This book has been at pains to demonstrate both the diversity of the Georgian repertoire's treatment of race, and the extent of its cultural presence. In London, despite a hostile regulatory regime, the burletta houses' separation from the canon of spoken drama created persistent counter-narratives concerning Britain's contacts with other nations and peoples. Belatedly, such transformations provided the pre-conditions which permitted the first black actor to perform on a British stage. However, despite the daunting scale of Georgian theatricality, and the extent of the networks along which its texts flowed, it is necessary to insist that the cultural meaning of drama is primarily located at the site of the performance venue and only secondarily present in the hermeneutics of reading. The sheer volume of contemporary theatre engendered unpredictable environments of performance which often had clear bearings on race and nationality. In John Henry's, A School for Soldiers; or, the Deserter. A Dramatic Piece in Four Acts. Performed in the Island of Jamaica (Kingston, Jamaica, 1783), the entire cultural context of slavery is completely eliminated as Mrs Mildmay, one of the white residents, celebrates how ‘our inveterate enemies the French, have been obliged to leave this city’ as ‘our very friendly allies the English’ enter Kingston. Hector, her male friend's unobliging reply is, ‘For my part, I do not like the English; I am a good patriot, you understand me madam?’ With the mid-1780s abolition movement in Britain preparing to render traffic in slaving less straightforward, if far from suppressed, Hector's patriotism is firmly directed towards the United States of America. In the author's copy at the Huntington Library, the volume is inscribed with John Henry's manuscript note that ‘This piece is now performing in America (with many alterations) adapted to the Meridian of the U.S. and the Scene laid in Philadelphia’. With several British army officers and officials in the subscription list, it was time to move one's patriotism towards a nation more at ease with slavery.