Whitefriars Theatre
¶ Introduction
One of the lesser known halls or private playhouses of Renaissance London, the
Whitefriars (so-called because of its
location in the Whitefriars neighbourhood), was
home to two different boy playing companies, each of which operated under
several different names. The boy playing companies often merged and split,
formed and reformed for legal and economic reasons. Run differently from the
adult companies, all the boy playing companies had managers instead of
shareholding actors, but the Whitefriars
collective was unique even among the boy companies. 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. Ben
Jonson’s Epicoene, written for the reopening
of the Whitefriars playhouse in December 1609
although not specifically for the Children of the King’s Revels (by then
defunct), displays many of the traits for which the earlier Whitefriars plays were notorious.
¶ Theatre
Michael Drayton and Thomas Woodford brought the Whitefriars theatre into being ca. 1606, converting the refectory of
a former Carmelite monastery into a private playhouse (MacIntyre 3;
Theatre Sites). A small indoor playhouse, lit artificially by candles, the Whitefriars was 85’ by 35’ (Leech and Craik 112, 123; MacIntyre 3; Gurr 359).
Whitefriars cost more to attend than public
amphitheatre playhouses. Higher prices excluded some potential playgoers, and
for this reason hall playhouses are sometimes known as
privateplayhouses, although they were not private in the sense that one had to belong to a club to attend; in keeping with the same logic, amphitheatre playhouses are sometimes known as
publicplayhouses. Whitefriars was the first private playhouse to be built outside the city walls, west of Ludgate between the Fleet River and the Temple (Leech and Craik 112, 123). The theatre was
a disreputable venture, located in a notorious brothel district(Bly 2); we do not know if the theatre acquired its bad reputation because of its location, or if the location was selected because the venture was disreputable in itself.
The Whitefriars had a discovery space, two stage
exits on either side, and an above. The above could hold probably no more than
three actors comfortably, and took about a minute to reach after exiting the
stage (MacIntyre 9). The discovery
space was much wider than the exits on either side, and could hold such large
properties as a canopied bed or chairs (9,
13). The tiring house could be reached through the exits and possibly
the discovery space (21).
After the Children of the Queen’s Revels—also called the second Whitefriars company—left in 1614, the Whitefriars building continued to be used as a
theatre. The Prince Charles’ Men may have used the theatre after the boy
companies left. The theatre was torn down in 1629 and replaced by the Salisbury
Court Theatre (
Whitefriars Theatre). Unfortunately, the Salisbury Court Theatre did not survive the Great Fire of 1666, and there is no longer a theatre at that location. Today, a memorial plaque remains the only evidence of the site (
Additional Information (Blackfriars)).
¶ Managers of the Children of the Queen’s Revels
Henry Evans created the Children of the Chapel (later the Children of the Queen’s
Revels). He leased the Blackfriars playhouse from
Richard and Cuthbert
Burbage in September 1600. Evans brought in Nathaniel Giles as a
choirmaster, and Giles delivered most of the boy actors (Gurr 347–48). Evans also brought in financiers:
Edward Kirkham, William Rastall, and Thomas Kendall. When Queen Anne became their patron in 1604, she assigned them their own
personal Revels Master, or censor, Samuel Daniel (350). Daniel lost his job in 1606 when he allowed
Philotas to be staged. The company then came under
the control of the Master of the Revels, Sir Edmund
Tilney, who already had authority over all of the adult playing
companies (353).
In 1606, the Children of the Queen’s Revels refocused their aim, and no longer
produced sharp political satires as they had before. They continued doing plays
that catered to sophisticated and educated tastes, like Beaumont’s The Knight of the Burning Pestle. A new financier, Robert
Keysar (a former goldsmith), may have initiated this change. Keysar took a more
active role than the previous financiers (353). In 1608, Evans left the company and it fell mostly into
Keysar’s hand. The company then moved to the Whitefriars playhouse and merged with the remnants of the Children of
the King’s Revels. Court musician Philip Rosseter joined Keysar in managing
(MacIntyre 1). The managing team
of the merged Whitefriars and Blackfriars boys also included Robert Daborne, John
Tarbock, Richard Jones, and Robert Brown (Gurr 357). The new management of the Whitefriars company was different than the management of 1607–1608
when the Children of the King’s Revels played at Whitefriars, but seems to have been effective because Whitefriars remained the venue of boy playing
companies until 1613.
