CHAPTER IV

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 The Act of Parliament proclaiming them outcasts still remains in force, the Act never having been repealed.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.

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.

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.

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.

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.

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.

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.”

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.

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.

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.

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.

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.

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._

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.

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.

_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.

The dumbe Knight.

_A pleasant Comedy, acted sundry times_ by the children of his Maiesties Reuels.

Written by _Iaruis Markham_.

_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.