presses
Stable URL: http://www.jstor.org/stable/24322706
Accessed: 26-09-2017 19:57 UTC
 
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide
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Rosemont Publishing & Printing Corp DBA Associated University Presses is
collaborating with JSTOR to digitize, preserve and extend access to Medieval & Renaissance
Drama in England
This content downloaded from 130.58.65.13 on Tue, 26 Sep 2017 19:57:37 UTC
All use subject to http://about.jstor.org/terms
 296  REVIEWS
 knowledge about the ways that early modern women participated in perform
 ance. As Phyllis Rackin notes in her afterword, "The essays in this collection
 provide us with evidence that was previously unknown or neglected of the
 widespread participation of women in the production of every possible kind
 of show" (317). At the same time, the volume illustrates both the strengths
 and weaknesses of this kind of project, which has become increasingly popu
 lar in the current academic publishing world. Beginning life as a 2000 Shake
 speare Association of America seminar on "Women Players In and Around
 Shakespeare," the collection gathers a group of talented scholars whose work
 sometimes, but not always, fits well within the chosen rubric. As a result, the
 audience receives a rich gathering of scholarly material whose interrelation
 ship is not always clear. In the case of this volume, readers wanting a glimpse
 at some of the exciting new work in this area will be well-served; those ex
 pecting a cohesive presentation are less likely to find it. Still, Brown and Pa
 rolin deserve our gratitude for providing a tantalizing preview of the
 scholarship approaching on the horizon as an important area of theatrical his
 tory comes more sharply into focus.
 Global Economics: A History of the Theater Business, the Chamberlain's/
 King's Men, and Their Plays, 1599-1642, by Melissa D. Aaron. Newark: Uni
 versity of Delaware Press, 2005. Pp. 250. Cloth $47.50.
 Reviewer: Nora Johnson
 Every scholar who wishes to read early modern plays as reflections of their
 economic, material, and professional contexts faces the difficulty of explain
 ing precisely how the drama can be said to perform such an act of reflection.
 Are plays somehow allegories of the economic conditions under which they
 are produced? Do they supply discursive constructions of authorship, collab
 oration, or patronage that shape and are shaped by the theatrical milieu? Are
 the plays simply to be mined for discrete bits of information about commer
 cial practices, or do they make more complex statements about the business
 of playing through larger thematic structures? Each of these possibilities—
 and there are doubtless many others—suggests a different way of thinking
 about metatheater, about base and superstructure, about the possibility of the
 atrical self-consciousness.
 Melissa Aaron's study of The Chamberlain's/King's Men proposes a pro
 gram of "economic readings," seeing the plays as, whatever else they may
 be, "snapshots" of the company's material and financial circumstances at
 various moments in its collective life. At best, this strategy leads Aaron into
 some very interesting ways of combining material and thematic concerns (it
 does not, by the way, lead her to consider economics in any way that could
 be considered "global"; the pun in the title is somewhat misleading). Her
This content downloaded from 130.58.65.13 on Tue, 26 Sep 2017 19:57:37 UTC
All use subject to http://about.jstor.org/terms
 REVIEWS  297
 pursuit of the evidence about costumes that may have been given to theatrical
 companies by aristocrats, for instance, causes her to speculate that the same
 bear costume might have circulated from Mucedorus through the Masque of
 Oberon to The Winter's Tale, "from the public theater to the court and back
 again" (90). This hypothesis in turn allows her to argue that when The King's
 Men use the bear costume they are implicitly critiquing the claims of the
 royalty-friendly productions in which the costume had shown up previously.
 Mucedorus had been able to protect Amadine from a bear, Aaron notes, as
 the presence of Henry and James had been able to tame the bears who pull
 Henry's chariot in Oberon, but neither the infant princess Perdita nor her
 tragically absent parents have the power to keep Antigonus from dying an
 awful death. While highly speculative, the argument is intriguing. It suggests
 that attending to specific props and particular performance contexts may
 make a real difference in critical debates about individual plays and in larger
 arguments about the relation of the players to their royal sponsors. It also
 helps to fill in the endlessly fascinating gap in our knowledge of the material
 world of early modern theater.
