Re-reading of McMillin and MacLean’s The Queen’s Men and their Plays has been yielding significant new questions about The Tarlton Project’s direction and content. Not only must I round out the touring section with equal emphasis on documentation of Queen’s Men performances at court and in London (not to mention a comparison with references to Tarlton’s solo appearances in both places), but I must address in more subtle terms the nature of the troupe’s touring practices. Very exciting.