Playhouses
Playhouses in early modern London.
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, and .
Playhouses in early modern London.The Map of Early Modern London, edited by , U of Victoria, 26 Jun. 2020, mapoflondon.uvic.ca/mdtEncyclopediaLocationPlayhouse.htm.
Chicago citation
, and .
Playhouses in early modern London.The Map of Early Modern London. Ed. . Victoria: University of Victoria. Accessed June 26, 2020. https://mapoflondon.uvic.ca/mdtEncyclopediaLocationPlayhouse.htm.
APA citation
, & 2020. Playhouses in early modern London. In (Ed), The Map of Early Modern London. Victoria: University of Victoria. Retrieved from https://mapoflondon.uvic.ca/mdtEncyclopediaLocationPlayhouse.htm.
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Provider: University of Victoria Database: The Map of Early Modern London Content: text/plain; charset="utf-8" TY - ELEC A1 - The MoEML Team A1 - Holmes, Martin ED - Jenstad, Janelle T1 - Playhouses in early modern London. T2 - The Map of Early Modern London PY - 2020 DA - 2020/06/26 CY - Victoria PB - University of Victoria LA - English UR - https://mapoflondon.uvic.ca/mdtEncyclopediaLocationPlayhouse.htm UR - https://mapoflondon.uvic.ca/xml/standalone/mdtEncyclopediaLocationPlayhouse.xml ER -
RefWorks
RT Web Page SR Electronic(1) A1 The MoEML Team A1 Holmes, Martin A6 Jenstad, Janelle T1 Playhouses in early modern London. T2 The Map of Early Modern London WP 2020 FD 2020/06/26 RD 2020/06/26 PP Victoria PB University of Victoria LA English OL English LK https://mapoflondon.uvic.ca/mdtEncyclopediaLocationPlayhouse.htm
TEI citation
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and <author><name ref="#HOLM3"><forename>Martin</forename> <forename>D.</forename>
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Personography
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Joey Takeda
JT
Programmer, 2018-present. Junior Programmer, 2015-2017. Research Assistant, 2014-2017. Joey Takeda was a graduate student at the University of British Columbia in the Department of English (Science and Technology research stream). He completed his BA honours in English (with a minor in Women’s Studies) at the University of Victoria in 2016. His primary research interests included diasporic and indigenous Canadian and American literature, critical theory, cultural studies, and the digital humanities.Roles played in the project
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Kim McLean-Fiander
KMF
Director of Pedagogy and Outreach, 2015–present. Associate Project Director, 2015–present. Assistant Project Director, 2013-2014. MoEML Research Fellow, 2013. Kim McLean-Fiander comes to The Map of Early Modern London from the Cultures of Knowledge digital humanities project at the University of Oxford, where she was the editor of Early Modern Letters Online, an open-access union catalogue and editorial interface for correspondence from the sixteenth to eighteenth centuries. She is currently Co-Director of a sister project to EMLO called Women’s Early Modern Letters Online (WEMLO). In the past, she held an internship with the curator of manuscripts at the Folger Shakespeare Library, completed a doctorate at Oxford on paratext and early modern women writers, and worked a number of years for the Bodleian Libraries and as a freelance editor. She has a passion for rare books and manuscripts as social and material artifacts, and is interested in the development of digital resources that will improve access to these materials while ensuring their ongoing preservation and conservation. An avid traveler, Kim has always loved both London and maps, and so is particularly delighted to be able to bring her early modern scholarly expertise to bear on the MoEML project.Roles played in the project
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Kim McLean-Fiander is a member of the following organizations and/or groups:
Kim McLean-Fiander is mentioned in the following documents:
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Janelle Jenstad
JJ
