LONDON THEATRICAL COMPANIES
In the early days of Elizabeth, actors sought refuge under the
_aegis_ of some great noblemen, otherwise they were branded as
rogues and vagabonds, subject to arrest at any moment, followed by a
term of imprisonment. The only way of escaping these stringent and
harsh measures was by placing themselves, as above stated, under
the patronage of Royalty and nobility, thereby securing freedom in
following their calling without interruption or molestation. When
the actors first sought the protection of the aristocracy, in all
probability they became in reality the servants of the Lord who
protected them, keeping themselves in readiness at the command of
their masters, either acting at a public place or giving private
performances. In course of time these ties became loosened, and the
actors, in name only, were the servants of their patron, acting
wherever and whenever they could find an appreciative audience. The Act
of Parliament proclaiming them outcasts still remains in force, the Act
never having been repealed.
Under these conditions they called themselves servants of the Queen,
the Earl of Pembroke or the Lord Chamberlain his servants, thus
enabling them to follow their profession in peace, and remain within
the bounds of the law. It is generally admitted that when Shakespeare
arrived in London he joined the Earl of Leicester’s Company, or
perhaps he may have enrolled himself as one of their members when they
visited Stratford-on-Avon in the year 1587. A year later Leicester
died; Shakespeare then became a member of Lord Strange’s Company and
remained in this company under different patrons until his retirement
from the stage about 1610. The last six years of his life were spent in
Stratford-on-Avon, where he died in 1616.
As would naturally be expected, the company whose fortunes Shakespeare
followed has loomed largely in the student’s mind. The other
companies being partially ignored by thus restricting the attention
to the Strange-Hunsdon company, the true perspective of the London
companies is lost, and many which played quite an important part in
the theatrical world of the time have become, through neglect in
chronicling their history, somewhat obscured.
Behold here is another subject on which the Shakesperean student, by
original research amongst the State and Records Office papers, might
be able to throw considerable light on the histories of these dramatic
companies. For the present the student must rely on the confused
paragraphs of Fleay, recorded in his history of the stage. Mr. John
Tucker Murray’s _English Dramatic Companies_ is a mine of information,
chiefly describing the performances given in provincial towns by the
London Companies, and also their Court performances. He likewise gives
an excellent account of the minor companies which, previous to this
work, were quite unknown, but little of anything new is related in
connexion with the careers of the well-known London companies.
[Illustration:
THE
FAMOVS VICTORIES
of Henry the
fifth:
Containing the Honourable
Battell of Agin-court:
_As it was plaide by the Queenes Maiesties
Players._
[Illustration]
LONDON
Printed by Thomas Creede, 1598.
]
Dr. Greg, in his magnificent edition of _Henslowe’s Diary_, no doubt
relates all that is known about these London companies, Malone and
Halliwell-Phillipps being his chief authorities. I think he makes a
great mistake in quoting Collier, as this forger of documents and
dishonest man of letters has no right to be regarded as a serious
historian. All the documents he quotes may have been doctored in
order to bolster up his own statements, besides which, anyone using a
document which has passed through his hands should be very careful in
recording the contents without a close examination, as many documents
which he examined have been tampered with.
In Shakespeare’s time the companies acting in London before the death
of Queen Elizabeth were eight in number, as follows:
The Queen’s Servants.
The Earl of Leicester’s Servants.
The Earl of Pembroke’s Servants.
The Earl of Worcester’s Servants.
The Lord Strange’s Servants.
The Lord Hunsdon’s Servants.
The Earl of Sussex’ Servants.
The Lord Admiral’s Servants.
THE QUEEN’S SERVANTS
This company was formed in the year 1583. The chief actors from other
companies were pressed into this new troupe of regal comedians: most
of their names are known. Howe, in his edition of _Stow’s Annals_,
published in 1615, mentions Wilson and Richard Tarlton, the former for
a quiet, delicate and refined extemporal wit, and the latter for a
wondrous, plentiful pleasant, extemporal wit; he was the wonder of his
time.
James Burbage, the founder of the first theatre in this country, was
one of the first members. The Queen’s Company frequently acted in
various parts of the country, likewise at the Court, and continually
in London. In the Metropolis they made The Theatre their headquarters;
sometimes they acted under the management of Henslowe at the Rose.
A few of the plays in their repertoire found their way into the
Press, the title page stating, “As was played by the Queen Majesty’s
players.” One of their playbooks was the drama called “The True Tragedy
of Richard III,” a play that Shakespeare must have read or seen on the
stage. Some half-dozen plays are known as belonging to this company,
including the famous victories of “Henry V,” the foundation play of
Shakespeare’s “Henry V.”
After the Queen’s death, in 1603, they ceased being called the Queen’s
players, and those actors who formed the company at this time sought
other patronage, or were transferred wholly to some distinguished
nobleman. There are no grounds for believing that some of the Queen’s
players found a new patron in Ludwic Stuart, Earl of Lennox, who was
already patron of a company of players.
EARL OF LEICESTER’S COMPANY
The Earl of Leicester is the earliest known nobleman under whose
patronage the players first placed themselves, His name is found in a
document as early as 1559, and until his death, in 1588, he remained a
friend of the actors.
James Burbage, by trade a joiner, was a member of this company. In
every important theatrical company of these times are found three well
marked divisions of activity. First the actors performed in London,
either at an inn-yard, hall, or properly built theatre. Secondly,
provincial tours were arranged, especially when the plague was rampant
in the Metropolis; in some instances the Continent was visited.
Thirdly, a Court performance was commanded; naturally, only the better
class companies were thus honoured.
[Illustration:
A Pleasant Commodie,
of faire _Em_ th. Millers daughter
_of Manchester: VVith the loue of_
William the Conqueror:
As it was sundrietimes publiquely acted in the
_honorable citie of London by the right honourable_
the Lord Strange his seruaunts.