 Aaron reads Henry V in the context of the construction of the Globe theater
 in 1599. She argues that the Prologue's famous references to the "wooden
 O" and the "unworthy scaffold" are in fact apologies not for the general
 inadequacy of the stage to represent Henry's reign so much as for the specific
 problems of the outworn Curtain theater. Contending that Henry V had been
 written for the new Globe, which was not completed in time for its first per
 formance, Aaron uses the play and its surrounding business environment as a
 way of talking about the Chamberlain's company at that stage in its economic
 development, about "the precarious financial position of the Chamberlain's
 Men in 1598/99 and the marketing and investment strategies they used to
 combat it" (47). The audacious building of the Globe theater does reward
 intensive scholarly focus. Here, however, the notion of "economic reading,"
 while it poses interesting questions in theater history, tends unfortunately
 toward a flattening of the text. This objection may well go double for a read
 ing of Hamlet that brings to light a string of references that may or may not
 be about rivalry with the Admiral's Men. Given that the fact of the rivalry is
 already well established and the professional reflections on playing in Hamlet
 are very clear, one hopes for a more significant engagement with textual evi
 dence.
 In a very detailed and illuminating study of The Roman Actor, Aaron
 claims that the play is "prophetic" in its depiction of a form of patronage
 that draws players away from popular audiences and leaves them dangerously
 dependent upon royal approval. She establishes a clear set of similarities be
 tween the business of playing as represented in the play and the conditions
 that would weaken The King's Men disastrously under the sponsorship of
 Charles I and Henrietta Maria. The royal couple, Aaron argues, "loved the
This content downloaded from 130.58.65.13 on Tue, 26 Sep 2017 19:57:37 UTC
All use subject to http://about.jstor.org/terms
 298 REVIEWS
 ater to death," appropriating the King's Men for their own purposes in a way
 that ultimately crippled the company, making them especially vulnerable as
 the monarchy approached its point of crisis. The picture given of court spon
 sorship in this period is both helpful and convincing, but in the end it is hard
 to understand why even the most prescient member of the King's Men should
 want to stage a prophecy about the company's own downfall, especially one
 that insults royal patrons while proclaiming alienation from larger audiences.
 If, as Aaron wants to argue, the company consistently made its choices for
 reasons that were heavily determined by economics and not politics or ideol
 ogy, more explanation is required for this strangely negative form of self
 publicity. Again, while the connections between the text and the economic
 and professional life of the King's Men are clearly worth exploring, the use
 of the text as evidence for the economic history of the company needs some
 further consideration in methodological terms.
 That said, this useful and ambitious history of the Chamberlain's/King's
 Men offers many strong arguments about a broad range of economic and pro
 fessional questions. On the way to talking about Henry V, Aaron makes im
 portant interventions in the debates about when the Globe might have been
 completed, and what the costs and financial gains of this complex transaction
 might have been. Her reading of the King's Men's relationship to Jacobean
 patronage is a wonderful corrective to the New Historicist emphasis on court
 control. Stressing in particular the power of the playing company to represent
 the court before courtiers from other nations and before more popular audi
 ences, Aaron helps convincingly to salvage the repertory from lockstep obe
 dience to a putatively absolutist monarchy. She provides some finely detailed
 studies of the masques in Henry VIII and The Tempest, as well as The Win
 ter's Tale, and she makes an excellent case for reading the First Folio as a
 document with as much to say about theater history as it says about the his
 tory of print or textual studies. The book moves deftly from analyses of court
 politics to the larger economic background of the period to specific perform
 ances, props, and actors. Its picture of "the bold strategies of 1624," in which
 the King's Men risked punishment by producing both A Game at Chesse and
 The Spanish Viceroy, does much to solidify our understanding of the relative
 independence and stability of the company during that period (145). Though
 Aaron perhaps too self-consciously avoids writing what she calls a "master
 narrative" of the company's history, the series of institutional moments she
 stitches together do nevertheless describe an enterprise that begins in chaotic
 struggle, achieves the stability to take economic and political risks, and fi
 nally loses its audience because of an excessive dependence upon royal favor.
