At her coronation in June 1533, Anne Boleyn was celebrated with verses portraying her as “a fruitful mother of men-children.” Being six months pregnant at the time, Anne’s “fruitful” body was indeed on display. Anne, however, did not produce these desired male children, and her reproductive body was the subject of public discourse throughout her time as queen consort. This link between a queen’s reproductive body and royal futurity takes on distinct political significance in early modern dramatic representations of pregnant and maternal queens in which the womb is represented as either conducive to the health of the nation or hostile to its stability. First performed in 1613, William Shakespeare and John Fletcher’s King Henry VIII (All is True) includes three historical queens whose wombs were of national importance to its audience—Katherine of Aragon, Anne Boleyn, and Elizabeth I. This essay argues that the portrayal of these queens’ reproductive bodies intersects with a growing desire to understand the womb, a desire reflected in the proliferation of gynecological texts published in England in the sixteenth-and seventeenth-centuries. These queens’ bodies thus serve as a productive space to examine how these theories manifested on a larger stage, both theatrically and politically.