This essay revisits the question of playgoing by apprentices in early modern London via analysis of Chapman, Jonson and Marston's 1605 play Eastward Ho! and a newly uncovered set of depositions deriving from a lawsuit over the apprenticeship of the stationer Richard Meighen. Although their origins, purposes and modes differ, these materials represent playgoing through a similar set of conventions, assumptions and clichés. Functioning like a cultural script, such conventions enable playwrights and deponents alike to articulate shared assumptions about apprenticeship and its relationship with playgoing. Simultaneously, however, they also reveal some of the fault-lines within those tropes. In neither case, is it easy to position playgoing as a misdemeanour that must be cast off in order for the apprentice to repent and be re-assimilated into the structures of civic trade and profit. On the contrary, Eastward Ho’s erring apprentice Francis Quicksilver and Richard Meighen present examples of apprentices who are able to turn their interest in theatre to profitable ends.