¶ The Whitefriars Collective
The theatre company at Whitefriars was
organized in a radically different way from any other Renaissance theatre
company in that it operated as a collective. The structure of the playing
company was not the rigid hierarchy found in many adult playing companies;
rather all of the adults at Whitefriars
worked together in many different areas (Bly 121). Even the boys, as they began to grow into youths,
helped with some of the management and playwriting.
There are nine known writers for the Children of the King’s Revels. Only two
were professional playwrights: John Day and
Michael Drayton. One, Robert Armin, was an actor. The other six were amateur
playwrights: Lording Barry, Lewis Machin, Gervase Markham, John Mason,
Edward Sharpham, and John Cooke. Barry and Mason only wrote one play apiece.
The other amateur playwrights often had their very first plays produced at
Whitefriars, including Machin, Markham,
and Armin (3, 116–17). Whitefriars plays were probably written
collaboratively for the most part. There are certain plot devices, shared
puns, and phrases of speech that recur in many of the Children of the King’s
Revels (120). Some of the
playwrights functioned as editors for each other’s works, revising plays and
adding their own touches as they went (Cathcart 18).
The playwrights were often financially involved in the Whitefriars company. Barry, Drayton, and Mason
were all shareholders of the company. Many of the playwrights who were not
shareholders were still financially involved in the theatre, buying
properties for their plays and lending money when needed (Bly 116–17). Since most members of the Whitefriars collective were involved in more
than one capacity, it is not surprising that there is one significant gap in
our knowledge of the Whitefriars management:
who chose the plays to be performed. This decision was possibly made by the
group. With involvement of the playwrights, actors, managers, and financiers
of the Children of the King’s Revels, the collaborative nature of the Whitefriars Collective was unique among
playing companies and theatres of its time.
¶Boy Companies at Whitefriars
Company at Whitefriars
-
1607 — Children of the King’s Revels (sometimes called the first Children of Whitefriars)
-
1609 — Children of Whitefriars (sometimes called the second Children of Whitefriars)
-
1610 — Children of the Queen’s Revels
-
1613 — Lady Elizabeth’s Men
The Children of the King’s Revels played at the Whitefriars theatre from the spring of 1607 to the spring of 1608
(Bly 126). Some theatre historians
estimate that the Children of the King’s Revels had a production history of only
eight months, while others estimate closer to twelve months. The Children of the
King’s Revels were not actually licensed by the King to use his name. The
Children of the King’s Revels were alternately known as the Children of Whitefriars, which makes them the first Children
of Whitefriars company (2). It is probable that the remnants of the
Children of the King’s Revels joined the Children of the Queen’s Revels.
Boy companies often changed names and performed at different venues (including
both Whitefriars and Blackfriars). For instance, the Children of the Chapel
Royal in 1600 became the Children of the Queen’s Revels in 1604, when Queen Anne became their patron (Gurr 350). This same company was renamed the
Children of the Blackfriars in 1608, then the Children
of Whitefriars in 1609. In 1610, Phillip Rosseter
secured for them the name of the Children of the Queen’s Revels again (MacIntyre 1). This company played at
the Blackfriars Theatre from 1600 to 1608. On 11
August 1608, the Burbages reclaimed the Blackfriars lease, and the company reassembled at Whitefriars in 1609, for which reason the
historians call it the second Whitefriars company
(Bly 90, 130). This company merged
with an adult playing company ca. 1613, the Lady Elizabeth’s Men. They moved to
the Hope Theatre in 1614 (
Whitefriars Theatre).
¶Actors
The boy playing companies produced many renowned actors. As time passed, the boys
began to grow older. Some stayed with their companies and took on different
responsibilities, as assistant managers or playwrights, for example. Other boy
players joined adult companies as they grew up.
Nathan Field began as a boy player with the Children of the King’s Revels and
continued acting with the boy playing companies as they merged and changed
names. Field was still with the Children of the Queen’s Revels when he was 22
(Gurr 358), contributing to the
company in the capacities of actor and writer. He wrote two plays, A Woman is a Weathercock in 1609 and Amends for Ladies in 1612. Field stayed with the Children of the
Queen’s Revels when it joined with the Lady Elizabeth’s Men, and remained with
the company during the tenuous merger with the Prince Charles’ Men. In 1617,
Field became a principal actor for the King’s Men. One of Field’s leading roles
was that of Antonio in John Webster’s The Duchess of Malfi. Field did not write another complete
play, although he did sometimes contribute to other plays, mostly collaborating
with Massinger, Beaumont, and Fletcher (MacIntyre 35).
