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• W2064220108 abstract "Reviewed by: Theatre of a City: The Places of London Comedy, 1598–1642 Natalie Aldred Theatre of a City: The Places of London Comedy, 1598–1642. By Jean E. Howard. Philadelphia: University of Pennsylvania Press, 2007. Pp. 276. $55.00 (hardback). Theatre of a City presents a useful analytical discussion of the politics, history and cultural ideologies behind theatre and particularly the notion of theatrical space in the London of Shakespeare’s time. Indeed, the book is a kind of “behind the scenes” look at scenery, setting, and the notion of “place” and “space” in some of the surviving drama of the Elizabethan, Jacobean and Caroline eras (c. 1598 to 1642), situated in a collection of non-dramatic literature, both published and private. This book is therefore a useful and effective contextualising tool for scholars and postgraduates working on Shakespeare’s implicit “city comedies” and the early modern use of theatrical and performative space. Jean E. Howard needs little introduction. She is general editor of the Bedford Texts and Contexts series and coeditor (with Stephen Greenblatt, Walter Cohen, and Katherine Eisaman Maus) of The Norton Shakespeare. Theatre of a City stems from Howard’s previous scholarly work—including The Stage and Social Struggle in Early Modern England (Routledge 1993). Some sections of the book may be familiar to the reader: portions have been previously published in Shakespeare Studies, The Elizabethan Theatre and The Culture of Capital: Property, Cities, and Knowledge in Early Modern England (edited by Henry S. Turner, Routledge 2002). Howard’s Theatre of a City is one of the first studies to bring together city comedies from the Elizabethan, Jacobean and Caroline eras. It is a welcome addition to scholarship on this dramatic genre, some studies of which are outdated: Alexander Leggatt’s Citizen Comedy in the Age of Shakespeare (University of Toronto Press, 1973) is still a dominant work, despite its sidelining or simple omission of many dramatic texts. Theatre of a City begins with a definition of city comedy that provides a neat entrée to Howard’s principal investigation. Writing specifically that the book explores “the process by which […] plays helped to transform specific places into significant social spaces, that is, into environments marked by the actions, movements, and daily practices of inhabitants,” Howard suggests place to be a “material arena” in which “urban social relations were regulated and urban problems negotiated” (3). The idea of place in early modern London drama, Howard writes, is filtered through the notion of comedy, specifically city comedy. This [End Page 193] latter has arguably been historically neglected by scholars even as several plays peripheral to the sub-genre (notably some of Shakespeare’s) are celebrated. Howard argues that comic, enacted versions of London presented on its commercial stages enabled its populace to make sense of the culturally and commercially expanding metropolis around them. Chapter one, “Staging Commercial London,” focuses on Haughton’s Englishmen for my Money (1598), Heywood’s If You Know Not Me You Know Nobody, Part II (1604–05), and (possibly by Heywood) The Fair Maid of the Exchange (1602). The particular topographic landmark explored in this chapter is Gresham’s Exchange, built for the purpose of buying and selling commercial goods and frequented by the English and foreigners alike. Haughton’s play is used as an informative introduction into the Exchange as a space in which the “foreigner” is simultaneously examined and partially disempowered: the Portuguese Pisaro through his daughters’ eventual marriage into English stock, and the play’s three foreigners through their linguistic impotence and loss of Pisaro’s daughters. Howard’s discussion of the treatment of women as material “goods” to be sold at the Exchange in Fair Maid is usefully contextualised by other surviving literature of the period, but she did miss a link, here, between this play and Englishmen: in both plays the women are perceived as both commercial objects even as they are wittily successful in their ventures. In chapter two, “Credit, Incarceration and Performance,” Howard looks at several “Counter” plays, including Middleton and Dekker’s The Roaring Girl (?1607), the anonymous A New Wonder, A Woman Never Vext (?1611–14), Jonson, Chapman and Marston’s Eastward Ho! (1605) and..." @default.
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• W2064220108 title "<i>Theatre of a City: The Places of London Comedy, 1598–1642</i> (review)" @default.
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