This superb monograph examines how radical politics found expression in performance in the decade prior to the Glorious Revolution. The years from 1678 to 1688 saw the English monarchy rocked by successive crises, ranging from allegations of secret Catholic plots to murder the king (largely fabricated) to murmurings of dark dealings between Louis XIV and Charles II (largely true). The inability of Charles II to produce a legitimate heir also worried a Protestant citizenry who feared that the line of succession would devolve to James, the Catholic brother of Charles II. Arbitrary rule, strict censorship, excessive taxation, and an atmosphere of Stalinesque surveillance further inflamed the populace. As Johnson wryly notes, the problem with the Restoration was that it restored too much, especially the oppressive political attitudes that caused the Civil War in the first place. Amid this tumult, Johnson situates the patent theatres and street performance. He is certainly not the first scholar to do so, but he is, happily, the first in a long time to combine keen intelligence with common sense. That he tells this compelling story stylishly and with verve gives one all the more reason to read this first-rate study.