‘Testamentary Drama’ continues to assess the pitfalls associated with the expression of the will by charting the presence that last wills took both as material and virtual stage props. What I term as the testamentary tradition in English Renaissance drama – plays that address both the restorative and destructive outcomes of testamentary execution – begins with Ulpian Fulwell’s interlude Like Will to Like (first printed 1568). This play focuses on the ruinous effect that Lucifer’s fake will and testament has on the destitute and prodigal beneficiaries who are enticed (and ultimately damned) by the property offered within it. The last will, thus, functions to punish wickedness and reveal the futility of willing itself. Like Will to Like sets a precedent for the popular dramatic function of these documents: last wills typically function as vehicles for testators to impose their personal will over networks of beneficiaries; last wills were commonly used as tools of moral instruction and social control to draw attention to the fraught politics of testamentary inheritance; playwrights consistently portrayed acts of will-making to be disastrously prone to being counterfeited.