Janelle Jenstad is Associate Professor of English at the University of Victoria, Director of The Map of Early Modern London, and PI of Linked Early Modern Drama Online. She has taught at Queen’s University, the Summer Academy at the Stratford Festival, the University of Windsor, and the University of Victoria. With Jennifer Roberts-Smith and Mark Kaethler, she co-edited Shakespeare’s Language in Digital Media (Routledge). She has prepared a documentary edition of John Stow’s A Survey of London (1598 text) for MoEML and is currently editing The Merchant of Venice (with Stephen Wittek) and Heywood’s 2 If You Know Not Me You Know Nobody for DRE. Her articles have appeared in Digital Humanities Quarterly, Renaissance and Reformation,Journal of Medieval and Early Modern Studies, Early Modern Literary Studies, Elizabethan Theatre, Shakespeare Bulletin: A Journal of Performance Criticism, and The Silver Society Journal. Her book chapters have appeared (or will appear) in Institutional Culture in Early Modern Society (Brill, 2004), Shakespeare, Language and the Stage, The Fifth Wall: Approaches to Shakespeare from Criticism, Performance and Theatre Studies (Arden/Thomson Learning, 2005), Approaches to Teaching Othello (Modern Language Association, 2005), Performing Maternity in Early Modern England (Ashgate, 2007), New Directions in the Geohumanities: Art, Text, and History at the Edge of Place (Routledge, 2011), Early Modern Studies and the Digital Turn (Iter, 2016), Teaching Early Modern English Literature from the Archives (MLA, 2015), Placing Names: Enriching and Integrating Gazetteers (Indiana, 2016), Making Things and Drawing Boundaries (Minnesota, 2017), and Rethinking Shakespeare’s Source Study: Audiences, Authors, and Digital Technologies (Routledge, 2018).Roles played in the project
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Janelle Jenstad authored or edited the following items in MoEML’s bibliography:
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Jenstad, Janelle.
Building a Gazetteer for Early Modern London, 1550-1650.
Placing Names. Ed. Merrick Lex Berman, Ruth Mostern, and Humphrey Southall. Bloomington and Indianapolis: Indiana UP, 2016. 129-145. -
Jenstad, Janelle.
The Burse and the Merchant’s Purse: Coin, Credit, and the Nation in Heywood’s 2 If You Know Not Me You Know Nobody.
The Elizabethan Theatre XV. Ed. C.E. McGee and A.L. Magnusson. Toronto: P.D. Meany, 2002. 181–202. Print. -
Jenstad, Janelle.
Early Modern Literary Studies 8.2 (2002): 5.1–26..The City Cannot Hold You
: Social Conversion in the Goldsmith’s Shop. -
Jenstad, Janelle.
The Silver Society Journal 10 (1998): 40–43.The Gouldesmythes Storehowse
: Early Evidence for Specialisation. -
Jenstad, Janelle.
Lying-in Like a Countess: The Lisle Letters, the Cecil Family, and A Chaste Maid in Cheapside.
Journal of Medieval and Early Modern Studies 34 (2004): 373–403. doi:10.1215/10829636–34–2–373. -
Jenstad, Janelle.
Public Glory, Private Gilt: The Goldsmiths’ Company and the Spectacle of Punishment.
Institutional Culture in Early Modern Society. Ed. Anne Goldgar and Robert Frost. Leiden: Brill, 2004. 191–217. Print. -
Jenstad, Janelle.
Smock Secrets: Birth and Women’s Mysteries on the Early Modern Stage.
Performing Maternity in Early Modern England. Ed. Katherine Moncrief and Kathryn McPherson. Aldershot: Ashgate, 2007. 87–99. Print. -
Jenstad, Janelle.
Using Early Modern Maps in Literary Studies: Views and Caveats from London.
GeoHumanities: Art, History, Text at the Edge of Place. Ed. Michael Dear, James Ketchum, Sarah Luria, and Doug Richardson. London: Routledge, 2011. Print. -
Jenstad, Janelle.
Versioning John Stow’s A Survey of London, or, What’s New in 1618 and 1633?.
Janelle Jenstad Blog. https://janellejenstad.com/2013/03/20/versioning-john-stows-a-survey-of-london-or-whats-new-in-1618-and-1633/. -
Shakespeare, William. The Merchant of Venice. Ed. Janelle Jenstad. Internet Shakespeare Editions. Open.
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Stow, John. A SVRVAY OF LONDON. Contayning the Originall, Antiquity, Increase, Moderne estate, and description of that Citie, written in the yeare 1598. by Iohn Stow Citizen of London. Also an Apologie (or defence) against the opinion of some men, concerning that Citie, the greatnesse thereof. With an Appendix, containing in Latine, Libellum de situ & nobilitate Londini: written by William Fitzstephen, in the raigne of Henry the second. Ed. Janelle Jenstad and the MoEML Team. MoEML. Transcribed. Web.