 Global Economics may be something less than sure-footed in its use of the
 plays themselves; the work of Heather Hirschfeld or of Scott McMillin and
 Sally-Beth MacLean provides a better model of integrated institutional and
 textual analysis. As a self-professed set of snapshots, though, this is an illu
This content downloaded from 130.58.65.13 on Tue, 26 Sep 2017 19:57:37 UTC
All use subject to http://about.jstor.org/terms
 REVIEWS 299
 minating and much-needed chronicle of the leading theater company of its
 time.
 Representing the Professions: Administration, Law, and Theater in Early Mod
 ern England, by Edward Gieskes. Newark: University of Delaware Press,
 2006, Pp. 365, $60.00 (cloth).
 Reviewer: Rebecca Lemon
 In Representing the Professions, Edward Gieskes uses the sociological the
 ory of Pierre Bourdieu to chart the formation of the professions of adminis
 tration, law, and theater in early modern England. In doing so, he offers an
 ambitious study, ranging through the drama of Shakespeare, Jonson, Dekker,
 Beaumont, Massinger, Middleton, and others, in order to demonstrate the
 parallels between these three professional fields as each moves from the
 status of trade or guild into a profession. Complementing extant studies on
 the topic of the professions, including Wilfred Prest's edited collection on
 The Professions in Early Modern England (1987), Gieskes brings a particular
 insight to the discussion with his research on the labor of theatrical staging.
 By connecting the craftspeople and workers of the theater to playwrights,
 Representing the Professions challenges strictly literary approaches to drama
 and instead argues convincingly for the interplay of dramatic writing and the
 atrical practice.
 Rather than viewing the professions through the economic frame that he
 finds typical of Marxian studies on the topic, Gieskes offers a "Bourdieuian
 literary history." This sociological approach has real advantages: Gieskes
 ambitiously considers a number of fields implicated in the rise of the profes
 sions—literary, historical, economic, legal, theatrical, and political—without
 privileging any one field. Yet this reliance on Bourdieu also presents difficul
 ties for readers coming to the book with a primary interest in the early mod
 ern period: each chapter's extended engagement with Bourdieu comes at the
 expense of direct, detailed engagement with literary and historical texts. In
 the chapter on the law, for example, Gieskes offers a rich analysis of the rise
 of the legal profession, tracking the vast number of handbooks on the law
 that proliferated in the sixteenth century to support law students in their stud
 ies. Yet this discussion begins and ends with Bourdieu's terminology, locat
 ing the payoff of the legal history in the terms "habitus" and "field." In
 returning consistently to Bourdieu throughout its chapters, the book, as a re
 sult, allots proportionately much less space for the analysis of plays. This
 latter aspect of the book is disappointing given that Gieskes has skillfully
 assembled a fresh selection of understudied texts, which readers may be
 eager to see analyzed at greater length.
