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not change from show to show.
Second, costumes made it easy to use one actor in a variety of roles.
Third, as they do now, costumes helped an audience "read" the play quickly by showing them at a glance who was rich or poor, royalty or peasantry, priest or cobbler, ready for bed or ready to party, "in" or "out."
Costumes are important to the SSE in the same way. But costumes were not important to Shakespeare and his fellows as a way of showing what life used to be like in a particular historical period.
They performed Julius Caesar, for example, in primarily Elizabethan garb. For them, as for the SSE, the play always spoke to the present. That’s why the SSE uses costumes that speak to our audiences in the most familiar language possible while staying consistent with the words in the play.
Shakespeare's traveling company may have had fewer than fifteen actors, and many of his plays have as many as forty parts, which meant that actors often doubled roles. With a company of ten to twelve actors, the SSE doubles parts, with one actor playing as many as seven roles in a single show. Watching actors play more than one role, an audience can experience another aspect of Elizabethan play going: the delight of watching a favorite actor assume multiple roles.
Because women didn't take to the English stage until after the Restoration (1660), all the women in Shakespeare’s plays were originally played by men or young boys. Shakespeare had a great deal of fun with this convention.
In a production of As You Like It in 1600, a boy would have played Rosalind, who disguises herself as a boy then pretends to be a woman! Because the SSE is commit
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