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- W320883693 abstract "On Sunday 10 July 1927, Samuel Rowley's chronicle history play When You See Me, You Know Me was revived at Holborn Empire in London under auspices of William Poel's Elizabethan Stage Circle. First performed by Prince Henry's Men at Fortune Theatre in 1604, Rowley's When You See Me boldly dramatized key events in reign of King Henry VIII only months after death of his daughter, Queen Elizabeth I, in March 1603. (2) In particular, play focuses on birth and upbringing of young Prince Edward, aspects of his father's foreign policy, and religious upheaval that has come to characterize final period of King Henry's reign. These more serious episodes in play are complemented by comic passages in which king's fool, Will Summers, takes a leading role, challenging members of royal court to engage in contests of witty rhyming banter. Other humorous episodes include king's disguised night-walk into London and ensuing brawl between King Henry and notorious villain Black Will, which results in king's arrest. Both men are sent to Counter prison, where King Henry revels in his own deceptive abilities. Here, as elsewhere in play, veracity of play's title--When You See Me, You Know Me--is called comically into question. Although immensely popular in early seventeenth century, judging by both topicality of play's subject matter and number of printed editions produced in thirty-year period after its first performance (1605, 1613, 1621 and 1632), it seems that interest in play diminished rapidly from mid-seventeenth century onwards. Indeed, text of When You See Me was not revisited until 1874, with publication of Karl Elze's modern-spelling edition, and there is no record of performance in either eighteenth or nineteenth centuries. Poel's of When You See Me thus marked an important stage in history of play's transmission and reception, bringing it to life for what seems to have been first time in over three hundred years. (3) The aim of this article is twofold. While in first instance it serves to illustrate some of more significant characteristics of Poel's 1927 of When You See Me, including aspects of staging, performance and casting, it also seeks to determine why this particular play was chosen, how Poel adapted it for performance, and what effect this has had on contemporary scholarship into When You See Me and its author. More specifically, it examines Rowley's play in light of Prayer Book controversy of 1927-28, and suggests how religious politics of this neglected Jacobean play came to find new and heightened resonance at this time. While Poel's was indeed spectacular, as evidenced in following paragraphs, this article demonstrates how performance was nevertheless antithetical to play's true merits. By silently cutting and altering When You See Me to a great extent, Poel gave a false impression of Rowley's play--an impression that inadvertently yet severely tainted critical opinion in late 1920s, and in all likelihood contributed to play's continued marginalisation well into middle of twentieth century. (4) Poel's Elizabethan Stage Circle was born out of Elizabethan Stage Society, founded in 1894 with intention of performing plays of Shakespeare and a select number of his contemporaries much in manner that they would have been staged in early modern London theatres. (5) In Shakespeare and Theatre, Poel laid bare his intentions, stating that aim of Society was to revive the masterpieces of Elizabethan drama upon stage for which they were written, so as to represent them as nearly as possible under conditions existing at time of their first production (203-4). (6) Such a statement also underlined Poel's opposition towards contemporary nineteenth- and twentieth-century modes of performance, highlighted further in a pamphlet found amongst papers of R. …" @default.
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- W320883693 title "William Poel's 1927 Production of Samuel Rowley's When You See Me, You Know Me" @default.
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