Shakespearean Playhouses. Joseph Quincy Adams

carried the timber and other materials of the old Theatre to the tract of land on the Bankside recently leased by the new syndicate—as Gyles Alleyn puts it, "did then also in most forcible and riotous manner take and carry away from thence all the wood and timber thereof unto the Bankside, in the Parish of St. Mary Overies, and there erected a new playhouse with the said timber and wood."

      The playhouse thus erected was, of course, an entirely new structure. Nearly a quarter of a century had elapsed since James Burbage designed the old Theatre, during which time a great development had taken place both in histrionic art and in play writing; and, no doubt, many improvements were possible in the stage and in the auditorium to provide better facilities for the actors and greater comfort for the spectators. In designing such improvements the architect had the advice and help of the actors, including Shakespeare; and he succeeded in producing a playhouse that was a model of excellence. The name selected by the syndicate for their new building was "The Globe." For further details as to its construction, and for its subsequent history, the reader is referred to the chapter dealing with that building.

      When Gyles Alleyn learned that the Burbages had demolished the Theatre and removed the timber to the Bankside, he was deeply incensed, not only at the loss of the building, but also, no doubt, at being completely outwitted. At once he instituted suit against Cuthbert Burbage; but he was so intemperate in his language and so reckless in his charges that he weakened his case. The suit dragged for a few years, was in part referred to Francis Bacon, and finally in the summer of 1601 was dismissed. Thus the history of the first London playhouse, which is chiefly the history of quarrels and litigation, came to a close.

      It is not possible now to indicate exactly the stay of the different troupes at the Theatre; the evidence is scattered and incomplete, and the inferences to be drawn are often uncertain.

      When the building was opened in 1576, it was, no doubt, occupied by the Earl of Leicester's troupe, of which Burbage was the manager, and for which, presumably, the structure had been designed. Yet other troupes of players may also have been allowed to use the building—when Leicester's Men were touring the provinces, or, possibly, on days when Leicester's Men did not act. This arrangement lasted about six years.

      In 1582 the use of the Theatre was interrupted by the interference of Peckham. For a long time the actors "could not enjoy the premises," and Burbage was forced to keep Peckham's servants out of the building with an armed guard night and day. As a result of this state of affairs, Leicester's troupe was dissolved; "many of the players," we are told, were driven away, and the rest "forsook the said Theatre." The last notice of these famous players is a record of their performance at Court on February 10, 1583.

      Shortly after this, in March, 1583, Tilney, the Master of the Revels, organized under royal patronage a new company called the Queen's Men. For this purpose he selected twelve of the best actors of the realm, including some of the members of Leicester's company.[91] The two best-known actors in the new organization were the Queen's favorite comedian, Richard Tarleton, the immortal "Lord of Mirth," and John Lanham, the leader and apparently the manager of the troupe. James Burbage, who may by this time, if not before, have retired from acting, was not included.

      The newly organized Queen's Men in all probability occupied the Theatre which had been left vacant by the dissolution of Leicester's company. Mr. Wallace denies this, mainly on the evidence of a permit issued by the Lord Mayor, November 28, 1583, granting the Queen's Men the privilege of acting "at the sign of the Bull [Inn] in Bishopgate Street, and the sign of the Bell [Inn] in Gracious Street, and nowhere else within this city." But this permit, I think, lends scant support to Mr. Wallace's contention. The Lord Mayor had no authority to issue a license for the Queen's Men to play at the Theatre, for that structure was outside the jurisdiction of the city. The Privy Council itself, no doubt, had issued such a general license when the company was organized under royal patronage.[92] And now, ten months later, on November 26, 1583, the Council sends to the Lord Mayor a request "that Her Majesty's players may be suffered to play … within the city and liberties between this and shrovetide next"[93]—in other words, during the winter season when access to the Theatre was difficult. It was customary for troupes to seek permission to act within the city during the winter months.[94] Thus the Queen's Men, in a petition written probably in the autumn of the following year, 1584, requested the Privy Council to dispatch "favorable letters unto the Lord Mayor of London to permit us to exercise within the city," and the Lord Mayor refused, with the significant remark that "if in winter … the foulness of season do hinder the passage into the fields to play, the remedy is ill conceived to bring them into London."[95] Obviously the Queen's Men were seeking permission to play in the city only during the cold winter months; during the balmy spring, summer, and autumn months—for actors the best season of the year—they occupied their commodious playhouse in "the fields."