[Illustration]
Imprinted at London for T.N. and I. VV.
and are to be solde in S. Dunstones Church-yarde
in Fleete-streete.
]
The Earl of Leicester’s company performed all these duties. A visit
to Denmark is especially enumerated, the names of the actors being
written down in the town records of Elsinore, which name instinctively
recalls to mind the magic name of Hamlet, Prince of Denmark.
During a lengthy provincial tour, the Earl of Leicester’s company
visited Stratford-on-Avon in 1587. Unfortunately there is no proof to
corroborate the theory that Shakespeare may have joined the troupe on
this occasion of their visit to his birthplace. When in London this
company acted several times at Court, in one instance the name of the
play being recorded. In February, 1574, was acted at Court the play
called “Philemon and Philecia,” for which they received £6 13s. 4d.,
and a further reward of £3 6s. 8d. It is nowhere stated where this
company acted, but we are on sure ground in assuming that the locality
was The Theatre, as James Burbage, one of the players, owned the
property and, no doubt, acted as manager.
LORD STRANGE’S COMPANY
One of the most successful companies in Shakespeare’s time was that
known during the latter years as the Lord Chamberlain’s Servants.
The early history of this company is traced back to a troupe of actors
under the patronage of Lord Strange. The first years of its career are
practically unknown, beyond a few records of performances in provincial
towns, prior to 1589 no reference of any description is known of the
company’s appearance on the London stage, nor of a command performance
at Court before 1591.
This company comes into greater prominence than others of no less
distinction, chiefly on account of Shakespeare being one of the
members. In all probability he joined this company after the death of
his first patron, the Earl of Leicester, in 1588, when many of the
actors of Leicester’s company threw in their lot with the Strange
contingent. With the latter he remained, participating in all the
varying fortunes of so hazardous an existence and vicissitude until
his retirement from the stage.
Unfortunately for future students, this company found no minute
chronicler like Henslowe, recording all the performances and other
details connected with the daily routine of the theatre, events which
would have greatly interested future generations of those who make a
study of the Elizabethan stage. Scattered up and down the country, a
few municipal documents have been discovered bearing upon this company,
a fact which must cheer the hopes of those engaged in this dreary work
that other references will in due course be found. At present, only by
piecemeal, can any continuous history of this important London company
be constructed.
The first document of any importance is dated 1589, proving that
Lord Strange’s men acted at the Cross Keys, an inn-yard situated
in Gracechurch Street. But playing there was contrary to an order
forbidding acting in the City; they thereby incurred the censure of the
Lord Mayor, who promptly seized two of the members and committed them
to the Compter.
From this period, 1589, until the 19th of February, 1592, their history
remains a blank. Luckily, owing to the _Diary_, they can with certainty
be located as acting at the Rose Theatre from the 19th of February,
1592, until June the 22nd of the same year; at that date the theatre
was closed on account of the plague, when the company sought the
patronage of the provincial playgoer. During the last few months of
the year they will be found playing in the West of England: Bath and
Gloucester possess records of visits paid there.
On their return to London at the end of the year, they gave a few
performances at Newington Butts, and then opened again at the Rose. The
season was of short duration, lasting only from December 15th until the
beginning of February, when the theatre was again closed on account of
the plague, forcing them once more on the suffrage of the provincial
towns, where they are found playing at Bath, Bristol and Shrewsbury.
The year 1592 was quite a busy one: besides their London engagements
and two provincial tours they acted three times at Hampton Court during
the month of December.
In Henslowe’s invaluable _Diary_ twenty-three plays are attributed
to Lord Strange’s company on their first recorded visit at the Rose
Theatre. Evidence is in existence that this theatre may have been built
and plays performed there as early as 1587. One play is of exceptional
interest, namely, the first part of “Henry VI,” which is included in
the First Folio of Shakespeare’s complete dramatic works, published for
the first time in 1623.
“Pericles” is not included in this edition; perhaps omitted through
carelessness, as many editions had been issued during the poet’s
lifetime, with his name on the title page.
Another play mentioned in the _Diary_ as acted by this company is
“Titus and Vespasian,” which may have been the same play as “Titus
Andronicus,” included in the canon of the First Folio. How much of the
former play can be attributed to Shakespeare is very doubtful; that he
had some share in the play is generally accepted, although some critics
argue his authorship entirely. Meres mentioned the play in 1598 as
written by Shakespeare, in spite of which there are a vast number of
students who will not admit that their beloved Shakespeare had any hand
in this chamber of horrors. Some scenes contain passages of undoubted
poetical beauty, but in my opinion not above the standard of many
writers of the time; in fact, I would banish this play altogether from
the Shakesperean canon.
The first part of “Henry VI” was the most popular play of the period,
and is mentioned by Nash as drawing tens of thousands of spectators.
How would it have joyed brave Talbot, the terror of the French, to
think that after he had lain two hundred years in his tomb he should
triumph again on the stage and have his bones new embalmed with the
tears of ten thousand spectators, at least at several times, who in
the tragedian that represents his person imagine they behold him fresh
bleeding. Pierce Penilesse, his supplication to the Devil, 1592.
The other plays acted need no comment; probably they all belonged to
the Henslowe repertory. The different companies acting at Henslowe’s
theatre were allowed the study of his plays, otherwise the explanation
would be difficult how Strange’s company were found acting Marlowe’s
“Jew of Malta,” which was at this period, undoubtedly, the property of
Philip Henslowe.
1593.