William Barksted was a boy clown. He played the role of Morose in Epicoene. Barksted grew up with boy companies, and may
have helped to write some of the plays for the second Whitefriars Boys (Bly 121).
He was a fine actor who made the transition into adult playing companies
smoothly, joining the Lady Elizabeth’s men when the Whitefriars company folded (122).
William Ostler and John Underwood were actors for the Blackfriars boys. When the Blackfriars
boys moved to Whitefriars, Ostler and Underwood
did not move with them. Instead, Ostler and Underwood joined the King’s Men and
continued playing at their familiar venue, Blackfriars, in the winter and the
Globe amphitheatre in the summer (Gurr 358).
¶ The Boys and their Plays
¶ Blackfriars Boys’ Plays
The most notorious play of the boy playing companies is probably Eastward Ho!, which
satirized the influx of Scotsmen who followed the royal family southwardsin 1605 (Gurr 351). This play did not please King James, who ordered the playwrights -- Chapman, Jonson, and Marston -- imprisoned. This satire was followed by John Day’s The Isle of Gulls in 1606, which continued to mock the Scottish nobles, and did not please the King. Also in 1606, Philotas was performed, a play about the 1601 political scandal known as the Essex rebellion, when some nobility of the Essex faction tried to stage a coup. Some of the nobility had been forgiven and had reentered the court; they were not impressed by this play that hit too close to home. After Philotas, the King took more power over the Blackfriars Boys by putting it under the jurisdiction of the Revels Master1 (Gurr 353). The Blackfriars Boys continued to cater to a sophisticated audience, but no longer had the leeway to perform such pointed political comedies.
¶ Whitefriars Boys’ Plays
The first Whitefriars Boys, the Children of
the King’s Revels, were known for staging comedies that pushed the envelope
of good taste. The plays were full of homoerotic puns, and attracted a
specific audience. The plays shared not only linguistic similarities, but
also similar character types, such as the bawdy virgin. These similarities
point towards collaborative playwriting on the part of the Whitefriars
collective. Capitalizing on the all-boy casts, the plays indulge
in two equally untenable suggestions: either they celebrate wanton, desirous women or they promote laughing, homoerotic boys(Bly 14). The patrons were often in the neighbourhood to go to the nearby brothels. Prostitutes would have frequented the theatres to meet clients. Early modern homosexuals (although this word was not coined until 1892) would have gone to Whitefriars: the homoerotic jokes were not to condemn them, but, according to Mary Bly, to engage them (20–21). Children of the King’s Revels produced only one tragedy that we know of, The Turke by John Mason (61). Although The Turke offers a change from the normal comedies played at Whitefriars, it too is rife with homoeroticism (4).
After the Children of the King’s Revels dissolved, the second Whitefriars Boys company, the Children of the
Queen’s Revels continued the tradition of staging sexually daring plays.
They performed plays like Jonson’s Epicoene, which
features a boy player playing a boy who is pretending to be a woman.