      That this playhouse for a time, at least, was the Theatre is indicated by several bits of evidence. Thus the author of Martin's Month's Mind (1589) speaks of "twittle-twattles that I had learned in ale-houses and at the Theatre of Lanham and his fellows." Again, Nash, in Pierce Penniless (1592), writes: "Tarleton at the Theatre made jests of him"; Harrington, in The Metamorphosis of Ajax (1596): "Which word was after admitted into the Theatre with great applause, by the mouth of Master Tarleton"; and the author of Tarlton's Newes out of Purgatory (c. 1589) represents Tarleton as connected with the Theatre. Now, unless Lanham, Tarleton, and their "fellows" usually or sometimes acted at the Theatre, it is hard to understand these and other similar passages.

      The following episode tends to prove the same thing. On June 18, 1584, William Fleetwood, Recorder, wrote to Lord Burghley:[96]

      Right honorable and my very good lord. Upon Whitsunday there was a very good sermon preached at the new churchyard near Bethelem, whereat my Lord Mayor was with his brethren; and by reason no plays were the same day, all the city was quiet. Upon Monday I was at the Court. … That night I returned to London and found all the wards full of watchers; the cause thereof was for that very near the Theatre or Curtain, at the time of the plays, there lay a prentice sleeping upon the grass; and one Challes, at Grostock, did turn upon the toe upon the belly of the same prentice. Whereupon the apprentice start up.

      

      In the altercation that followed, Challes remarked that "prentices were but the scum of the world." This led to a general rising of apprentices, and much disorder throughout the city. Fleetwood records the upshot thus:

      Upon Sunday my Lord [Mayor] sent two aldermen to the court for the suppressing and pulling down of the Theatre and Curtain. All the Lords [of the Privy Council] agreed thereunto saving my Lord Chamberlain and Mr. Vice-Chamberlain. But we obtained a letter to suppress them all. Upon the same night I sent for the Queen's Players [at the Theatre?] and my Lord Arundel's Players [at the Curtain?] and they all willingly obeyed the Lords's letters. The chiefest of Her Highness's Players advised me to send for the owner of the Theatre [James Burbage[97]], who was a stubborn fellow, and to bind him. I did so. He sent me word he was my Lord of Hundson's man, and that he would not come at me; but he would in the morning ride to my lord.

      The natural inference from all this is that the Queen's Men and Lord Arundel's Men were then playing outside the city where they could be controlled only by "the Lords's Letters"; that the Queen's Men were occupying the Theatre, and that James Burbage was (as we know) not a member of that company, but merely stood to them in the relation of "owner of the Theatre."

      What Burbage meant by calling himself "my Lord of Hunsdon's man" is not clear. Mr. Wallace contends that when Leicester's Men were dissolved, Burbage organized "around the remnants of Leicester's Company" a troupe under the patronage of Lord Hunsdon, and that this troupe, and not the Queen's Men, occupied the Theatre thereafter.[98] But we hear of Hunsdon's Men at Ludlow in July, 1582; and we find them presenting a play at Court on December 27, 1582. Since Leicester's troupe is recorded as acting at Court as late as February 10, 1583, it seems unlikely that Mr. Wallace's theory as to the origin of Hunsdon's Men is true. It may be, however, that after the dissolution of Leicester's Men, Burbage associated himself with Hunsdon's Men, and it may be that he allowed that relatively unimportant company to occupy the Theatre for a short time. Hunsdon's