At the close of the year 1592 the Strange Company is once more in
possession of the Rose. Opening on the 9th of December, they continued
there until the 1st of February, when the theatre again was closed on
account of the plague. During this visit, they acted the same plays
as on the former occasion, with the exception of producing two new
plays, named respectively “The Jealous Comedy” and “The Guise; or, The
Massacre of France.” Nearly the whole of this year London was infected
with the plague, in consequence of which all the theatres were closed,
and the companies compelled to travel. The Strange Company played at
Chelmsford, Bristol, Shrewsbury, Coventry, and Leicester, and most
probably at Chester and York. The two latter places are not found in
the records, but the celebrated actor, Allen, when writing home to
his wife, mentions that the company acted at other towns, and gave
Chester and York as further addresses. A document of some importance
granting a licence to the Strange Company was issued in this year,
although Shakespeare was a member, his name is not included in the list
of actors mentioned. Probably he was not yet a shareholder, which fact
may account for his name being omitted.
[Illustration:
THE
HISTORY
of the tryall of
Cheualry,
With the life and death of Caualiero
_Dicke Bowyer_.
As it hath bin lately acted by the right
_Honourable the Earle of Darby his_
seruants.
[Illustration]
LONDON
Printed by Simon Stafford for Nathaniel Butter,
and are to be sold at his shop in Paules Church-yard,
neere S. Austens gate. +1605+.
]
Edward Allen, as servant to the Lord High Admiral, figures at the head
of this list. Whether the custom permitted an actor attaching himself
to two different companies has not been satisfactorily explained,
although in this instance the evidence is quite clear.
During the year Lord Strange became the Earl of Derby, and by that
name the company is recorded in the municipal documents of Coventry
and Leicester. Under this title his name appears in print, and that on
the title page of “Titus and Andronicus,” published in 1594, as acted
by the Right Honourable the Earl of Derby, Earl of Pembroke, and Earl
of Sussex, their servants. Once only the Earl of Derby’s name figures
alone, and that is on the title page of a play called “The Trial of
Chivalry,” by the Right Honourable the Earl of Derby, his Servants,
1605.
In connexion with the title page of “Titus and Andronicus,” an
interesting and curious instance of the romance of books has recently
been established. Langbaine, in his dictionary of dramatic literature,
published in 1691, states that the first edition of “Titus and
Andronicus” was published in 1594. In modern times the only known
editions were those of 1600 and 1611. After nearly three hundred years
a copy of this first edition, in 1594, turned up in Sweden, and was
promptly secured by an American collector for two thousand pounds.
How little these facts are studied can be seen by referring to the
catalogue of the Tercentenary Exhibition of Shakespeare’s books,
exhibited at the Victoria and Albert Museum, when the 1600 edition is
catalogued as the first.
1594.
Few facts are known concerning the company during this year. The
most important event affecting their welfare was the death of their
patron, Ferdinand Stanley, Earl of Derby, which happened on April 16th,
1594. By an entry in the municipal records of Winchester, they did
not immediately seek a new patron, acting under the patronage of the
Countess of Derby the following month. Before June the third, they had
become the servants of Henry Carey, Baron Hunsdon and Lord Chamberlain.
An entry in the _Diary_ of this year is the first intimation of
this change: “In the name of God. Amen. Beginning at Newington. My
Lord Admiral’s men and My Lord Chamberlain’s (Lord Hunsdon) men as
followeth, 1594.” These two companies occupied the stage at Newington
Butts from June 3rd until the 13th inst., when the Admiral’s men
seceded and played at the Rose. The Chamberlain’s men may have
continued at Newington, but no record of their performances is given.
Anyway, their stay after the separation must have been a short one, as
they visited Marlborough during the summer. The approach of autumn saw
them again in London, Lord Hunsdon petitioning the Lord Mayor asking
permission for his company to act at the Cross Keys, in Gracechurch
Street. No answer is known in connexion with this petition, but the
demand quite likely was granted; if so, Shakespeare’s earliest plays
may have been performed in this very inn-yard, an act of sacrilege
which seems to us almost inconceivable.
[Illustration:
_AN_
EXCELLENT
conceited Tragedie
_OF_
Romeo and Iuliet.
As it hath been often (with great applause)
plaid publiquely, by the right Honourable
the L. of _Hansdon_
his Seruants.
[Illustration]
LONDON,
Printed by Iohn Danter.
+1597+
]
1595.
The bare enumeration of three performances at Court in the last days
of December is all that is known of this company’s engagements during
the year 1595. What a contrast to these days, when every stage event,
however trivial, is fully chronicled by our daily and weekly press. Let
us survey now the Elizabethan period: you will find no word of praise
recorded to the greatest masterpieces of all time, although hundreds of
books and pamphlets referring to current events were constantly being
published at this time. The company was now under the patronage of Lord
Hunsdon, who held the office of Lord Chamberlain, the actors being
henceforth known until his death as the Lord Chamberlain’s servants.
A document is still extant which proves that this company received a
reward for playing at Greenwich on St. Stephen’s Day and Innocents’
Day. This entry is of great interest, as among those receiving payment
is the name of Will Shakespeare. This is the first authentic record of
Shakespeare being a member of this company.
Another document, dated December, 1596, refers to payments made in
1595, in which a reward was given to this company for acting five
plays; three were given respectively on St. Stephen’s Day, St. John’s
Day, and Innocents’ Day. Shakespeare’s name is not mentioned in this
document, which states that the actors were the servants of the late
Lord Chamberlain, and are now the servants of George Carey, second
Baron Hunsdon. This second Baron did not immediately succeed his father
as Lord Chamberlain, but held that office on the death of Lord Cobham,
who had been elected to this high official position on the death of the
first Lord Hunsdon. Lord Cobham died in 1596, and then the second Lord
Hunsdon became Lord Chamberlain.
1596.
