ABSTRACT
At first after the Restoration, and despite General Monck’s opposition, the theatrical excitement was palpable. In February 1660 John Rhodes had obtained a licence to stage plays at the old Cockpit. He collected a group of actors and began to create a repertoire, which included Pericles, probably the first Shakespeare production since 1642. William Beeston was busily reorganising Beeston’s Boys at the Salisbury Court and William Davenant was also clearly expecting to expand his work from the late 1650s. There was intense anticipation.
