The Business of English Restoration Theatre, 1660–1700

Deborah C. Payne explores how the duopoly of 1660 impacted company practices, stagecraft, the box office, and actors and writers.

Deborah C. Payne's groundbreaking study explores how the duopoly established in 1660 – adopted to create an upmarket, elite theatre – unexpectedly reshaped company practices, stagecraft, and the professions of actors and dramatists. Network and behavioural economic theory further illuminate the lure of an economic model inimical to self-interest.Deborah C. Payne's ground-breaking study traces the historical origins of a dilemma still bedevilling theatre companies: how to reconcile audience demand for novelty with profitability. As a solution, English acting companies in 1660 adopted an unprecedented theatrical duopoly. Implicit to its economic logic were scarcity, prestige, and innovation: attributes that, it was hoped, would generate wealth and exclusivity. Changes to playhouse architecture, stagecraft, dramatic repertory, and company practices were undertaken to create this new, upmarket theatre of “great expences.” So powerful was the promise of the duopoly and so enthralling the wholesale transformation of the theatrical marketplace that management—despite dwindling box office—resisted change for 35 years. Drawing upon network and behavioural economic theory, Professor Payne shows why the acting companies clung to an economic model inimical to their self-interest. Original archival research further bolsters this radically new perspective on an exciting and crucial period in English theatre. This title is also available as Open Access on Cambridge Core.