The Lord Chamberlain’s men acted twice at Court, namely, on Twelfth
Night and again at Candlemas Day, at night; the reward was paid to
John Hemings and George Bryan as representing the servants of the
late Lord Chamberlain. Baron Hunsdon having died on July 22nd of
this year. The Company again acted at Court at the end of the year,
giving performances during the Christmas holidays. John Hemings and
Thomas Pope received £60 as reward for the company’s services. Both
Shakespeare’s and Burbage’s names are omitted in these documents. In
former lists their names are mentioned; why their names were omitted
is a rather perplexing problem. At this period they played a prominent
part in the management of the company’s affairs, which makes the matter
all the more mysterious. During the summer the company travelled in
the provinces, but only once at Faversham can their destination be
placed; at this town they are entered in the municipal records as
the players of Lord Hunsdon. The London season of this company is
quite unknown, with the exception of the Court performances. A vague
reference to a performance of “Hamlet” at the theatre in Shoreditch
connects them with this place of entertainment; the old “Hamlet” play
which is lost was included in the repertoire of the Lord Chamberlain’s
Servants. The paragraph alluding to the old “Hamlet” play occurs in
a pamphlet written by Thomas Lodge, entitled, “Wits miserie and the
World’s madness discovering the Devils incarnate of this Age.” One of
the Devils is Hate-Vertue, or sorrow for another man’s good success,
who says that he is a foul lubber and looks as pale as the vizard of
the ghost which cried so miserably at the Theatre like an oyster-wife
“‘Hamlet’ revenge.” This play is generally assigned to Thomas Kyd, the
dramatist, and it is almost certain that from this tragedy Shakespeare
founded his own play of “Hamlet.”
1597.
Very little can be gleaned of the company’s whereabouts during this
year. They appeared at Court during the Christmas holidays, and
received their usual reward. As the theatres in London were closed by
order of the Privy Council from August to October, we find them touring
the provinces: records of their visits are found at Bath, Bristol,
Rye, Dover, and Marlborough. On the title page of the first quarto of
“Romeo and Juliet, 1597,” it states that the play was acted with great
applause by Lord Hunsdon’s men; this was the second Lord Hunsdon, who
had not yet become Lord Chamberlain. Marston refers to a performance
of “Romeo and Juliet” given at the Curtain in a book of Satires, dated
1598. This is the only reference to the company appearing in London
during this year.
1598.
There only remain very scanty materials to help us in tracing the
engagements of the company during this year. They played as usual
before the Court during the Christmas holidays. Mr. J. T. Murray, in
his admirable and exhaustive study of this company, is unable, owing
to want of material, to give a list of their provincial engagements
after the year 1597 until their visit to London and Scotland in 1601.
As Mr. Murray’s work on the history of the London dramatic companies is
the only one that gives a systematic account of the company’s touring
programme, there is no higher authority or court of appeal. No doubt
the company toured the provinces during these blank years, but all
records are lost.
According to Halliwell-Phillipps, a very interesting performance was
witnessed at the Curtain Theatre, namely, Ben Jonson’s comedy of
“Everyman in his Humour,” in which Shakespeare himself acted the part
of old Knowle. Ben Jonson, according to Aubrey, acted in his own play,
but his name is omitted in the list of actors prefixed to the first
quarto edition of the play. Aubrey, in his _Lives_, has the following
paragraph:
“Jonson acted and wrote, but both ill, at the Green Curtaine, a kind
of nursery or obscure playhouse somewhere in the suburbs, I think
towards Shoreditch or Clerkenwell.” It is surprising that everyone
writing about the stage in the seventeenth century should be so densely
ignorant concerning the history of one of the chief playhouses during
the Shakesperean era.
1599.
This year is an important one in the theatrical history of
Shakespeare’s company as during this time the dispute of granting a
further licence to the lessees of the Theatre occurred, which ended in
the demolition of the Theatre and the erection of the Globe Theatre in
Shoreditch.
[Illustration:
A
Most pleasaunt and
excellent conceited Comedie,
of Syr _Iohn Falstaffe_, and the
merrie Wiues of _Windsor_.
Entermixed with sundrie
variable and pleasing humors, of Syr _Hugh_
the Welch Knight, Iustice _Shallow_, and his
wise Cousin M. _Slender_.
With the swaggering vaine of Auncient
_Pistoll_, and Corporall _Nym_.
By _William Shakespeare_.
As it bath bene diuers times Acted by the right Honorable
my Lord Chamberlaines seruants. Both before her
Maiestie, and else-where.
[Illustration]
LONDON
Printed by T. C. for Arthur Iohnson, and are to be sold at
his shop in Powles Church-yard, at the signe of the
Flower de Leuse and the Crowne.
1602.
By kind permission of Messrs. Griggs.]
“Every man out of his Humour” was first acted at the Globe in 1599.
There is no record of any other company acting here, so it may well
be styled Shakespeare’s Theatre. Astonishing as it may well seem
to us, the truth is that no reference can be found in contemporary
literature of the opening of the Globe Theatre. Surely an event of
such importance must have attracted thousands of the pleasure loving
populace, yet not a single member of that vast assembly jotted down a
memorandum on that auspicious occasion. How we should hail with delight
a contemporary criticism of the first night of “Hamlet” and a detailed
account of the actor-author’s rendering of the Ghost, a part which
tradition says he made his own, but these vain thoughts are the flimsy
creations of an idle brain, and must be discarded for the bare facts
such as we are acquainted with.
1600-1603.
Beyond performances at Courts in January, February and during
Christmas, the whereabouts of this company are quite unknown. However,
we may assume that they remained in London, and acted at their new
theatre without intermission until the end of Elizabeth’s reign.
This period was one of great activity in Shakespeare’s life, and many
of his plays found their way to the printing press. “The Merchant of
Venice,” “A Midsummer Night’s Dream,” and “Much Ado about Nothing”
were all published for the first time in the year 1600. The date of
publication may have been years after the play was first produced at
the theatre; in fact, “The Merchant of Venice” is mentioned by Meres in
a literary work published in 1598, and even then the play may have been
written a year or two earlier.
