This volume provides a selection of four plays by Philip Massinger who, from 1625 to 1640, replaced John Fletcher as principal dramatist for the King's Men, the chief London theatre company for more than forty years. The selection consists of two of Massinger's finest comedies, A New Way to Pay Old Debts and The City Madam, and his two best known tragedies, The Duke of Milan and The Roman Actor. These plays have interested readers, scholars and critics for hundreds of years, and although the tragedies have seldom been performed since the seventeenth century, the comedies have a long stage tradition. A New Way to Pay Old Debts has been performed more often than any other play by Shakespeare's contemporaries, and together with The City Madam continues to delight modern audiences.

Dr Butler's edition is full and informative in its annotations and survey of criticisms to date, and cautiously respectful of Jonsonian punctuation.

This selection contains the three finest plays of the Stuart dramatist John Ford. The Broken Heart is a classical tragedy of suffering; 'Tis Pity She's a Whore, Ford's best-known play and one still frequently performed, is a tragic story of limitless ambition and social rivalry expressed in sexual terms; Perkin Warbeck is the last great successor to the history plays of Shakespeare. Together they exemplify the unique tone of Ford's drama, in which passion and gravity are united by a playwright with a poetic sense of theatre. This is the only one-volume selection of Ford's plays now available. The texts are modernised and equipped with notes explaining unfamiliar language and historical references. A general introduction gives a brief biography and bibliography; individual introductions deal with the sources and stage history of each play. Longer notes at the back of the book discuss points of staging and interpretation, and there is a full textual apparatus which makes this edition useful for the scholar as well as the student.

This collection examines some of the people, places, and plays at the edge of early modern English drama. Recent scholarship has begun to think more critically about the edge, particularly in relation to the canon and canonicity. This book demonstrates that the people and concepts long seen as on the edge of early modern English drama made vital contributions both within the fictive worlds of early modern plays, and without, in the real worlds of playmakers, theaters, and audiences. The book engages with topics such as child actors, alterity, sexuality, foreignness, and locality to acknowledge and extend the rich sense of playmaking and all its ancillary activities that have emerged over the last decade. The essays by a global team of scholars bring to life people and practices that flourished on the edge, manifesting their importance to both early modern audiences, and to current readers and performers.