in their new locale. Wickham attributes the success more to the theatre's location and comfort and to the flair of its manager, Beeston, than to the quality of its performers. Beeston would oversee several different troupes in the Cockpit before his death in 1639. Queen Anne's Men were there from 1617 to 1619; when that company dissolved upon the death of Anne of Denmark in 1619, their place was taken by Prince Charles's Men from 1619 to 1622. Lady Elizabeth's Men were there from 1622 to 1624, and perhaps for sporadic periods as early as 1619 (the two companies, Prince Charles's and Lady Elizabeth's, had combined for a time ca. 1615). Queen Henrietta's Men had a long run at the Cockpit, from 1625 to 1636. The last troupe to occupy the Cockpit in Beeston's lifetime was one of his own creation, the King and Queen's Young Company, colloquially known as Beeston's Boys — the last assembly of boy actors in the period. They would continue in the theatre under the management of his son William. William Beeston was forced out of the theatre when his choice of plays met with the disapproval of the Court. He was replaced by William Davenant in 1639. All theatres were closed by Parliament in 1642, under the Commonwealth. The Cockpit was used as a schoolroom, but plays continued to be shown illegally. It was raided by Puritan soldiers during a performance in 1649 and the players were imprisoned. In 1651 William Beeston paid £200 for repairs to the theatre, in the hope that he would be able to start performances there again — though the hope proved illusory. In the last years of the English Interregnum, under the common conceit that music was not acting, Davenant was permitted to present two licensed operas in the Cockpit: The Cruelty of the Spaniards in Peru in 1658 and Sir Francis Drake in 1659. The theatres were permitted to reopen after the English Restoration in 1660, when Charles II granted Letters Patent to two companies to perform "legitimate drama" in London: the Duke's Company, led by Davenant, and the King's Company, led by Thomas Killigrew. Both companies briefly made use of the earlier generation of theatres including the Cockpit and the Salisbury Court Theatre, but quickly moved to newer and more fashionable venues — Davenant in 1661 to a theatre in Lincoln's Inn Fields that was once