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Master of the Revels was an office within the British royal household that originally had minor responsibilities for overseeing royal festivities. Over time, however, the office grew in power to become responsible for stage censorship.

The history of the Revels Office has an interesting place in that of the English stage. Among the expenses of the royal Wardrobe we find provision made for tunicae and viseres (shirts and hats) in 1347 for the Christmas ludi (plays) of Edward III; during the reign of King Henry VII, payments are also recorded for various forms of court revels; and it became regular, apparently, to appoint a special functionary, called Master of the Revels, to superintend the royal festivities, quite distinct from the Lord of Misrule.

In Henry VII's time the Master of the Revels seems to have been a minor official of the household. In Henry VIII's court, however, the post became more important, and an officer of the Wardrobe was permanently employed to act under the Master of the Revels. With the patent given to John Farlyon in 1534 as Yeoman of the Revels, what may be considered as an independent office of the Revels (within the general sphere of the Lord Chamberlain) came into being; and in 1544 Sir Thomas Cawarden received a patent as Master of the Revels, he being the first to become head of an independent office. Soon after his appointment, the office and its stores were transferred to a dissolved Dominican monastery at Blackfriars, having previously been housed at Warwick Inn in the city, the London Charterhouse, and then at the priory of St. John of Jerusalem in Clerkenwell, to which a return was made after Cawarden's death.

Sir Thomas Benger succeeded Cawarden, and Edmund Tylney followed him (1579-1610); it was the appointment of the latter's nephew, Sir George Buck, as deputy-master, with the reversion to the mastership, which led to so much repining on the part of the dramatist, John Lyly, who was himself a candidate. Under Tylney, the functions of Master of the Revels gradually became extended to a general censorship of the stage, which in 1624 was put directly in the hands of the Lord Chamberlain, thus leading to the licensing act of 1737.

For the study of English Renaissance theatre, the Accounts of the Revels Office provide one of the two crucial sources of reliable and specific information from the Tudor and Stuart eras (the other being the Register of the Stationers Company). The Revels Accounts provide scholars with facts, dates, and other data available nowhere else.

• Walter Hallyday (1461-83)
• Sir Thomas Cawarden (1544-1559)
• Sir Thomas Benger (1560-1572)
• Edmund Tilney (1579-1610)
• George Buc (1610-1622)
• John Astley (1622-1640)
• Sir Henry Herbert (1640-1673, de facto from 1623)
• Thomas Killigrew (1673-1677)
• Charles Killigrew (1677-1725)
• Charles Henry Lee (1725-1744)
• Solomon Dayrolles (1744-1786)

• Chambers, E.K., Notes on the History of the Revels Office Under the Tudors (1906).
• Clare, Janet, Art Made Tongue-Tied by Authority: Elizabethan and Jacobean Dramatic Censorship (1990).
• Dutton, Richard, Mastering the Revels: The Regulation and Censorship of English Renaissance Drama (1991).