changed the fortunes of the play. For the sophisticated audiences of private theatres such as Blackfriars and (by the early 1610s) the Globe Theatre, Tamburlaine's "high astounding terms" were a relic of a simpler dramatic age. Satiric playwrights occasionally mimicked Marlowe's style, as John Marston does in the induction to Antonio and Mellida. While it is likely that Tamburlaine was still revived in the large playhouses, such as the Red Bull Theatre, that catered to traditional audiences, there is no surviving record of a Renaissance performance after 1595. Tamburlaine suffered more from the change in fashion than did Marlowe's other plays like Doctor Faustus or The Jew of Malta of which there are allusions to performances. Edward Phillips, in his Theatrum Poetarum (1675), is so unfamiliar with the play that he attributes its writing to Thomas Newton. A further sign of the obscurity this one-time audience favourite had fallen into is offered by playwright Charles Saunders. Having written his own play in 1681 on Tamburlaine, he was accused by critics of having plagiarised Marlowe's work, to which he replied, I never heard of any Play on the same Subject, my own was Acted, neither have I since seen it, though it hath been told me, there is a Cock Pit Play going under the name of the Scythian Shepherd, or Tamberlain the Great, being a thing, not a Bookseller in London, or scarce the Players themselves, who Acted it formerly cou'd call to remembrance. Following the Glorious Revolution of 1688, a tradition developed in Ireland of performing the play in Dublin on the anniversary of William of Orange's birthday. This was brought to an end in 1713 when the government banned a performance of the play because it included a controversial prologue including the phrase "No Peace Without Spain". In 1919, the Yale Dramatic Association staged a Tamburlaine which edited and combined both parts of Marlowe's play. A revival of both parts in a condensed form was presented at The Old Vic in September 1951, with Donald Wolfit in the title role. For the Stratford Shakespeare Festival (now the Stratford Festival of Canada) in 1956, Tyrone Guthrie directed another dual version, starring Donald Wolfit, William Shatner, Robert Christie and Louis Negin; it travelled to Broadway, where it failed to impress—Eric Bentley, among others, panned it— although Anthony Quayle, who replaced Wolfit in the title role, received a Tony Award nomination