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Martin D. Holmes
MDH
Programmer at the University of Victoria Humanities Computing and Media Centre (HCMC). Martin ported the MOL project from its original PHP incarnation to a pure eXist database implementation in the fall of 2011. Since then, he has been lead programmer on the project and has also been responsible for maintaining the project schemas. He was a co-applicant on MoEML’s 2012 SSHRC Insight Grant.Roles played in the project
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Locations
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Bell Inn (Gracechurch Street)
For information about the Bell Inn, Gracechurch Street, a modern map marking the site where the it once stood, and a walking tour that will take you to the site, visit Shakespearean London Theatres (ShaLT)’s article on Bell Inn, Gracechurch Street.Bell Inn (Gracechurch Street) is mentioned in the following documents:
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Bell Savage Inn
For information about the Bell Savage Inn, a modern map marking the site where the it once stood, and a walking tour that will take you to the site, visit the Shakespearean London Theatres (ShaLT) article on Bell Savage Inn.Bell Savage Inn is mentioned in the following documents:
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Black Bull Inn (Bishopsgate Street)
For information about the Black Bull Inn, Bishopsgate Street, a modern map marking the site where the it once stood, and a walking tour that will take you to the site, visit the Shakespearean London Theatres (ShaLT) article on Black Bull Inn, Bishopsgate Street.Black Bull Inn (Bishopsgate Street) is mentioned in the following documents:
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Blackfriars Theatre
The history of the two Blackfriars theatres is long and fraught with legal and political struggles. The story begins in 1276, when King Edward I gave to the Dominican order five acres of land.Blackfriars Theatre is mentioned in the following documents:
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Cross Keys Inn (Gracechurch Street)
For information about the Cross Keys Inn, Gracechurch Street, a modern map marking the site where the it once stood, and a walking tour that will take you to the site, visit the Shakespearean London Theatres (ShaLT) page on Cross Keys Inn, Gracechurch Street.Cross Keys Inn (Gracechurch Street) is mentioned in the following documents:
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John Rastell’s Stage
John Rastell built London’sfirst purpose-built stage
onproperty fronting on Old Street in Finsbury
(Giles-Watson 172). Although the name of the stage/playhouse, if it had one, is now lost, we find traces of its existence in the legal record.John Rastell’s Stage is mentioned in the following documents:
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Newington Butts
For information about the Newington Butts, a modern map marking the site where the it once stood, and a walking tour that will take you to the site, visit the Shakespearean London Theatres (ShaLT) article on Newington Butts.Newington Butts is mentioned in the following documents:
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Porter’s Hall
Porter’s Hall was a shortlived theatre in Blackfriar’s Precinct. The theatre was opened in 1617 by Phillip Rosseter but closed shortly thereafter upon an order from the Privy Council (Sugden).Porter’s Hall is mentioned in the following documents:
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Salisbury Court Theatre
Salisbury Court Theatre was a private indoor theatre owned by Richard Gunnell and William Blagrove. According to Weinreb, the theatre was built in 1629 and was destroyed in the Great Fire (Weinreb 819).Salisbury Court Theatre is mentioned in the following documents:
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St. Paul’s Theatre
For information about St. Paul’s Theatre, a modern map marking the site where the it once stood, and a walking tour that will take you to the site, visit the Shakespearean London Theatres (ShaLT) article on St. Paul’s Theatre.St. Paul’s Theatre is mentioned in the following documents:
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The Boar’s Head
For information about the Boar’s Head, a modern map marking the site where the it once stood, and a walking tour that will take you to the site, visit the Shakespearean London Theatres (ShaLT) article on the Boar’s Head.The Boar’s Head is mentioned in the following documents:
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The Cockpit
The Cockpit, also known as the Phoenix, was an indoor commercial playhouse planned and built by the theatre entrepreneur and actor Christopher Beeston. The title pages of plays performed at the Cockpit usually refer to its locationin Drury Lane,
but G. E. Bentley offers a more precise description:Beeston’s property lay between Drury Lane and Great Wild Street, north-west of Princes’ Street in the parish of St Giles in the Fields
(Bentley vi 49). Herbert Berry adds that the playhouse wasthree-eights of a mile west of the western boundary of the City of London at Temple Bar
(Berry 624), and Frances Teague notes that it wason the east side of Drury Lane
and that[t]he site was long preserved by the name of Cockpit Alley, afterwards Pitt Court
(Teague 243).The Cockpit is mentioned in the following documents:
