This chapter situates Bandmann’s career within the context of his parents’ and sister’s careers, as they were family-centred actor-managers in the traditional sense. It argues that in terms of network theory, the actor-family was characterized by homophily, strong ties that prevented innovation or expansion. Maurice Bandmann’s theatrical network, on the other hand, was heterophilic – i.e. marked by multiple ‘weak’ ties that enabled rapid expansion and flexibility. The shift from a homophilic to a heterophilic network provided the basis for the growth of his global theatre circuit.