A fair conclusion is that all these plays were revived at this period,
and then success led ultimately to their publication.
[Illustration:
THE
Tragicall Historie of
HAMLET
_Prince of Denmarke_
By William Shake-speare.
As it hath beene diuerse times acted by his Highnesse seruants
in the Cittie of London: as also in the two Vniuersities
of Cambridge and Oxford, and else-where
[Illustration]
At London printed for N. L. and Iohn Trundell.
1603.
By kind permission of Messrs. Griggs.]
During the Essex Rebellion a play on the subject of “Richard II” was
produced at the Globe. Whether this was Shakespeare’s play or another
quite distinct drama is a point under discussion. Shakespeare’s, or
not Shakespeare’s, the company was censured and severely reprimanded
for acting this play at such a critical time; the Queen was highly
incensed, and their non-appearance at Court during the year was on
account of their short-sighted policy. After a few months the affair
blew over, and the company was once again reinstated in the Queen’s
favour. A document states they received twenty pounds reward for
acting on St. Stephen’s Day. From the year 1600 until the death of the
Queen in 1603, very little information is available in helping us in
reconstructing the history and fortunes of this company, and until the
accession of James the First nothing of interest can be gleaned.
The King, by a deed dated May 17th, 1603, licensed the company to
act at their usual place, the Globe, and also allowed them to give
performances at any town halls or moot halls or other convenient places
within the liberties and freedom of any other city, university, town,
or borough whatsoever, ‘within our said realms and dominions.’ This
deed mentions the name of Shakespeare and Burbage among others. When
the first quarto of “Hamlet” was published in 1603 the title page bore
the following imprint:
“The Tragicall Historie of Hamlet Prince of Denmarke. By William
Shakespeare. As it hath beene diverse times acted by his Highnesse
servants in the Cittie of London, as also in the two Universities
of Cambridge and Oxford and elsewhere.
“At London printed for N L and John Trundell.
1603.”
[Illustration:
A
YORKSHIRE
Tragedy.
_Not so New as Lamentable_
and true.
_Acted by his Maiesties Players at_
the _Globe._
_VVritten by_ VV. Shakspeare.
[Illustration]
AT LONDON
Printed by _R. B._ for _Thomas Panier_ and are to bee sold at his
shop on Cornhill, neere to the exchange.
1608.
]
The company assumed the title of the King’s Servants almost immediately
on his accession. There is no record of their playing in London during
the year 1603, which may be accounted for by a severe visitation of the
plague, which caused all theatres and places of amusement to be closed.
While the plague lasted, the Court was transferred to Wilton, the
seat of the Earl of Pembroke, and there Shakespeare and his company
acted on the 29th December, 1603. The plague continued during the next
three months; meanwhile the company acted before the King at Hampton
Court on several occasions. The provincial towns were again organized,
for they are found playing at Shrewsbury, Bath, Coventry, and Oxford;
at the last place “Hamlet” was one of the plays given.
1604-1609.
The Coronation of James was postponed on account of the plague, and
it was not until the second year of his reign that this event was
celebrated. Included in the procession, the actors of the King’s
company took their place, clothed in crimson.
Little is known of the company’s engagements beyond a brief notice of
having played in a piece called “The Gowrie Conspiracy,” which brought
the players into disfavour. Unfortunately, very scanty records are in
existence giving details of the repertoire of the Globe. The usual
Court performances took place each year, and when the proprietors
closed the theatre the company visited the provinces. In 1613 the Globe
was burnt to the ground; before this event Shakespeare had ceased to
be a member. The theatre was rebuilt in 1614; the actors continued
under the patronage of the King until his death in 1625. After that
event, Charles I, who succeeded his father, extended his patronage to
the company, and they remained the servants until all the theatres
were closed by Act of Parliament, 1642, on account of the outbreak of
the Civil War. The Shakesperean plays, written expressly for the Globe
Theatre, included “Hamlet,” “Othello,” “Macbeth,” “King Lear,” and many
of his comedies and histories.
THE ADMIRAL’S COMPANY
The Lord Admiral’s Company played an important part in the theatrical
annals of the country, disputing inch by inch the formidable rivalry
of the Lord Chamberlain’s men. The celebrated Edward Alleyn, by far
the most brilliant actor of the early days of theatrical enterprise
in Elizabethan times, was the head of the company. His father-in-law,
Philip Henslowe, financed the Admiral’s men, and gradually installed
himself as the managing director. The Rose Theatre, owned by Henslowe,
was chiefly occupied by them when in London, and it is solely owing
to the famous Diary kept by him that so many details are known in
connexion with this company.
The Admiral’s Servants acted at Court almost every year during
Elizabeth’s reign; they likewise toured the provinces, acting in all
the most important towns, travelling as far north as York and reaching
Dover in their southern circuit. This company is first noticed as early
as 1574, when they acted at Court in a play called “The History of
Phedrastus and Phigon”; at this period they were under the patronage
of Lord Charles Howard, and were known as the Lord Chamberlain’s men,
as Lord Howard was acting as Lord Chamberlain during the illness of
the Earl of Sussex. After 1577 they again adopted the title of Lord
Howard’s Servants. In 1588 Lord Howard was appointed Lord High Admiral,
when the actors became the servants of the Lord High Admiral, retaining
this position until the death of the Queen. Sometimes we find these
players designated as the Earl of Nottingham’s servants, this nobleman
receiving the Earldom in 1596; he was closely related by marriage to
Lord Hunsdon, having married that nobleman’s daughter.
[Illustration:
The first part
Of the true and honorable
historie, of the life of Sir
_John Old-castle, the good_
Lord Cobham.
