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date: 18 February 2020

(p. v) Acknowledgements

(p. v) Acknowledgements

The editors would like to thank all of the contributors for their enthusiasm, their diligence, and their patience, each of which has been engaged at various points during the coming together of this book. We hope they will think the finished product worth waiting for. We would also like to record our thanks to our collaborators on the Staging the Henrician Court project, many of the insights from which inform both our own contributions to the volume and those of a number of our authors. In particular we would like to record our gratitude to Eleanor Rycroft, Kent Rawlinson, Gregory Thompson, Peter Kenny, Dan Goren, and everyone at Historic Royal Palaces who helped to make the project such a success. We would also like to thank Jacqueline Baker, Ariane Pettit, and all those at OUP who have helped in the production of this volume.

Greg would like individually to thank various friends and colleagues for all their help and advice gratefully received during the course of the project, primarily Tom Betteridge, John J. McGavin, Sarah Carpenter, David Salter, Sarah Dunnigan, Randall Stevenson, Olga Taxidou, Anne Marie D’Arcy, Meg Twycross, Jose Maria Perez Fernandez, Alastair Fowler, George Bernard, and Tony Kushner. He is, as ever, deeply grateful to Elaine Treharne for her friendship, advice, and resolute scepticism about the merits of drama as an art form and subject of study, and to Sharon, Matt, Dave, and Tessa the dog for putting up with him over the years.

Tom would like to thank his friends and colleagues for their help and in particular his early modern colleagues at Oxford Brookes University and further afield including Jane Cole, Katie Craik, James Cummings, Elisabeth Dutton, Barbara Eichner, Thomas S. Freeman, Andrew Hadfield, Elizabeth Hurren, William Gibson, John King, Alysa Levene, Eleanor Lowe, Nicole Pohl, Jane Stevens-Crawshaw, Tiffany Stern, Greg Walker, and Katherine Watson. He would also like to thank Ben, Jan, Michael, and Spike for humouring his forays into the wilds of Tudor drama.

Greg and Tom would also like to thank their friend and colleague, the late, great, and much missed Kevin Sharpe for his constant support, encouragement, and wit throughout this project. Early modern studies will not be the same without him.

Thomas Betteridge and Greg Walker (p. vi)