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 Norwich; between 3 and 29 September 1614 at Dover; in 1614-15 at Barnstaple and Doncaster (perhaps twice); on 15 April 1615 at Coventry; in April or May 1615 at Leicester; on 6 May 1615 at Norwich; on 16 October 1615 and again later in 1615 and on 22 February 1616 at Leicester; on 7 November 1615 at Marlborough; in 1615-16 at Barnstaple, Dunwich (thrice), Southampton, and Weymouth; in January 1616 at Nottingham; between 20 January and 17 February 1616 and between 11 May and 8 June at Dover; on 17 February 1616 at Coventry; on 22 February 1616 at Leicester; between 1 and 6 April (four days) and on 29 May 1616 at Norwich; on 26 October 1616 at Marlborough; and on 6 February 1617 and again later in 1617 at Leicester.

There were thus tours in each year, which sometimes extended over periods during which the London theatres must have been open. The Leicester notices of 1608, 1615, and 1617 suggest that more than one company was at work, and the explanation certainly is that some of the players named in the patent, instead of joining the London organization, had recourse to making up companies of their own for provincial purposes. Of this there is further evidence. The Southampton archives contain a copy of the following warrant from Queen Anne herself, dated on 7 March 1606: of Aprill Anno Septimo Jacobi whereby hee & others are authorised to play as the Quenes men, vidz. Thomas Grene, Christofer Breston [? Beeston], Thomas Haywood, Richard Pyrkyns, Rob^t. Pallant, Tho. Swynnerton, John Duke, Robt. Lee, James Hoult, & Robt. Breston [? Beeston].']