32> Thomas Dekker’s observation in Newes from Hell (1606) nicely describes the mentality of the play’s two major villains:
[http://www.oxforddnb.com.go.libproxy.wfubmc.edu/view/article/23422, accessed 2 April 2011]. The license to perform The Changeling was granted in 1622; it was performed at court and at the Phoenix, the newest playhouse in London, located near Drury Lane, a residential area favored by the gentry and situated close to the Inns of Court.
Hopkins, Lisa, “Beguiling the Master of the Mystery: Form and Power in The Changeling” Medieval and Renaissance Drama in England 9 (1997), 149-161.
Jennifer L. Andersen holds a BA in Classics from UCLA and a PhD in English from Yale University. Her research interest centers on polemical print’s impact on genre formation and on involving a broader public in debate and controversy over such things as the established religion, public amphitheatres, war with Spain, Catholic penal codes, royal favorites, and the royal succession. She co-edited (with Elizabeth Sauer) Books and Readers in Early Modern England (University of Pennsylvania Press, 2001), a special issue of Renaissance and Reformation entitled Literature and Religion in Early Modern England, and has published articles in The Sixteenth Century Journal, Renaissance and Reformation, and The Age of Thomas Nashe: Texts, Bodies and Trespasses of Authorship in Early Modern England. She has held fellowships from the Mellon Foundation, the Fulbright-Hays Foundation, The Huntington Library, the Folger Shakespeare Library, and is presently supported by an NEH Fellowship (2013-2014) to complete a book on Thomas Nashe, Political Satire and the Public Sphere.