The Sea Voyage is a late Jacobean comedy written by John Fletcher and Philip Massinger. The play is notable for its imitation of Shakespeare's The Tempest. Performance and publication The Sea Voyage was licensed for performance by the Master of the Revels on 22 June 1622. The Sea Voyage was acted by the King's Men; the second Beaumont/Fletcher folio of 1679 provides a partial cast list of the original production, which includes Joseph Taylor, William Ecclestone, Nicholas Tooley, John Lowin, and John Underwood, all members of the troupe. The play was entered into the Stationers' Register on 4 September 1646, and received its initial publication in the first Beaumont and Fletcher folio of 1647. Authorship The shares of the two collaborators, Massinger and Fletcher, are relatively easy to distinguish, due to Fletcher's distinctive pattern of linguistic usages. Cyrus Hoy observed that Fletcher's hand dominates in Acts I and IV, as Massinger's does in Acts II, III, and V. There is some crossover in the portions, though scholars are divided as to whether the play was revised into its final form by Fletcher (as Hoy thought), or by Massinger. Sources The play begins with a storm, and features a desert island and castaways at a banquet, just as in The Tempest. In addition to Shakespeare's play, the collaborators consulted recent accounts of actual explorations, including those of William Strachey and John Nicoll. After 1660 In the Restoration era, The Sea Voyage was revived by the King's Company in an adaptation called The Storm. The adapted version premiered on 25 September 1667, with both King Charles II and Samuel Pepys in the audience, as Pepys records in his Diary. Pepys liked the play so much – especially the added songs and dances – that he saw it again the next evening. The King's Company staged the play to beat the competition: William Davenant's and John Dryden's adaptation, The Tempest, or The Enchanted Island, would premier on 7 November the same year. Another adaptation of The Sea Voyage, titled The Commonwealth of Women, was produced by Thomas d'Urfey in 1685. D'Urfey's version proved even more popular after the turn of the eighteenth century, being performed in 1702, 1707, 1708, and 1710. D'urfey made the hero an Englishman instead of a Frenchman, and an honest pirate to boot, anticipating Gilbert and Sullivan's The Pirates of Penzance by nearly two centuries. Synopsis The play opens