 The book's first case study, on public administrators, traces the new men,
This content downloaded from 130.58.65.13 on Tue, 26 Sep 2017 19:57:37 UTC
All use subject to http://about.jstor.org/terms


Swarthmore College Works English Literature Faculty Works English Literature 2008 Review Of "Global Economics: A History Of The Theater Business, The Chamberlain's/King's Men, And Their Plays, 1599-1642" By M. D. Aaron Nora Johnson Swarthmore College, njohnso1@swarthmore.edu This work is brought to you for free and open access by . It has been accepted for inclusion in English Literature Faculty Works by an authorized administrator of Works. For more information, please contact myworks@swarthmore.edu. Follow this and additional works at: https://works.swarthmore.edu/fac-english-lit  Part of the English Language and Literature Commons Let us know how access to these works benefits you  Recommended Citation Nora Johnson. (2008). "Review Of "Global Economics: A History Of The Theater Business, The Chamberlain's/King's Men, And Their Plays, 1599-1642" By M. D. Aaron". Medieval And Renaissance Drama In England. Volume 21, 296-299. https://works.swarthmore.edu/fac-english-lit/174 Rosemont Publishing & Printing Corp DBA Associated University Presses  ReviewReviewed Work(s): Global Economics: A History of the Theater Business, theChamberlain's/King's Men, and Their Plays, 1599–1642 by Melissa D. AaronReview by: Nora JohnsonSource: Medieval & Renaissance Drama in England, Vol. 21 (2008), pp. 296-299Published by: Rosemont Publishing & Printing Corp DBA Associated University PressesStable URL: http://www.jstor.org/stable/24322706Accessed: 26-09-2017 19:57 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a widerange of content in a trusted digital archive. We use information technology and tools to increase productivity andfacilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available athttp://about.jstor.org/termsRosemont Publishing & Printing Corp DBA Associated University Presses iscollaborating with JSTOR to digitize, preserve and extend access to Medieval & RenaissanceDrama in EnglandThis content downloaded from 130.58.65.13 on Tue, 26 Sep 2017 19:57:37 UTCAll use subject to http://about.jstor.org/terms 296  REVIEWS knowledge about the ways that early modern women participated in perform ance. As Phyllis Rackin notes in her afterword, "The essays in this collection provide us with evidence that was previously unknown or neglected of the widespread participation of women in the production of every possible kind of show" (317). At the same time, the volume illustrates both the strengths and weaknesses of this kind of project, which has become increasingly popu lar in the current academic publishing world. Beginning life as a 2000 Shake speare Association of America seminar on "Women Players In and Around Shakespeare," the collection gathers a group of talented scholars whose work sometimes, but not always, fits well within the chosen rubric. As a result, the audience receives a rich gathering of scholarly material whose interrelation ship is not always clear. In the case of this volume, readers wanting a glimpse at some of the exciting new work in this area will be well-served; those ex pecting a cohesive presentation are less likely to find it. Still, Brown and Pa rolin deserve our gratitude for providing a tantalizing preview of the scholarship approaching on the horizon as an important area of theatrical his tory comes more sharply into focus. Global Economics: A History of the Theater Business, the Chamberlain's/ King's Men, and Their Plays, 1599-1642, by Melissa D. Aaron. Newark: Uni versity of Delaware Press, 2005. Pp. 250. Cloth $47.50. Reviewer: Nora Johnson Every scholar who wishes to read early modern plays as reflections of their economic, material, and professional contexts faces the difficulty of explain ing precisely how the drama can be said to perform such an act of reflection. Are plays somehow allegories of the economic conditions under which they are produced? Do they supply discursive constructions of authorship, collab oration, or patronage that shape and are shaped by the theatrical milieu? Are the plays simply to be mined for discrete bits of information about commer cial practices, or do they make more complex statements about the business of playing through larger thematic structures? Each of these possibilities— and there are doubtless many others—suggests a different way of thinking about metatheater, about base and superstructure, about the possibility of the atrical self-consciousness. Melissa Aaron's study of The Chamberlain's/King's Men proposes a pro gram of "economic readings," seeing the plays as, whatever else they may be, "snapshots" of the company's material and financial circumstances at various moments in its collective life. At best, this strategy leads Aaron into some very interesting ways of combining material and thematic concerns (it does not, by the way, lead her to consider economics in any