Adult Companies - 1590'S

Adult Companies - 1590'S

In England the Golden Age of Theatre is up and running. We might take a moment here to get an overview of theatre at this point in time. There are several important major theatre companies and a number of minor ones. Two things are confusing for us about the companies. First are the names they go by. Remember that they have to have the patronage of a peer and are usually known by that patron's title. Of course the guy holding the title may die and somebody else inherits, or he may be given another title or be referred to by his position with the government. This changes the name of the theatrical troupe. [Remember back in 1576 we mentioned the Leicester's Men* later to be called Oxford's Men*?] The second confusing aspect is that the major playwrights and actors move from one company to another. [Remember in 1583 we had the Queen's Company* (Queen Elizabeth's Men) formed in London with members drawn from a number of currently successful troupes, especially Leicester's Men.] Consequently following the career of a particular actor or playwright is a little like playing leap-frog, but we will try to make it as clear as possible. There are three companies worth remembering at this time:

THE LORD ADMIRAL'S MEN* - This was the most famous troupe in the 1580's with playwright Christopher Marlowe* and the exceptional actor Edward Allyen*. As we move into the 1590's this company is still the most popular because of superstar actor Allyen*. In the first two or three years of the '90's it's likely that Shakespeare* is acting with them.

THE LORD CHAMBERLAIN'S MEN* - When the plague interrupts the London season in 1592 they tour and in 1593 a number of the peers (including the Admiral) die and troupes break up and reorganize under other patronage. Most of the best actors (Allyen*, Will Kemp* the comedian, Richard Burbage*, the tragic actor) and Shakespeare* put together a new company with Lord Hunsdon as their patron. Since he holds the governmental post of Lord Chamberlain they are called the Lord Chamberlain's Men*. [There had been earlier troupes under this name but those had been under the patronage of other men who held the post. This is a new troupe and the most famous one using this name.]

THE EARL OF OXFORD'S MEN* - Another important company seems to have formed in 1589 under the fourth Earl of Worcester (there had been a company of the Earl of Worcester's Men* since 1555 but this is a new troupe.) They will merge with the Earl of Oxford's Men* (there was a troupe under this name as early as 1492 but they mostly toured the country) in 1602.

HOW COMPANIES ARE STRUCTURED - Companies work under patronage but that merely provides the legal umbrella for their

professional activities. Normally the company has shares which are bought by members of the company. This provides the initial financial base for the company. Each shareholder receives

a share of the profit the company makes. Expenses include the usual range of scenery, costumes and wherewithal for a particular production, rental of a theatre (if the company does not own their own), hiring of salaried actors to supplement the company as needed and purchase of scripts if these are not written by a member of the company. One of the most valuable assets a company has is the range of scripts they own. Performances of the leading companies are regularly requested for the court and performed there. They're also well paid by the crown for these court performances. Normally the companies play in the public theatres surrounding London and, in the winter, private theatres or the inns inside the city. When the plague or religious or political controversy forces theatres to close, the companies go on tour with those members who wish to do so. Sometimes the comedians tour on their own with solo acts. As we will see, there are times when a particular company will get into political hot water for putting on a play that seems too much like a political jab at current affairs.

The theatres these companies play in have been discussed earlier but at this time we might take note of who owns what. If you remember, James Burbage* (who's son is the actor Richard Burbage*) is one of the most prominent owners. He built the Theatre* in 1576 and bought Blackfriars*. In 1599 the Theatre will be torn down and the timbers used to build the Globe*. The other owner of importance is Philip Henslowe* (?-1616) who is not an actor but

a real impresario. He will own not only the current Rose*, but in 1599 the Fortune*, and later in 1614, the Hope*. Henslowe* is even better known for the information he left us about English theatre. His account and memoranda books, called Henslowe*'s "diary," give us good insights into the theatrical world of this time. He apparently kept his actors and playwrights in his debt in order to keep them working in his theatres. This is not good and leads to instability in his company. He is at his best in a joint venture with Allyen* (who married his stepdaughter in 1592), in building the Fortune*.

OTHER RELEVANT PLAYWRIGHTS OF THIS PERIOD - [NOTE- some 60 manuscripts of plays of this period eventually come into the hands of a

collector named John Warburton* (1682-1759). Many are the only surviving copies of plays that had never been printed. Unfortunately Warburton* was careless with them and his servant, Betsy Baker*, made use of them to light her stove and line the bottom of pies. In the end only three survived. The surviving plays are the work of Dekker, Ford and Massinger.]

George Chapman* (c. 1560-1634) playwright for the Admiral's Men* beginning 1596. He writes tragedy and comedy but is best known for his translations of Homer* that will influence the Romantic poet Keats*.

Thomas Dekker* (c. 1572-1632) is known especially for the comedy The Shoemaker's Holiday* 1599 and his collaborations in The Honest Whore* (1604-5) and Witch of Edmonton* in 1621.

Thomas Heywood* (c. 1573-1641 is an actor and playwright for the Admiral's Men* in 1599. He will later move to Queen Anne's Men*. A prolific writer of about 220 plays, counting collaborations.

Cyril Tourneur* (c.1575-1625) is known for his revenge tragedies. John Marston* (c.1576-1634 writes exclusively for the Children of St. Paul's* and the Queens

Revels*. He joins Dekker* in the Battle of the Poets* attacking Ben Jonson*'s writings in a satire, Satyromastix*, in 1601.

John Fletcher* (1579-1625) joins Francis Beaumont* (1584-1616) in 1606 to form a writing team that is prodigious and enduring. Fletcher also collaborates with Shakespeare*. Beaumont* and Fletcher* will be best remembered for their comedy, The Knight of the Burning Pestle* in 1607 and a tragedy, The Maid's Tragedy* (c. 1610.)

Thomas Middleton* (c.1580-1627) writes comedies which are as good as his contemporaries.

A Trick to Catch the Old One* (c. 1605) is a good example. John Ford* (1586-1639) will begin his career in around 1612 and be best remembered for 'Tis

Pity She's a Whore* (1627), a play filled with incest, blood, blinding, burning and other assorted forms of mayhem dear to the hearts of the playgoing public.

John Webster* (c. 1575-1635?) by 1602 he is writing for Worcester's Men* and later collaborating with almost everybody. He is best known for two bloody revenge tragedies, The White Devil* (1612) and The Duchess of Malfi* (1611614).

Philip Massinger* (1583-1639) doesn't appear in theatre until 1619. He works some with Fletcher* and his A New Way to Pay Old Debts* (1625) is one of the best of his plays to survive Betsy's depredations.