Admiral's Men

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Admiral's Men,

theatrical company of players, officially designated the Admiral's Men in 1585. They were rivals of the Chamberlain's MenChamberlain's Men,
Elizabethan theatrical company for which Shakespeare, a joint owner of the company, wrote his plays and served as actor. Organized in 1594, they performed at the Globe and at the Blackfriars theaters. Under the patronage of James I they became c.
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 and performed at the theaters of Philip HensloweHenslowe, Philip
, c.1550–1616, English businessman and theatrical manager. Although he managed the Rose Theatre, Bankside, London, and the Fortune Theatre, Cripplegate, London, he is best remembered for his association with his son-in-law Edward Alleyn and the Admiral's
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. Their leading actor was Edward AlleynAlleyn, Edward
, 1566–1626, English actor. He was the foremost member of the Admiral's Men, joining the group c.1587, and was the only rival of Richard Burbage. An exceptionally large man, he gained fame for his portrayals in Marlowe's Tamburlaine,
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.
References in periodicals archive ?
He was also constantly in debt to the Admiral's Men.
For one thing, he brings together materials that have tended to interest different groups of critics: historical chronicles, the King John plays of George Peele and William Shakespeare, the Admiral's Men plays about Robin Hood, and Samuel Daniel's Jacobean historiography.
Misha Teramura identifies the fifteenth-century military leader John Hunyadi as the probable subject of the lost play Vayvode, performed by the Admiral's Men in 1598.
At the close of the sixteenth century, the Admiral's Men faced ominous market threats in the form of a new rival theater on their doorstep, and the heady prospect of leaving their Bankside residence at the Rose to finally assume their new playing venue: the Fortune at Golding Lane, Cripplegate.
2) Not only was Marlowe of proven popularity as far as the Admiral's Men were concerned; until 1597, and briefly in 1600, the company had in Edward Alleyn a star whose acting style seems to have suited "majestic roles" such as Marlowe had provided (Cerasano).
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.
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.
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.
1) Attempts to date the composition and early performances of the play often see it as a revision of the lost play The Siege of London, revived by the Admiral's Men on 26 December 1594 and played through 1595, on the slender basis that Edward IV does include a siege of London, though not one featuring the wheel and frame listed in Henslowe's 1598 itinerary of properties as belonging to the play.
Thomson's exploration of the politics of different companies is especially fascinating; his discussion of the way theatrical rivalry between the Chamberlain's and the Admiral's Men hardened into a reflection of their respective patrons' political differences, leading one company to perform a play as a 'deliberate counter' to one performed by the other, is most illuminating (p.
The Fortune opened in 1600 with a performance by the theatrical company known as the Admiral's Men.

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