Feisty orphan Pippa de Lacey lives by wit and skill as a London street performer. But when her sharp tongue gets her into serious trouble, she throws herself upon the mercy of Irish chieftain Aidan O'Donoghue. Pippa provides a welcome diversion for Aidan as he awaits an audience with the queen, who holds his people's fate in her hands. Amused at first, he becomes obsessed with the audacious waif who claims his patronage. Rash and impetuous, their unlikely alliance reverberates with desire and the tantalizing promise of a life each has always wanted—but never dreamed of attaining.

When an African prince returns from university he sires a child with a sea goddess inspiring his father to make him care for not only the bi-elemental child, but the other child born of no one’s womb in their village—a nomad boy, however the medicine man takes advantage of the villager’s trepidation with the exotic children and plots to restore the shaman as leader by initiating a war between those in the villages and the beings in the sea.

The Elizabethan history play was one of the most prevalent dramatic genres of the 1590s, and so was a major contribution to Elizabethan historical culture. The genre has been well served by critical studies that emphasize politics and ideology; however, there has been less interest in the way history is interrogated as an idea in these plays. Drawing in period-sensitive ways on the field of contemporary performance theory, this book looks at the Shakespearean history play from a fresh angle, by first analyzing the foundational work of the Queen's Men, the playing company that invented the popular history play. Through innovative readings of their plays including The Famous Victories of Henry V before moving on to Shakespeare's 1 Henry VI, Richard III, and Henry V, this book investigates how the Queen's Men's self-consciousness about performance helped to shape Shakespeare's dramatic and historical imagination.