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The Cockpit-in-Court
The Cockpit-in-Court, or The Cockpit-at-Court, was a private Caroline playhouse for members of the royal household, and was located within Whitehall Palace. Its name arose from the fact that it was formerly a cockfighting site at court. It should not be confused with The Cockpit Theatre, which was located near Drury Lane.The Cockpit-in-Court is mentioned in the following documents:
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The Curtain
In 1577, the Curtain, a second purpose-built London playhouse arose in Shoreditch, just north of the City of London. The Curtain, a polygonal amphitheatre, became a major venue for theatrical and other entertainments until at least 1622 and perhaps as late as 1698. Most major playing companies, including the Lord Chamberlain’s Men, the Queen’s Men, and Prince Charles’s Men, played there. It is the likely site for the premiere of Shakespeare’s plays Romeo and Juliet and Henry V.The Curtain is mentioned in the following documents:
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The Fortune
According to Weinreb, Hibbert, Keay, and Keay, the Fortune was built for Edward Alleyn and Philip Henslow in 1600. Above the door, there was a statue of the Goddess of Fortune (Weinreb, Hibbert, Keay, and Keay 305).The Fortune is mentioned in the following documents:
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The Globe
For information about the Globe, a modern map marking the site where the it once stood, and a walking tour that will take you to the site, visit the Shakespearean London Theatres (ShaLT) article on the Globe.The Globe is mentioned in the following documents:
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The Hope
For information about the Hope, a modern map marking the site where the it once stood, and a walking tour that will take you to the site, visit the Shakespearean London Theatres (ShaLT) article on the Hope.The Hope is mentioned in the following documents:
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The Red Bull
For information about the Red Bull, a modern map marking the site where the it once stood, and a walking tour that will take you to the site, visit the Shakespearean London Theatres (ShaLT) article on the Red Bull.The Red Bull is mentioned in the following documents:
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The Red Lion
For information about the Red Lion, a modern map marking the site where the it once stood, and a walking tour that will take you to the site, visit the Shakespearean London Theatres (ShaLT) article on the Red Lion.The Red Lion is mentioned in the following documents:
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The Rose
Built in 1587 by theatre financier Philip Henslowe, the Rose was Bankside’s first open-air amphitheatre playhouse (Egan). Its foundation, excavated in 1989, reveals a fourteen-sided structure about 22 metres in diameter, making it smaller than other contemporary playhouses (White 302). Relatively free of civic interference and surrounded by pleasure-seeking crowds, the Rose did very well, staging works by such playwrights as Shakespeare, Marlowe, Kyd, and Dekker (Egan).The Rose is mentioned in the following documents:
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The Swan
The Swan was the second of the Bankside theatres. It was located at Paris Garden. It was in use from 1595 and possibly staged some of the plays of William Shakespeare (SHaLT).The Swan is mentioned in the following documents:
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The Theatre
For information about the The Theatre, a modern map marking the site where the it once stood, and a walking tour that will take you to the site, visit the Shakespearean London Theatres (ShaLT) article on The Theatre.The Theatre is mentioned in the following documents:
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Whitefriars Theatre
One of the lesser known halls or private playhouses of Renaissance London, the Whitefriars, was home to two different boy playing companies, each of which operated under several different names. Whitefriars produced many famous boy actors, some of whom later went on to greater fame in adult companies. At the Whitefriars playhouse in 1607–1608, the Children of the King’s Revels catered to a homogenous audience with a particular taste for homoerotic puns and situations, which resulted in a small but significant body of plays that are markedly different from those written for the amphitheatres and even for other hall playhouses.Whitefriars Theatre is mentioned in the following documents:
Organizations
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The MoEML Team
These are all MoEML team members since 1999 to present. To see the current members and structure of our team, seeTeam.
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Alumni
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Former Student Contributors
We’d also like to acknowledge students who contributed to MoEML’s intranet predecessor at the University of Windsor between 1999 and 2003. When we redeveloped MoEML for the Internet in 2006, we were not able to include all of the student projects that had been written for courses in Shakespeare, Renaissance Drama, and/or Writing Hypertext. Nonetheless, these students contributed materially to the conceptual development of the project.
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