Is Shakespeare indeed the only actor not mentioned? We also do not find the actors Richard Burbage, John Heminge, Henry Condell, and other players who had performed at the Rose with Lord Strange's Men and, with the addition of Shakespeare, were to be the nucleus of the Chamberlain's Men. Nor are the dramatists in the first wave of London theater to be found: Christopher Marlowe, Thomas Kyd, George Peele, and Robert Greene. Not even Edward Alleyn, who was the first famous tragedian on the Elizabethan stage and who was closely connected with Henslowe, is mentioned in association with the stage until 1596. As a matter of fact, no player or playwright is named in the Diary before 1596, which certainly explains the absence of Shakespeare: by then Shakespeare was a member of the Lord Chamberlain's company, which had no association with Henslowe or his playhouse. No wonder we don't find him in the Diary.
Those records in which Shakespeare's name is associated with theater always bring out the creativity in Oxfordians. There is, for instance, the account book for King James I's triumphal procession through London on March 15, 1604. The Chamberlain's Men had been taken into the new monarch's service ten months earlier, and the nine actors named in the King's license, including Shakespeare, are to be found in this account as the recipients of four and a half yards of red cloth. Ogburn tells us nothing more of what appears in this account than that this grant was made to "diverse persons." Ruth Loyd Miller, another Oxfordian, contends that "the clothe was issued to them not as 'actors' but as men of 'The Chamber.'" The word "actors" is not to be found in the account books it is true; but beside the names of Shakespeare and his fellows the word "Players" IS written, large and grandly. Such matters are important to Oxfordians, because in their scenario Shakespeare the bit actor had been packed off to Stratford in the late 1590s, and here, as in several other documents from after that time, Shakespeare's name heads a list of his fellow players. They must therefore find some way to show how, when William Shakespeare is mentioned in connection with the Chamberlain's Men, the reference is really to Oxford in his not-so-secret identity. In fact, Oxfordians suggest that Oxford's role in this troupe was not merely as its playwright but as its patron. Could it be, they ask, that the patron of the Chamberlain's Men was not Lord Hunsdon, the Lord Chamberlain of the Household, who has traditionally been assigned that role, but rather the Lord GREAT Chamberlain of England—who happened to be Oxford?
Aside from the fact that the actors in what had been the Chamberlain's Men had been in the King's service for nearly ten months at the time, this hypothesis also ignores one account of James's procession which makes it certain that the actors' previous patron was unquestionably Lord Hunsdon. In The Time Triumphant, by Gilbert Dugdale, which was in print about two weeks after the event, the author wrote of the new sovereign that he "to the mean gave grace: as taking to him the late Lord Chamberlain's Servants, now the King's Actors." This could only be a reference to Hunsdon, who had died six months earlier; Oxford survived another three months. This is but one of several contemporary items that leaves no question that the company had been Hunsdon's. The Hunsdon-versus-Oxford issue, then, is not an issue at all, merely an example of Oxfordian scholarship that is less than scrupulous.