way that could be considered "global"; the pun in the title is somewhat misleading). HerThis content downloaded from 130.58.65.13 on Tue, 26 Sep 2017 19:57:37 UTCAll use subject to http://about.jstor.org/terms REVIEWS  297 pursuit of the evidence about costumes that may have been given to theatrical companies by aristocrats, for instance, causes her to speculate that the same bear costume might have circulated from Mucedorus through the Masque of Oberon to The Winter's Tale, "from the public theater to the court and back again" (90). This hypothesis in turn allows her to argue that when The King's Men use the bear costume they are implicitly critiquing the claims of the royalty-friendly productions in which the costume had shown up previously. Mucedorus had been able to protect Amadine from a bear, Aaron notes, as the presence of Henry and James had been able to tame the bears who pull Henry's chariot in Oberon, but neither the infant princess Perdita nor her tragically absent parents have the power to keep Antigonus from dying an awful death. While highly speculative, the argument is intriguing. It suggests that attending to specific props and particular performance contexts may make a real difference in critical debates about individual plays and in larger arguments about the relation of the players to their royal sponsors. It also helps to fill in the endlessly fascinating gap in our knowledge of the material world of early modern theater. Aaron reads Henry V in the context of the construction of the Globe theater in 1599. She argues that the Prologue's famous references to the "wooden O" and the "unworthy scaffold" are in fact apologies not for the general inadequacy of the stage to represent Henry's reign so much as for the specific problems of the outworn Curtain theater. Contending that Henry V had been written for the new Globe, which was not completed in time for its first per formance, Aaron uses the play and its surrounding business environment as a way of talking about the Chamberlain's company at that stage in its economic development, about "the precarious financial position of the Chamberlain's Men in 1598/99 and the marketing and investment strategies they used to combat it" (47). The audacious building of the Globe theater does reward intensive scholarly focus. Here, however, the notion of "economic reading," while it poses interesting questions in theater history, tends unfortunately toward a flattening of the text. This objection may well go double for a read ing of Hamlet that brings to light a string of references that may or may not be about rivalry with the Admiral's Men. Given that the fact of the rivalry is already well established and the professional reflections on playing in Hamlet are very clear, one hopes for a more significant engagement with textual evi dence. In a very detailed and illuminating study of The Roman Actor, Aaron claims that the play is "prophetic" in its depiction of a form of patronage that draws players away from popular audiences and leaves them dangerously dependent upon royal approval. She establishes a clear set of similarities be tween the business of playing as represented in the play and the conditions that would weaken The King's Men disastrously under the sponsorship of Charles I and Henrietta Maria. The royal couple, Aaron argues, "loved theThis content downloaded from 130.58.65.13 on Tue, 26 Sep 2017 19:57:37 UTCAll use subject to http://about.jstor.org/terms 298 REVIEWS ater to death," appropriating the King's Men for their own purposes in a way that ultimately crippled the company, making them especially vulnerable as the monarchy approached its point of crisis. The picture given of court spon sorship in this period is both helpful and convincing, but in the end it is hard to understand why even the most prescient member of the King's Men should want to stage a prophecy about the company's own downfall, especially one that insults royal patrons while proclaiming alienation from larger audiences. If, as Aaron wants to argue, the company consistently made its choices for reasons that were heavily determined by economics and not politics or ideol ogy, more explanation is required for this strangely negative form of self publicity. Again, while the connections between the text and the economic and professional life of the King's Men are clearly worth exploring, the use of the text as evidence for the economic history of the company needs some further consideration in methodological terms. That said, this useful and ambitious history of the Chamberlain's/King's Men offers many strong arguments about a broad range of economic and pro fessional questions. On the way to talking about Henry V, Aaron makes im portant interventions in the debates about when the Globe might have been completed, and what the costs and financial gains of this complex transaction might have been. Her reading of the King's Men's relationship to Jacobean patronage is a wonderful corrective to the New Historicist