Theresa Coletti reflects on what the findings of this volume mean for future discussions of theatre history. She argues that the chapters of this volume challenge the normative boundaries upon which early English drama’s periodization narrative long depended, and looks forward to the continuation of this work as more evidence emerges from the REED drama project and the work of sixteenth- and seventeenth-century antiquarians and recusants in preserving early drama is recognised. The Afterword also looks at how these translations of medieval stages, characters, and tropes to early modern English texts and venues anticipate the deliberate and frequent reinvention and adaptation of medieval dramatic traditions that continue to this day.