Pooling their resources, twenty-two leading experts on Early Stuart drama here explore three closely interconnected questions. To what extent did playwrights how their dramatis personae as forming, or failing to form, communal groupings? How far were theatrical productions likely to weld together, or separate, different communal groupings within the target audiences? And how might such bondings or oppositions among spectators have tallied with the community-making or -breaking on stage?