¶ Plays Performed at the Whitefriars
AUTHOR | PLAY | DATE PERFORMED | COMPANY2 |
Anonymous | Every Woman in Her Humour | 1607–1608 | uncertain |
Armin, Robert | Two Maids of Moreclacke | 1607–1608 | Children of the King’s Revels |
Barry, Lorden (and John Cooke?) | Ram-Alley or Merrie Tricks | 1607–1608 | Children of the King’s Revels |
Beaumont, Francis, and John Fletcher | The Coxcomb | ca. 1608–1610 | Children of the Queen’s Revels? |
Beaumont, Francis, and John Fletcher | Cupid’s Revenge | ca. 1611 | Children of the Queen’s Revels |
Beaumont, Francis, and John Fletcher | The Scornful Lady | ca. 1613–1616 3 (printed 1616) | Lady Elizabeth’s Men |
Chapman, George | The Revenge of Bussy D’Ambois | ca. 1610 | Children of the Queen’s Revels? |
Day, John | Humour out of Breath | 1608 | Children of the King’s Revels |
Day, John | Law Tricks or Who Would Have Thought It | 1609 and later4 | Children of the Queen’s Revels |
Field, Nathan | A Woman is a Weathercock | ca. 1609 | Children of the Queen’s Revels |
Field, Nathan | Amends for Ladies | ca. 1611 | Lady Elizabeth’s Men |
Jonson, Ben | Epicoene | 1609 | Children of the Queen’s Revels |
Marston, John, William Barkstead, and Lewis Machin | The Insatiate Countess | ca. 1610 | Children of the Queen’s Revels |
Mason, John | The Turke | 1607–1608 | Children of the King’s Revels |
Markham, Gervase, and Lewis Machin | The Dumb Knight | 1607–1608 | Children of the King’s Revels |
Middleton, Thomas and Thomas Dekker (and Lording Barry?) | The Family of Love | 1607? 5 | Children of the King’s Revels |
Shapman, Edward | Cupid’s Whirligig | 1607 | Children of the King’s Revels |
¶ Epicoene
Epicoene epitomizes the themes and characteristics of
the plays written for the boy companies. The very title -- a grammatical term
for Greek and Latin nouns that
without changing their grammatical gender, may denote either sex(OED epicene, adj.1.) -- suggests the androgyny presented on stage when a boy played a woman. Epicoene has a
fascination with gender, a category of signification which, through stage conventions of crossdressing and the deployment of boy actors to play women’s parts was represented as protean and ambiguous(Comensoli and Russell 1).
Epicoene is overtly homoerotic: Morose marries
Epicoene, who turns out to be a young boy. Homoerotic relationships seem to be
natural in the world of the play. Clerimont has an
ingle at home(1.1.24): a boy kept for homosexual pleasure (OED ingle, n.2.). It is possible that Epicoene was Dauphine’s ingle. The wits (Truewit, Dauphine, and Clerimont), with whom playgoers are invited to identify, praise these relationships and see them as normal. Truewit lists Clerimont’s ingle as one of the distracting pleasures of a London life of leisure. Dauphine benefits from his relationship with Epicoene economically, and their relationship has a positive outcome whether or not it is sexual (DiGangi 73). Stepping back from the world of the play, we can say that all of the relationships are potentially homoerotic because the supposed women on stage are, in reality, boys.
Epicoene does not derogate homosexuality; rather, it is
foolishness that is disparaged. Morose, who foolishly thinks that he can have a
wife who will be silent, is humiliated by being forced to announce his
impotence. The gulls in the play, La Foole and Daw, are also punished for their
witlessness and cowardice. Truewit amuses himself by setting up a duel between
La Foole and Daw, to entertain himself, Clerimont, Dauphine, and the
Collegiates. Dauphine gives Daw’s backside six kicks and tweaks La Foole’s nose.
These are both emasculating gestures, but the real humiliation is having their
swords taken; the sword is almost inevitably a phallic signifier in Renaissance
drama. Morose, La Foole, and Daw are all emasculated by the loss of their
swords. This loss is similar to the
lackascribed to all women on stage: the idea that the
female body is by definition defective insofar as it is present at all,based on the Galenic
one-sexmodel that defines women as incomplete and imperfect men (Adelman 25). The gulls are therefore punished for their foolishness by being twinned with the imperfect bodies of women.
Epicoene was certainly written for the Whitefriars
playhouse. However, Jonson, unlike most
playwrights, edited his own plays for publication in his Works of 1616. Therefore, the text we have is not a wholly reliable
guide to Whitefriars staging practices. In 4.5,
the duel scene, Jonson places all of the
Collegiates in the above with Clerimont. This staging is probably wishful
thinking on Jonson’s part because the above could
realistically hold no more than three actors. Jonson probably added the stage direction when he was supervising
publication of his play (MacIntyre
10).
Epicoene is typical of Whitefriars plays because of its homoerotic connotations. Epicoene displays
one of the inherent features of the theatrical occasion [, which] is a ritualistic celebration—however indirect—of the spectators themselves(Shapiro 416). That Jonson was aware of his audience is evident in his Prologue, which addresses the
men and daughters of Whitefriars(Prol. 24). The
men Gap in transcription. Reason: Editorial omission for reasons of length or relevance. Use only in quotations in born-digital documents.[…] of Whitefriarsprobably refers to the playgoers of 1607–1608, and the
daughters of Whitefriarsto the prostitutes who worked the audience. Jonson’s Epicoene celebrates Whitefriars’ unique audience with clever use of boy players and witty language.
