uccess of the professional organizations may largely have been due to their employment of such university witts as Marlowe, Peele, Greene, Lodge and Nashe."(Chambers 5) The adult Companies were no better liked than the Boy Companies. In many instances Elizabeth was called upon to intervene with royal rule. "For example in 1574, Elizabeth was annoyed to hear that the city fathers had turned down a request from the Leicester's Men that they might be permitted to perform in recognized places in London" (Somerset 368). Without much reservation, she overturned the city father's decision and issued the Leicester's Men a license allowing them "to use, exercise and occupy the art and faculty of playing...stage plays...as well for the recreation of our loving subjects, as well as for our solace and pleasure" (Somerset 369). This was not the only instance where royal intervention took place. Another illustration of the queen's backing of theatrical events took place in 1583. A scaffold had collapsed in one of the tournament games, causing eight deaths. The city authorities then "used this as an excuse to close all playhouses in the interest of public safety" (Somerset 369). This would start a formation of Adult companies by the queen and wealthy nobleman. Ater being taken in by wealthy nobleman and the queen, adult companies were assured protection from puritan city authorities. During the period of the 1580's, the Queen's Men would become the most famous of all Adult companies. Not only were they wearing her livery, the twelve hand-picked actors were considered to be the best in the profession (Chambers 109). They were sworn in as her servants and were able to commence in doing what they did best, entertaining the queen and her court. The Queen's Men was the main attraction at court. During the Queen's Men's theatrical life, they would tour throughout England; no group drew a larger crowd than the Queen's men. They would travel to places like "C...
