Soon after the accession of Mary, in 1553, was set forth a proclamation against “busy meddlers in matter of religion, and for redress of preachers, printers, and players”; the intent of which was to prevent the printing or playing of any thing adapted to further the Reformation.  The thing seems to have been effectual for more than two years, after which further measures were found necessary.  But all would not do; the restraints kept giving way.  In 1557, “certain naughty plays” broke loose even in London; and the Lord Mayor was called upon by the Court to discover and arrest the players, and “to take order that no play be made henceforth within the city, except the same be first seen, and the players authorized.”  Nevertheless Mary was far from discouraging plays and players:  on the contrary, she kept up the theatrical establishment of her father to the full.  The old Miracle-Plays, being generally of the right Roman Catholic stamp, were revived under the patronage of the Court.  In 1556, the play of Christ’s Passion was presented at the Greyfriars in London, before the Lord Mayor, the Privy Council, and many of the nobility.  The next year it was repeated at the same place; and also, on the feast of St. Olave, the miraculous life of that Saint was performed as a stage-play in the church dedicated to him.

Elizabeth succeeded to the crown, November 17, 1558; and in May following she issued a proclamation forbidding any plays or interludes to be performed in the kingdom without special license from the local magistrates; and also ordering that none should be so licensed, wherein either matters of religion or of State were handled.  This was probably deemed necessary in consequence of the strong measures which had lately been used for putting down all plays that smacked of the Reformation.

The Moral-Play of Lusty Juventus, printed some time after 1551, is full of shots against what are called the superstitions of Rome.  Its arguments and positions are exceedingly scriptural, chapter and verse being quoted or referred to with all the exactness of a theological treatise.  And the tenets of the new “gospellers” are as openly maintained as those of Rome are impugned.  Juventus, the hero, who is bent on going it while he is young, starts out in quest of his companions, to have a merry dance:  Good Counsel meets him, warns him of the evil of his ways, and engages him on the spot in a prayer for grace to aid him in his purpose of amendment.  Just at this moment Knowledge comes up, and prevails on him to spend his time chiefly in hearing sermons and reading the Scriptures.  This puts the Devil in great alarm; he has a soliloquy on the subject, then calls in Hypocrisy, and sets him to work in the cause.  While Juventus is on his way to “hear a preaching,” Hypocrisy encounters him, argues with him against forsaking the traditions of his fathers, and diverts him from his purpose.  Some while after, Good Counsel finds him in the lowest state of debauchery, and reclaims him; and God’s Merciful Promises undertakes to procure his pardon.