For information about the Whitefriars 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 Whitefriars Theatre.
Notes
- See MoEML’s encyclopedia article on the Office of the Revels. (JT)↑
- The Children of the Queen’s Revels referred to here is the amalgamation of the Blackfriars Boys and the Children of the King’s Revels (the first Whitefriars Boys) ()↑
- Not certainly performed at Whitefriars ()↑
- Written for another theatre and played again at Whitefriars. ()↑
- Written for another theatre and played again at Whitefriars. ()↑
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Project Manager, 2020-present. Assistant Project Manager, 2019-2020. Research Assistant, 2018-present. Kate LeBere completed an honours BA in History with a minor in English at the University of Victoria in 2020. During her degree she published in The Corvette (2018), The Albatross (2019), and PLVS VLTRA (2020) and presented at the English Undergraduate Conference (2019) and Qualicum History Conference (2020). While her primary research focus was sixteenth and seventeenth century England, she developed a keen interest in Old English and Early Middle English translation and completed her honours thesis on Soviet ballet during the Russian Cultural Revolution.Roles played in the project
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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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Contributions by this author
Janelle Jenstad is a member of the following organizations and/or groups:
Janelle Jenstad is mentioned in the following documents:
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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Laura Estill
Dr. Laura Estill is Assistant Professor of English at Texas A&M University. She is editor of the World Shakespeare Bibliography. Her book, Dramatic Extracts in Seventeenth-Century English Manuscripts: Watching, Reading, Changing Plays, is forthcoming from the University of Delaware Press. Her research interests include early modern English drama, print and manuscript culture, and digital humanities. Her research has appeared in Shakespeare, Huntington Library Quarterly, Early Theatre, Studies in English Literature, ArchBook, Opuscula, and The Oxford Handbook of Shakespeare.Laura was one of MoEML’s earliest contributors, having participated in Janelle Jenstad’s undergraduate course, English 328: Drama of the English Renaissance, at the University of Windsor in 2003.Roles played in the project
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Author
Contributions by this author
Laura Estill is a member of the following organizations and/or groups:
Laura Estill is mentioned in the following documents:
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Stewart Arneil
Programmer at the University of Victoria Humanities Computing and Media Centre (HCMC) who maintained the Map of London project between 2006 and 2011. Stewart was a co-applicant on the SSHRC Insight Grant for 2012–16.Roles played in the project
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Programmer
Stewart Arneil is a member of the following organizations and/or groups:
Stewart Arneil is mentioned in the following documents:
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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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Contributions by this author
Martin D. Holmes is a member of the following organizations and/or groups:
Martin D. Holmes is mentioned in the following documents:
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Robert Armin is mentioned in the following documents:
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Lording Barry is mentioned in the following documents:
Lording Barry authored or edited the following items in MoEML’s bibliography:
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Barry, Lording. Ram-Alley: Or Merrie-Trickes. London: Printed by G. Eld. for Robert Wilson, 1611. Reprint. EEBO. Web.
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Francis Beaumont is mentioned in the following documents:
Francis Beaumont authored or edited the following items in MoEML’s bibliography:
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Beaumont, Francis. The Knight of the Burning Pestle. Ed. Sheldon P. Zitner. Manchester: Manchester UP, 2004. Print.
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Richard Burbage is mentioned in the following documents:
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Cuthbert Burbage
(b. between 1564 and 1565, d. 1636)Actor. Son of James Burbage. Brother of Richard Burbage.Cuthbert Burbage is mentioned in the following documents:
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George Chapman is mentioned in the following documents:
George Chapman authored or edited the following items in MoEML’s bibliography:
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Chapman, George, Ben Jonson, and John Marston. Eastward Ho! Ed. R.W. Van Fossen. New York: Manchester UP, 1999. Print.
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Samuel Daniel is mentioned in the following documents:
Samuel Daniel authored or edited the following items in MoEML’s bibliography:
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Daniel, Samuel. The Vision of the 12 Goddesses, Presented in a Maske the 8 of January, at Hampton Court by the Queenes Most Excellent Majestie, and her Ladies. London: Printed by T. C. for Simon Waterson, and are to be Sold at his SThis text has been supplied. Reason: Misprint or typesetting error. Evidence: The text has been supplied based on an external source. ()hop in Pauls Church-yard, at the Signe of the Crowne, 1604. STC 6265. Reprint. EEBO. Web.
