Collier and the Anti-Theatrical Tradition

We've been looking now at how English theatrical traditions, conventions, and texts made the transition between the first and second halves of the century. I'm curious about the concurrent trend of anti-theatricalism in London, how it minded the gap, and what adaptations it underwent in the process.

Collier's inflammatory rhetoric seems to borrow a great deal from pre-war critics of the theatre (Puritan and otherwise); both use appeals to the authority of classical writers, both concede the argument that theatre could serve to properly edify the populace rather than corrupt it, both bring up the lewdness of the stage, and both decry in particular the effects of the theatre on the women of the city. But it seems that Collier -- and his opponents -- seem far less interested in the potential theological challenges that the theatre presents and instead take a heightened interest in its sexual license, especially the appearance of women in the audience and on the stage. Is this a reflection of the plays or the times or both? Is it possible to link Collier's perspective on the theatre to those of his early 1600s precursors?