EDEL LAMB The Child Player in Jonsonâs Epicene DAUPHINE Then here is your release, sir [he takes off Epiceneâs peruke]âyou have married a boy.1 The uncovering of the boy in this climactic moment of Ben Jonsonâs Epicene is crucial to the staging and plot of the play. Through the removal of a wig, Epicene is revealed to the other characters and to the audience to be a boy playing the part. The exposure of this convincing performance of the womanâs part by a boy foregrounds and attends to the modes of representation on this stage, and, more speciï¬cally, to the representation of gender and the performance of female roles by boy players. Indeed this event has been the focal point of a number of recent critical analyses for these reasons.2 This part, however, is performed by a speciï¬c category of boy player in Early Modern Londonâa child player of the Children of the Queenâs Revels. This essay argues that the performance of Jonsonâs play in 1609/1610 by this company draws on the distinct category of the child player and a theatrical trope of childhood established by the earlier performances of the childrenâs companies. The Children of the Queenâs
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Becoming Men
LAMB, EDEL
Follow Ben Jonson Journal
, Volume 15 (2): 175
Edinburgh University Press – Nov 1, 2008
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