Alleyn was contracted to a rival company, The Lord Admiral's Men
and would have drawn the crowds, although not especially in Shakespearean roles.
Part 2, "Working with Lost Plays," includes: David McInnis, '"2 Fortune's Tennis' and the Admiral's Men
," (105-26); Misha Teramura, "Brute Parts: From Troy to Britain at the Rose, 1595-1600" (127-47); Paul Whitfield White, "The Admiral's Lost Arthurian Plays," (148-62); Lawrence Manley, "Lost Plays and the Repertory of Lord Strange's Men" (163-86); Michael J.
Nicholas returned to his lodgings with a raise in pay and status as fight manager (play as cast), for the Lord Admiral's Men
in Southwark, on the South Bank of the Thames.
Is it separate from The Whole History of Fortunatus, purchased by the Admiral's Men
in the winter of 1599/1600 from Thomas Dekker and performed by them at court, according to the title page of the 1600 quarto?
The Admiral's Men
were to play at the Rose on the Bankside, and the Chamberlain's Men were assigned to the Theatre in Shoreditch.
Between May 10 and 11, the admiral's men
tried unsuccessfully to land on the northern coast of Callao, but they did capture three merchant ships and set fire to nine others.
Two companies were then seen to be pre-eminent, the Admiral's Men
whose star was Edward Alleyn--and the Lord Chamberlain's Men, whose star was Richard Burbage.
Curiously, as O'Connell notes, there was a "revival" of biblical theater in the 1590s and again in 1602 in plays using the Old Testament or the Apocrypha and written by Thomas Lodge, Robert Greene, George Peele, Samuel Rowley, William Byrd and others for Philip Henslowe and the Admiral's Men
, but he offers no explanation for their sudden reappearance.
Described as "the biography of a company" (10), it reflects his theory that the Admiral's Men
and the Chamberlain's Men formed a duopoly that dominated the early modern English stage.
Engagement with the aforementioned caustic smells of the stage and with the company's ability to hype its own virtuosity in selectively employing the acting styles of the competing Admiral's Men
in order, partly, to supersede them, makes for exciting reading, most of all in Harris's suggestion of numerous new avenues for further work.
Many of the original harbour buildings are still in use and the officers' quarters, where the Admiral's men
once gathered, is now a restaurant that offers an excellent menu and a great view of the bay.
Following are chapters on the Admiral's Men
and Chamberlain's Men in the 1590s, on the boy actors from 1599 and the court masque, and on the Prince's, Queen's and King's Men under James.