ABSTRACT
This chapter argues that Killigrew's comedy, The Parson's Wedding, reveals a playwright prepared, to a greater extent than has hitherto been acknowledged, to experiment with traditional forms of the actor/author/audience relationship. As Styan comments, Styan does not point out that this also illustrates George and Nell's confidence that they, as audience members, have control of the material performed on stage; if they do not approve, they can call for it to be altered. Jonson's satire on Puritan anti-theatricalism reduces the seriousness of the anti-theatricalists' debate against the playhouse by portraying a dialogue between a Puritan and a puppet.
