of this interview we do not know. But on December 20
following, the widow made a formal lease of the property to William
Hunnis and John Newman, at a rental of L20 13_s._ 4_d._ a year, an
increase of L6 13_s._ 4_d._ over the rental she had to pay More. She
required of them a bond of L100 to guarantee their performance of all
the covenants of the lease. Thereupon the theatre under Hunnis and
Newman resumed its career--if, indeed, this had ever been seriously
interrupted.

In the course of time, More's anxiety to recover possession of the
hall seems to have increased. The quarterly payments were not promptly
met by the widow, and the repairs on the building were not made to his
satisfaction. Probably through fear of the increasing dissatisfaction
on the part of More, Hunnis and Newman transferred their lease, in
1583, to a young Welsh scrivener, Henry Evans, who had become
interested in dramatic affairs. This transfer of the lease without
More's written consent was a second clear breach of the original
contract, and it gave More exactly the opportunity he sought.
Accordingly, he declared the original lease to Farrant void, and made
a new lease of the house "unto his own man, Thomas Smallpiece, to try
the said Evans his right." But Evans, being a lawyer, knew how to take
care of himself. He "demurred in law," and "kept the same in his hands
with long delays."

The widow, alarmed at the prospect of losing her lease, brought suit,
in December, 1583, against Hunnis and Newman separately for the
forfeiture of their several bonds of L100, contending that they had
not paid promptly according to their agreement, and had not kept the
building in proper repair. Hunnis and Newman separately brought suit
in the Court of Requests for relief against the widow's suits.
Meanwhile More was demanding judgment against Evans. Hunnis, it seems,
carried his troubles to the Court and there sought help. Queen
Elizabeth could take no direct action, because Sir William More was a
good friend of hers, who had entertained her in his home. But she
might enlist the aid of one of her noblemen who were interested in the
drama. However this was, the young Earl of Oxford, himself a
playwright and the patron of a troupe of boy-actors, came to the
rescue of the theatre. He bought the lease of the building from Evans,
and undertook to reorganize its affairs. To Hunnis's twelve Children
of the Chapel he added the Children of St. Paul's Cathedral, making
t