Titlebook: Staging Romantic Chameleons and Imposters; William D. Brewer Book 2015 Palgrave Macmillan, a division of Nature America Inc. 2015 performa

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,Fluid Identities in Hannah Cowley’s Universal Masquerade,cé, and then performs a very different role at a masquerade: concealing her identity behind a mask, she creates a chameleonic and cosmopolitan persona that enthralls him. She tells Doricourt that she would become “any thing—and all” for the man she loves: “Grave, gay, capricious—the soul of whim, th

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,Mary Robinson’s Polygraphs,cal, sartorial, and cosmetic chameleon:.Following a short but successful career as a Drury Lane actress (1776–1780), Robinson achieved notoriety as the mistress of the Prince of Wales. On stage, her performances in cross-dressing breeches roles won plaudits, and after her retirement from acting she

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Epilogue: The Perkin Warbeck Debate,e with sleeves” and a “l(fā)ong robe of silk” (Wroe 50) appeared on the streets of Cork, Ireland. As Ann Wroe explains, the silk robe would have made a strong impression on the people who gathered around the young man: “Silk was so precious that it was used, in England at that time, mostly for laces and

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