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Featuring the signature playwrights and players of the King's Men, she expands beyond new plays to revivals, thus inviting readers to consider familiar roles inhabited by fresh talent performing for audiences in shifting theatrical and political times. In the absence of company records comparable to the diary kept by Philip Henslowe at the Rose and Fortune playhouses from 1592 to 1603, Tilney's Revels account and similarly detail-generous records from royal offices are the closest scholars can get to the repertory of the King's Men at a moment in time for a specific venue and audience. Though handicapped by the absence of lists for "the casting of a Shakespeare play" (12), Munro has the advantage of such documents for some of Ben Jonson's plays and other repertory members that enable an assessment of the actors across decades in which Shakespearean offerings remained commercially viable. Both plays have two leading parts, and the players' choice of roles in the 1610s (when Richard Burbage's career as Othello and Subtle continued but John Lowin, his Iago, played not Face but Sir Epicure Mammon) becomes a means of exploring casting as an influence on interpretation, a thread she follows in arguing "the importance to stage history of thinking not only about the initial performances of plays but their seventeenth-century successors" (73).