_As it hath been lately acted by the right
honorable the Earle of Notingham
Lord high Admirall of England his
seruants._
[Illustration]
LONDON
Printed by V.S. for Thomas Pauier, and are to be solde at
his shop at the signe of the Catte and Parrots
neere the Exchange.
1600.
]
In the early years of this company’s existence a difficulty is
experienced in tracing with any degree of certainty their actual
playing place. They may have occupied the stages of the Theatre and the
Curtain for short periods, but most possible of all, their chief stage
was one of the inn-yards of which so little is known, although they
played so important a part in early theatrical days. A document exists
showing that in 1587 they set up bills in the City every day in the
week, “so that when the bells toll for the Lecturer the trumpets sound
to the stages to the joy of the wicked faction of Rome.” The first
mention of the Lord Admiral’s men in the _Diary_ occurs in Folio 9,
under the following entry:
“In the name of God Amen, beginning the 14th of May, 1594, by the Lord
Admiral’s men.”
Then follows the entry of three performances, the last taking place on
the 16th of May. Another entry is as follows:
“In the name of God Amen, beginning at Newington, my Lord Admiral’s men
and my Lord Chamberlain’s men, as followeth 1594.”
The two companies played alternately from the 3rd of June until the
13th, when a line is drawn in the _Diary_, which indicates that the
two-fold engagement was at an end.
The Admiral’s men returned to the Rose and played there from the 13th
of June, 1594, and continued until the 25th of June, 1595, opening
again on the 25th of August, continuing until the following February,
1596, when a break occurs until the 12th of April of the same year. On
and off they acted at this theatre until the year 1600, when Henslowe
removed his company to his new theatre in Golden Lane, called the
Fortune. At this theatre they acted under various patrons until the
place was burnt down in 1621. Alleyn, noting the event in his diary:
“Midnight this night, at 12 o’clock, the Fortune was burnt.” The
catastrophe is more detailed in a letter from Mr. Chamberlain to Sir
Dudley Carleton.
[Illustration:
A most pleasant and
merie nevv Comedie,
Intituled,
_A Knacke to knowe a Knaue_.
Newlie set foorth, as it hath sundrie
tymes bene played by ED. ALLEN
and his Companie.
_VVith KEMPS applauded Merrimentes_
of the men of Goteham, in receiuing
the King into Goteham.
[Illustration]
Imprinted at London by Richard Iones, dwelling
at the signe of the Rose and Crowne, nere
Holborne bridge. 1594.
Of this Company nothing is known. It may refer to the Lord Admiral’s
Company, in which Allen was the chief actor.]
The theatre was rebuilt in 1623, when the same company was installed
in their new playhouse. Later these comedians are found playing at the
theatre in Salisbury Court. According to the title page of _Holland’s
Leaguer_, which it states as having been acted by Prince Charles’ men
(a new patron of the Admiral’s) at Salisbury Court Theatre, a list of
actors and their parts are prefixed to this play. The reason of their
abandoning their own theatre, the Fortune, is not known. They also
acted at the Red Bull Theatre, returning to the Fortune in 1640, where
they remained until the theatre was closed by Act of Parliament. For
clearness’ sake, the reader should remember that this company was known
during the reign of Elizabeth as the Lord Admiral’s, but in James’ and
Charles’ reigns it was under different patrons:
Until 1597, Admiral’s men, patron Baron Howard.
Until 1603, Nottingham’s men, more often Admiral’s men.
From 1603-1612, Prince’s men, patron Prince Henry, eldest son of
James I, died in 1612.
Then the company came under the patronage of Frederick Elector
Palatine, who married Elizabeth, daughter of James I, from whom the
Hanoverian monarchy is descended. The company remained under the
patronage of the Elector, under the name of the Palsgrave’s men, until
the birth of Prince Charles, eldest son of Charles I, when they became
Prince Charles’ men until the closing of the theatres in 1642.
The list of plays in which the Admiral’s men acted would total several
hundreds. Anyone who is desirous of studying the list will find an
excellent account of all the plays mentioned in Mr. W. Greg’s edition
of _Henslowe’s Diary_. As I have stated elsewhere, and repeat again
with pleasure, no writer of the theatrical history of the Elizabethan
period is better equipped with all the necessary scholarship than the
industrious and marvellously learned editor of the _Diary_.
EARL OF PEMBROKE’S COMPANY
A company of actors, under the patronage of the Earl of Pembroke,
was well known in London and the provinces during the last decade
of Elizabeth’s reign. Once more we have recourse to the _Diary_ in
determining the place where they played, but the document is silent
concerning their repertoire.
In _Henslowe’s Diary_ the following interesting notice is given of
these players:
“A Just account of all such money as I have received of my Lord
Admiral’s and my Lord of Pembroke’s men as followeth, beginning the
21st of October, 1597.”
The company were engaged at intervals until the 4th of March of the
next year, giving in all twenty performances. These performances took
place at the Rose. A few plays they acted in can be gathered from the
printed title pages of plays which found their way to the press; one
of these is particularly interesting: “A pleasant conceited history
called the Taming of a Shrew, dated 1594.” The imprint states that it
was acted by the Right Honourable the Earl of Pembroke his servants.
This play is the one on which Shakespeare founded his own “The Taming
of _the_ Shrew.” The incidents are the same in both plays, the names
only being changed. In Shakespeare’s play the removal of Sly from the
palace to the outside of the Alehouse where he was found, is omitted,
but perhaps this part of the induction may have been lost or mislaid
when sent to the press.
[Illustration:
A
Pleasant Conceited
Historie, called The taming
of a Shrew.
As it was sundry times acted by the
_Right honorable the Earle of_
Pembrook his seruants.
[Illustration]
Printed at London by Peter Short and
_are to be sold by Cutbert Burbie, at his_
shop at the Royall Exchange.
1594.
