This book is a welcome addition to the current flowering of interest in the religious aspects of early modern drama, grounding interpretations of both well-known and rarely discussed plays – such as Pammachius and St Christopher – in their historical context. Its seven chapters amply illustrate the flourishing state of both Catholic and Protestant parochial drama in the period – from revised biblical plays and Robin Hood performances to topical drama in Cambridge colleges and recusant performances in the north of England. White's examples repeatedly illustrate the fallacy of Protestant anti-theatricalism – from Protestant involvement in the Coventry mystery plays (and he is fascinating on this godly town's enthusiasm for civic drama) to the Foxeian saints' play which proliferated at the beginning of the seventeenth century. The book's most illuminating connection between parochial performance and popular religion lies in its suggestion that apparently secular post-Reformation revels were involved in parish fund-raising and hence were financially supportive of the established religion that they are often seen as subverting. White gives a delightful example of the inextricability of pious and economic concerns in the decoration of the Tree of Knowledge in the Norwich Grocers play – garnished with precisely those ‘Oregnes, fyges, allmondes, dates, Reysens, preunis’ which the gild imported (p. 81). The provincial and religious foci of the book complement each other as performances at a distance from London are less liable to censorship and provincial performance spaces – from Cambridge colleges and bishops' palaces to recusant households – are often more religiously inflected than those in the capital. This book attempts to redress the metropolitan bias of much theatrical scholarship, noting that performances in the provinces peaked in the 1580s and 1590s, and drawing on new research soon to be published under the auspices of the REED project.