In the first section of this chapter, I focus on the romance intertexts of two of Shakespeare’s late plays, Cymbeline and The Tempest, in order to prompt reconsideration of how they relate to other dramatic offerings of the period. Subsequently, I revisit the series of plays performed at court in 1612–1613 by Shakespeare’s company and others, paying particular attention to what this season looks like if we reassess the dramatic output of the repertory companies without privileging the distorting effect that Shakespeare exerts on our perception of the theatrical marketplace. ‘Cardenio’ necessarily plays a significant part in this discussion. Almost all of the scholarship on this lost play is fixated on attempts to recover the play-text itself; Rather than adding to this abundance of critical energy devoted to recovering or reanimating the play-text, I ask a different question about ‘Cardenio’: How did this play relate to other commercial plays being performed in London? By attempting to answer this, and by understanding ‘Cardenio’ in relation to the other plays performed in repertory with it at court, I clarify the picture of the company’s commercial offerings during the final phase of Shakespeare’s career.