]
The name of the Earl of Pembroke occurs on the title page of “Edward
II,” by Christopher Marlowe, and also on the title page of “Titus
Andronicus,” in conjunction with those of the Earl of Derby and the
Earl of Sussex. This is the same play as appeared in the First Folio.
The most interesting play that this company produced is the “True
Tragedy of Richard Duke of York and the Death of Good King Henry the
Sixth,” by the Right Honourable the Earl of Pembroke his servants.
A revision of this play is found in the First Folio edition of
Shakespeare’s works, but his share in this play and the two other
parts of Henry VI forms one of the most knotty problems in the whole
Shakesperean criticism. Several books have been written in support of
different theories. A line in this play is parodied by Greene in his
“Groatsworth of Wit,” in which pamphlet occurs the first contemporary
allusion to Shakespeare.
The original play of “Hamlet” may also claim ownership to this company,
but in our present state of knowledge there is not sufficient evidence
in identifying the play as theirs. During the ten years existence
of these players, they acted only twice at Court, when the Earl of
Pembroke’s men were paid a reward of £6 13s. 4d., on March 11th,
1593, for plays performed on St. John’s Day and Twelfth Day, both at
night. Traces of this company can be found at Coventry, Bath, Ipswich,
Bristol, Marlborough, Leicester, and several other towns. Even the
above brief account shows that the company played an important part in
the theatrical annals of the time.
EARL OF WORCESTER’S COMPANY
William Somerset, Earl of Worcester, was patron of an important
company of actors styling themselves the Earl of Worcester’s Servants.
This company was formed at a very early date, namely, in 1555. During
this period they travelled mostly in the provinces, visiting all the
chief towns in England. At one time, Edward Alleyn, the famous actor,
was a member of this troupe; his name is included in a list of actors
in 1583, being then in his 16th year, and remained with this company
until 1589, when he transferred his services to the Lord Admiral’s
men. I cannot find any notice of their acting in London whilst under
the patronage of William Somerset, but when his son, Edward Somerset,
succeeded to the Earldom, on the death of his father in 1589, this
company henceforth is found playing in the Metropolis. Visits to the
Continent were periodically taken, notices being extant of their
appearance in the Netherlands and other foreign countries.
The _Diary_ records that they acted at the Rose Theatre in 1602 and
1603. According to a document they played at the “Boar’s Head,” the
famous inn at Eastcheap. On the accession of James I, the Earl of
Worcester’s servants entered into the service of Queen Anne, consort
of James I. Although there are no existing documents recording the
theatres in which they acted when in London during Elizabeth’s reign
beyond the one reference to the Rose, no doubt they often acted in one
or other of the London theatres, and more often at the London inns,
where stages were usually set up. Two records exist of this company
acting at Court, in which payment was made to Kemp, the celebrated
clown, who, before joining the Worcester men, was a member of the Lord
Chamberlain’s company. When the Worcester men became the servants of
the Queen they acted chiefly at the Curtain.
[Illustration:
A
PLEASANT
conceited Comedie,
Wherein is shewed
how a man may chuse a good
Wife from a bad.
_As it hath bene sundry times Acted by the Earle of_
Worcesters _Seruants_.
[Illustration]
LONDON
Printed for Mathew Lawe, and are to be solde at his
shop in Paules Church-yard, neare vnto S. Augustines
gate, at the signe of the Foxe.
1602.
]
In later years they leased the Red Bull Theatre, and continued acting
there for a few years, until the company broke up; this would be about
the year 1623, as from this date nothing further is heard of them.
A few plays which this company possessed were all printed in the early
years of the seventeenth century:
“The Travels of Three English Brothers.” By Her Majesty’s Servants,
1607. by Thomas Heywood. By Her Majesty’s Servants, at the Red
Bull, near Clerkenwell, 1608.
“The Golden Age.” At the Red Bull, by the Queen’s Majesty’s
Servants, 1611.
“A Woman Killed with Kindness,” by Thomas Heywood. By the Queen’s
Majesty’s Servants.
In a pleasant conceited comedy is shown how a
“Man may choose a Good Wife from a Bad.” By the Earl of Worcester’s
Servants.
The last play is the only one in which the name of the Earl of
Worcester appears.
The title of Her Majesty’s Servants refers to Queen Anne, wife of
James the First, and must not be confused with the company of Queen
Elizabeth, bearing a similar appellation.
THE EARL OF SUSSEX’ COMPANY
This company had for their patrons successive Earls of Sussex. The
first Earl was Thomas Radclyffe, who held the appointment of Lord
Chamberlain, consequently we find his players frequently acting at
Court. Thomas Radclyffe was succeeded by his son Henry, and on his
death, in 1593, Robert Radclyffe became Earl of Sussex. All research in
locating this company in London in its early days has hitherto been
fruitless.
[Illustration:
[Illustration]
A
PLEASANT
CONCEYTED COMEDIE
of _George a Greene_, the Pinner
_of VVakefield_.
_As it Was sundry times acted by the seruants of the right
Honourable the Earle of Sussex._
[Illustration]
Imprinted at London by Simon Stafford,
for Cuthbert Burby: And are to be sold at his shop
neere the Royall Exchange. 1599.
]
The first record connecting this company with a London theatre then,
under the patronage of Robert Radclyffe, is found in _Henslowe’s
Diary_, 1594: “In the name of God Amen, beginning the 27th of December,
1593, the Earl of Sussex his men.”
They acted without intermission until the 23rd of January, between the
last date and the sixth of February; but only five performances are
placed to their credit. The next entry in the _Diary_ occurs at Easter:
“In the name of God Amen, beginning at Easter, 1593. The Queen’s men
and my Lord of Sussex together.”
The two companies gave in all eight performances, acting on alternate
days. Three out of the eight performances can be traced to the Sussex
men, as on these occasions they acted in plays which are recorded in
their first appearance at the Rose, namely, “The Jew of Malta” and the
“Fair Maid of Italy.”