emphasis on court control. Stressing in particular the power of the playing company to represent the court before courtiers from other nations and before more popular audi ences, Aaron helps convincingly to salvage the repertory from lockstep obe dience to a putatively absolutist monarchy. She provides some finely detailed studies of the masques in Henry VIII and The Tempest, as well as The Win ter's Tale, and she makes an excellent case for reading the First Folio as a document with as much to say about theater history as it says about the his tory of print or textual studies. The book moves deftly from analyses of court politics to the larger economic background of the period to specific perform ances, props, and actors. Its picture of "the bold strategies of 1624," in which the King's Men risked punishment by producing both A Game at Chesse and The Spanish Viceroy, does much to solidify our understanding of the relative independence and stability of the company during that period (145). Though Aaron perhaps too self-consciously avoids writing what she calls a "master narrative" of the company's history, the series of institutional moments she stitches together do nevertheless describe an enterprise that begins in chaotic struggle, achieves the stability to take economic and political risks, and fi nally loses its audience because of an excessive dependence upon royal favor. Global Economics may be something less than sure-footed in its use of the plays themselves; the work of Heather Hirschfeld or of Scott McMillin and Sally-Beth MacLean provides a better model of integrated institutional and textual analysis. As a self-professed set of snapshots, though, this is an illuThis content downloaded from 130.58.65.13 on Tue, 26 Sep 2017 19:57:37 UTCAll use subject to http://about.jstor.org/terms REVIEWS 299 minating and much-needed chronicle of the leading theater company of its time. Representing the Professions: Administration, Law, and Theater in Early Mod ern England, by Edward Gieskes. Newark: University of Delaware Press, 2006, Pp. 365, $60.00 (cloth). Reviewer: Rebecca Lemon In Representing the Professions, Edward Gieskes uses the sociological the ory of Pierre Bourdieu to chart the formation of the professions of adminis tration, law, and theater in early modern England. In doing so, he offers an ambitious study, ranging through the drama of Shakespeare, Jonson, Dekker, Beaumont, Massinger, Middleton, and others, in order to demonstrate the parallels between these three professional fields as each moves from the status of trade or guild into a profession. Complementing extant studies on the topic of the professions, including Wilfred Prest's edited collection on The Professions in Early Modern England (1987), Gieskes brings a particular insight to the discussion with his research on the labor of theatrical staging. By connecting the craftspeople and workers of the theater to playwrights, Representing the Professions challenges strictly literary approaches to drama and instead argues convincingly for the interplay of dramatic writing and the atrical practice. Rather than viewing the professions through the economic frame that he finds typical of Marxian studies on the topic, Gieskes offers a "Bourdieuian literary history." This sociological approach has real advantages: Gieskes ambitiously considers a number of fields implicated in the rise of the profes sions—literary, historical, economic, legal, theatrical, and political—without privileging any one field. Yet this reliance on Bourdieu also presents difficul ties for readers coming to the book with a primary interest in the early mod ern period: each chapter's extended engagement with Bourdieu comes at the expense of direct, detailed engagement with literary and historical texts. In the chapter on the law, for example, Gieskes offers a rich analysis of the rise of the legal profession, tracking the vast number of handbooks on the law that proliferated in the sixteenth century to support law students in their stud ies. Yet this discussion begins and ends with Bourdieu's terminology, locat ing the payoff of the legal history in the terms "habitus" and "field." In returning consistently to Bourdieu throughout its chapters, the book, as a re sult, allots proportionately much less space for the analysis of plays. This latter aspect of the book is disappointing given that Gieskes has skillfully assembled a fresh selection of understudied texts, which readers may be eager to see analyzed at greater length. The book's first case study, on public administrators, traces the new men,This content downloaded from 130.58.65.13 on Tue, 26 Sep 2017 19:57:37 UTCAll use subject to http://about.jstor.org/terms

https://works.swarthmore.edu/cgi/viewcontent.cgi?article=1173&amp;context=fac-english-lit

Review Of Global Economics: A History Of The Theater Business, The Chamberlain\u27s/King\u27s Men, And Their Plays, 1599-1642 By M. D. Aaron

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