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John Day is mentioned in the following documents:
John Day authored or edited the following items in MoEML’s bibliography:
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Day, John [and Henry Chettle]. The Blind-beggar of Bednal Green. London: R. Pollard and Tho. Dring, 1659. Reprint. EEBO. Web.
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Thomas Dekker is mentioned in the following documents:
Thomas Dekker authored or edited the following items in MoEML’s bibliography:
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Bevington, David. Introduction.
The Shoemaker’s Holiday.
By Thomas Dekker. English Renaissance Drama: A Norton Anthology. Ed. David Bevington, Lars Engle, Katharine Eisaman Maus, and Eric Rasmussen. New York: Norton, 2002. 483–487. Print. -
Dekker, Thomas. Britannia’s Honor.
The Dramatic Works of Thomas Dekker.
Vol. 4. Ed. Fredson Bowers. Cambridge: Cambridge UP, 1961. Print. -
Dekker, Thomas. The Dead Tearme. Or Westminsters Complaint for long Vacations and short Termes. Written in Manner of a Dialogue betweene the two Cityes London and Westminster. 1608. The Non-Dramatic Works of Thomas Dekker. Ed. Rev. Alexander B. Grosart. 5 vols. 1885. Reprint. New York: Russell and Russell, 1963. 4.1–84.
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Dekker, Thomas. The Gull’s Horn-Book: Or, Fashions to Please All Sorts of Gulls. Thomas Dekker: The Wonderful Year, The Gull’s Horn-Book, Penny-Wise, Pound-Foolish, English Villainies Discovered by Lantern and Candelight, and Selected Writings. Ed. E.D. Pendry. London: Edward Arnold, 1967. 64–109. The Stratford-upon-Avon Library 4.
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Dekker, Thomas. The Gul’s Horne-booke. London: [Nicholas Okes] for R. S[ergier?], 1609. Rpt. EEBO. Web.
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Dekker, Thomas. If it be not good, the Diuel is in it A nevv play, as it hath bin lately acted, vvith great applause, by the Queenes Maiesties Seruants: at the Red Bull. London: Printed by Thomas Creede for John Trundle, 1612. STC 6507. EEBO.
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Dekker, Thomas. Lantern and Candlelight. 1608. Ed. Viviana Comensoli. Toronto: Centre for Reformation and Renaissance Studies, 2007. Publications of the Barnabe Riche Society.
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Dekker, Thomas. Londons Tempe, or The Feild of Happines. London: Nicholas Okes, 1629. STC 6509. DEEP 736. Greg 421a. Copy: British Library; Shelfmark: C.34.g.11.
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Dekker, Thomas. Londons Tempe, or The Feild of Happines. London: Nicholas Okes, 1629. STC 6509. DEEP 736. Greg 421a. Copy: Huntington Library; Shelfmark: Rare Books 59055.
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Dekker, Thomas. Londons Tempe, or The Feild of Happines. London: Nicholas Okes, 1629. STC 6509. DEEP 736. Greg 421a. Copy: National Library of Scotland; Shelfmark: Bute.143.
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Dekker, Thomas. London’s Tempe. The Dramatic Works of Thomas Dekker. Ed. Fredson Bowers. Vol. 4. Cambridge: Cambridge UP, 1961. Print.
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Dekker, Thomas. The magnificent entertainment giuen to King James, Queene Anne his wife, and Henry Frederick the Prince, upon the day of his Majesties triumphant passage (from the Tower) through his honourable citie (and chamber) of London, being the 15. of March. 1603. As well by the English as by the strangers: with the speeches and songes, deliuered in the severall pageants. London: Printed by Thomas Creede for Thomas Man the younger, 1604. EEBO. Reprint. Subscr.
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Dekker, Thomas. The Magnificent Entertainment: Giuen to King James, Queene Anne his wife, and Henry Frederick the Prince, ypon the day of his Majesties Triumphant Passage (from the Tower) through his Honourable Citie (and Chamber) of London being the 15. Of March. 1603. London: T. Man, 1604. Treasures in full: Renaissance Festival Books. British Library. Web. Open.
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Dekker, Thomas? The Owles almanacke prognosticating many strange accidents which shall happen to this kingdome of Great Britaine this yeere, 1618 : calculated as well for the meridian mirth of London, as any other part of Great Britaine : found in an Iuy-bush written in old characters / and now published in English by the painefull labours of Mr. Iocundary Merry-braines. London, 1618. EEBO. Reprint. Subscr.