It must be borne in mind that the Easter holidays following Christmas
were both notified as occurring in the same year. The reason being that
in Elizabeth’s time, and long after, the ordinary year commenced on
the 25th of March. Although the legal year commenced on the first of
January. Even the names of the months in use to-day, such as September,
October, November, December, are a reminiscence of this style of
reckoning, the above months bearing in Latin their English equivalents
of seventh, eighth, ninth, and tenth.
[Illustration:
THE
VVEAKEST
goeth to the VVall.
_As it hath bene sundry times plaide by the right honourable
Earle of_ Oxenford, _Lord great
Chamberlaine of_ England
_his seruants_.
[Illustration]
LONDON
Printed by Thomas Creede, for Richard
Oliue, dwelling in Long Lane.
1600.
]
One item of great interest attaches to the performance of the Sussex
men at the Rose Theatre, namely, the first performance of “Titus
Andronicus,” presented by this company. The following is the exact
entry:
ne. R7 at titus & ondronicus the 23 of Januarye 1593 X 11s.
The letters “n e” have been clearly identified as meaning “new.” The
question in debate is whether the play is the Shakesperean one or an
older production.
After leaving the Rose in April, 1594, this company is not heard of
again in London; their name appears in no document until 1602, when
they acted at Coventry, they are last mentioned in 1615. During the
years 1602-15 the company visited the provinces. It is especially
noticeable regarding these London Companies that the documentary
evidence is of the very slightest, and when not recorded in _Henslowe’s
Diary_ they cease having any separate existence. My own firm belief is
that original research would reveal many valuable details connected
with the dramatic history of London, and would well repay a young
student in devoting his time to unravelling the mystery of these
companies of actors who, at present, seem to flit here and there for a
moment, and then vanish into thin air.
EARL OF OXFORD’S COMPANY
There was a company of actors under the patronage of Edward de Vere,
Earl of Oxford, as early as 1562, but no evidence of where they acted
is in existence. Again, in 1580, the same Earl was patron of a company
of boy actors, who performed chiefly in the provinces or at Court. They
are described as the Earl of Oxenford, his boys. Antony Munday, the
celebrated dramatist, was at one time a boy actor in this company. The
Oxford men are mentioned as those who generally set up their play-bills
in the City every day in the week; this notice refers to the year 1585.
The next piece of evidence occurs in the “Remembrancia,” in 1602, when
they were permitted to play at the “Boar’s Head,” in Eastcheap; this is
the last record of their appearance.
One of their plays, called “The Weakest goeth to the Wall,” has
survived; it was acted by Lord Oxenford’s boys, and published in
1600. Meres, in his important review of the poets and dramatists of
Elizabethan times, mentions the Earl of Oxford as good in comedy.
* * * * *
Several other companies occasionally acted in London, but little is
known of their history. In a document issued by the Privy Council,
1578, it stated that the Lord Mayor should suffer the children of
Her Majesty’s Chapel, the servants of the Lord Chamberlain, Thomas
Radclyffe, Earl of Sussex, of the Earl of Warwick, of the Earl of
Leicester, of the Earl of Essex, and the children of St. Paul’s, and no
companies else to exercise plays within the City, whom their Lordships
have already allowed thereunto by reason that the companies aforesaid
are appointed to play this Christmas before the Queen.
The Earl of Hertford was patron of a company, but only one reference to
their playing in London has been chronicled, when they acted at Court
in 1592.
The Earl of Hertford’s men were paid £10 on February, 1592, for a play
presented before the Queen on Twelfth Night last. Philip Howard, Earl
of Arundel, also owned a company of players in 1584. There is a record
of this company acting in London. In 1589 the Earl was charged with
high treason and all his honours were forfeited.
[Illustration:
PARASITASTER,
OR
THE FAWNE,
AS
IT HATH BENE DIVERS
times presented at the blacke Friars,
_by the Children of the Queenes
Maiesties Reuels_.
Written
BY IOHN MARSTON.
[Illustration]
_AT LONDON_
❧ Printed by T. P. for W. C.
1606.
]
CHILDRENS’ COMPANIES
During the Shakesperean era the custom of maintaining a company of
children actors was continued. The custom was inaugurated by Henry
the Eighth. Several of these juvenile companies existed, the chief of
which were attached to the Court. The best known amongst them were
the Children of the Chapel Royal, the Windsor Chapel Choir, and the
celebrated Children of St. Paul’s Choir, the Children of Westminster
School, and several others.
[Illustration:
[Illustration]
The dumbe Knight.
_A pleasant Comedy, acted sundry times_
by the children of his Maiesties
Reuels.
Written by _Iaruis Markham_.
[Illustration]
_LONDON_,
Printed by _Nicholas Okes_, for _Iohn Bache_, and are to be sold
at his shop in Popes-head Palace, neere to
the Royall Exchange. 1608.
]
The inner history of these companies is only known in a very
fragmentary state. A somewhat detailed account is given of the boys of
the Chapel Royal, and that is owing to the indefatigable labours of
Professor and Mrs. Wallace. Even in this study many details are lacking
which further research may amend.
The famous passage of “Hamlet,” where Shakespeare alludes to these
children players, is responsible for many details in connexion with
these small actors. For a time they played an important part in the
theatrical annals of the period, otherwise Shakespeare’s outburst
against them would have little point.
This passage in “Hamlet” proves they were a thorn in the sides of the
adult players, and for a brief period carried all before them. Many
well-known dramatists wrote plays especially for these young actors.
No record exists of their appearance at a public theatre. The boys
acted chiefly at the private house known as the Blackfriars Theatre.
The company of the Chapel Royal, and that of the St. Paul’s Choir, can
only be regarded as of a good all-round amateur ability comparable with
societies of our own times.