revival around 1619. Contemporary reference also indicated that the play was performed in 1618, for in that year Orazio Busino, the chaplain to the Venetian ambassador to England, complained of the play's treatment of Catholics in the character of the Cardinal. The quarto's cast list allows more precision about casting than is usually available. Richard Burbage and Joseph Taylor successively played Ferdinand to Henry Condell's Cardinal. John Lowin played Bosola; William Ostler was Antonio. Boy player Richard Sharpe played the title role not in the original 1612 production, presumably due to his age, but in the revival of 1619–23. Nicholas Tooley played Forobosco, and Robert Pallant doubled numerous minor roles, including Cariola. The quarto title page announces that the play was performed at both the Globe Theatre and at Blackfriars; however, in tone and in some details of staging (particularly the use of special lighting effects) the play is clearly meant primarily for the indoor stage. Robert Johnson, a regular composer for Blackfriars, wrote incidental music for the play and composed a setting for the "madmen's song" in Act 4. The play is known to have been performed for Charles I at the Cockpit-in-Court in 1630; there is little reason to doubt that it was performed intermittently throughout the period. The play remained current through the first part of the Restoration. Samuel Pepys reports seeing the play several times; it was performed by the Duke of York's company under Thomas Betterton. By the early eighteenth century, Webster's violence and sexual frankness had gone out of taste. In 1733, Lewis Theobald wrote and directed an adaptation, The Fatal Secret; the play imposed neoclassical unities on the play, for instance by eliminating the Duchess's child and preserving the Duchess at the end. By mid-century, the play had fallen, with Webster, out of the repertory, where it stayed until the Romantic revival of Charles Lamb and William Hazlitt. In 1850, after a generation of critical interest and theatrical neglect, the play was staged by Samuel Phelps at Sadler's Wells, with Isabella Glyn in the title role. The text was adapted by Richard Henry Horne. The production was favourably reviewed by The Athenaeum; George Henry Lewes, however, registered disapproval of the play's violence and what he termed its shoddy construction: "Instead of 'holding the mirror up to nature,' this drama holds the mirror up to Madame Tussauds." These would become the cornerstones of criticisms