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This play is not known except on Hill's List, and therefore cannot be ascribed to a p Love comedy / witchcraft play (Adams); historical? (see below)

...quisition of old plays from Pembroke's men invites consideration that this play too had belonged to that company.<br> It has been suggested that it was on this episode that the play was based. [[WorksCited|Fleay]] writes: "This must have afforded the plot t

== References to the Play == ...Worth|For What It's Worth]] below for highly speculative criticism of this play.

...ther than about the "Book", Henslowe inadvertently starts referring to the play as "The Three Brothers’ Tragedy"): There is no further information extant about this play.

...d at the Globe by the King's players in the spring of 1611; Forman saw the play on 30 April 1611, a Tuesday. ...actually was, there is controversy also over its dramatic sources. If this play was discrete from previous dramatic treatments of the history of King Richa

==References to the Play== '''Martinich''': "The play seems to have deeply affected Hobbes. […] He refers to ''Medea'' four tim

Henslowe's records of the play's composition between July 1601 and January 1602 indicate a gradual emphasi Henslowe commissioned the play for the Admiral's Men at the recently built Fortune playhouse.

The principal subject of the lost play was almost certainly [http://en.wikipedia.org/wiki/Concino_Concini ''Concin ...Bastille. After repeated interrogations and a trial, she was convicted of witchcraft and, along with her husband, of <i>lèse majesté</i>. An executioner behe

A record of the play's licensing survives in Malone’s transcript of Herbert’s now missing "o :An ould play, with some new scenes, Doctor Lambe and the Witches, to Salisbury Courte, t

The play belonged to Worcester’s Men, who leased the Rose playhouse in August 1602 Comedy (Henslowe’s entries); “Topical Play” ([[WorksCited|Harbage]])[[category:prison]]

...th multiple hits is much more likely to be a probable analogue of the lost play: ...of having been authored by one of the playwrights responsible for the lost play.

...ter, Keep the Widow Waking, for performance at the Red Bull playhouse. The play is now lost, but the records will survive; this symposium will explore whet ...cized performance studies; changing ideas of how a playscript relates to a play (something exemplified by Tiffany Stern’s book Documents of Performance);