Thomas Kyd in the context of "Edward III (play)"

The Rose was an Elizabethan playhouse, built by theatre entrepreneur Philip Henslowe in 1587. It was the fifth public playhouse to be built in London, after the Red Lion in Whitechapel (1567), The Theatre (1576) and the Curtain (1577), both in Shoreditch, and the theatre at Newington Butts (c. 1580?) – and the first of several playhouses to be situated in Bankside, Southwark, in a liberty outside the jurisdiction of the City of London's civic authorities. Two of the earliest plays by William Shakespeare – Titus Andronicus and Henry VI, Part 1 – are recorded as having been performed there, as well as plays by dramatists such as Christopher Marlowe, Thomas Kyd, Robert Greene, George Peele, Thomas Dekker, Michael Drayton, Ben Jonson and Thomas Heywood. The Rose's archaeological remains were rediscovered in 1989 during the redevelopment of the site to build an office block, and were partially excavated. After a public campaign to preserve the remains, they are now listed by Historic England as a Scheduled Monument at Risk. Subsequently the site has become an exhibition space and theatre venue, known as The Rose Playhouse, administered by The Rose Theatre Trust, a registered charity, which plans to first complete the excavation and preservation of the remains, and then to build a new visitor, education and arts centre there.

Tamburlaine the Great is a play in two parts by Christopher Marlowe. It is loosely based on the life of the Central Asian emperor Timur (Tamerlane/Timur the Lame, d. 1405). Written in 1587 or 1588, the play is a milestone in Elizabethan public drama; it marks a turning away from the clumsy language and loose plotting of the earlier Tudor dramatists, and a new interest in fresh and vivid language, memorable action, and intellectual complexity. Along with Thomas Kyd's The Spanish Tragedy, it may be considered the first popular success of London's public stage.

Marlowe, generally considered the best of that group of writers known as the University Wits, influenced playwrights well into the Jacobean period, and echoes of the bombast and ambition of Tamburlaine's language can be found in English plays all the way to the Puritan closing of the theatres in 1642. While Tamburlaine is considered inferior to the great tragedies of the late-Elizabethan and early-Jacobean period, its significance in creating a stock of themes and, especially, in demonstrating the potential of blank verse in drama, is still acknowledged.