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Dekker, Thomas. Penny-wise pound foolish or, a Bristow diamond, set in two rings, and both crack’d Profitable for married men, pleasant for young men, and a rare example for all good women. London, 1631. EEBO. Reprint. Subscr.
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Dekker, Thomas. The Second Part of the Honest Whore, with the Humors of the Patient Man, the Impatient Wife: the Honest Whore, perswaded by strong Arguments to turne Curtizan againe: her braue refuting those Arguments. London: Printed by Elizabeth All-de for Nathaniel Butter, 1630. STC 6506. EEBO.
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Dekker, Thomas. The seuen deadly sinnes of London drawne in seuen seuerall coaches, through the seuen seuerall gates of the citie bringing the plague with them. London, 1606. EEBO. Reprint. Subscr.
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Dekker, Thomas. The Shoemaker’s Holiday. Ed. R.L. Smallwood and Stanley Wells. Manchester: Manchester UP, 1979. The Revels Plays.
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Dekker, Thomas. The Shomakers Holiday: or, The Gentle Craft With the Humorous Life of Simon Eyre, Shoomaker, and Lord Maior of London. London, 1600. EEBO. Reprint. Subscr.
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Dekker, Thomas, Stephen Harrison, Ben Jonson, and Thomas Middleton. The Whole Royal and Magnificent Entertainment of King James through the City of London, 15 March 1604, with the Arches of Triumph. Ed. R. Malcolm Smuts. Thomas Middleton: The Collected Works. Gen. ed. Gary Taylor and John Lavagnino. Oxford: Oxford UP, 2007. 219–79.
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Dekker, Thomas. Troia-Noua Triumphans. London: Nicholas Okes, 1612. STC 6530. DEEP 578. Greg 302a. Copy: Chapin Library; Shelfmark: 01WIL_ALMA.
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Dekker, Thomas. Westward Ho! The Dramatic Works of Thomas Dekker. Vol. 2. Ed. Fredson Bowers. Cambridge: Cambridge UP, 1964.
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Middleton, Thomas, and Thomas Dekker. The Roaring Girl. Ed. Paul A. Mulholland. Revels Plays. Manchester: Manchester UP, 1987. Print.
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Munday, Anthony, Henry Chettle, Thomas Dekker, Thomas Heywood, and William Shakespeare. Sir Thomas More. Ed. Vittorio Gabrieli and Giorgio Melchiori. Revels Plays. Manchester; New York: Manchester UP, 1990. Print.
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Smith, Peter J.
Glossary.
The Shoemakers’ Holiday. By Thomas Dekker. London: Nick Hern, 2004. 108–110. Print.
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Michael Drayton is mentioned in the following documents:
Michael Drayton authored or edited the following items in MoEML’s bibliography:
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Drayton, Michael. A paean triumphall Composed for the Societie of the Goldsmiths of London: congratulating his Highnes magnificent entring the citie. To the Maiestie of the King. London: John Flasket, 1604. STC 7215. Subscr. EEBO.
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Drayton, Michael. Poly-Olbion. 1613. The Works of Michael Drayton. Ed. J. William Hebel, Kathleen Tillotson, and Bernard H. Newdigate. Rev. ed. 5 vols. Oxford: Shakespeare Head P, 1961. Vol. 4.
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Drayton, Michael. Poly-Olbion. or A chorographicall description of tracts, riuers, mountaines, forests, and other parts of this renowned isle of Great Britaine with intermixture of the most remarquable stories, antiquities, wonders, rarityes, pleasures, and commodities of the same: digested in a poem by Michael Drayton, Esq. With a table added, for direction to those occurrences of story and antiquitie, whereunto the course of the volume easily leades not. London, 1613. EEBO. Reprint. Subscr. STC 7727
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Henry Evans
(b. 1543, d. 1612)Member of the Scriveners’ Company. Investor in the second Blackfriars Theatre.Henry Evans is mentioned in the following documents:
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Nathaniel Giles is mentioned in the following documents:
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James VI and I
James This numeral is a Roman numeral. The Arabic equivalent is 6VI This numeral is a Roman numeral. The Arabic equivalent is 1I King of Scotland King of England King of Ireland
(b. 1566, d. 1625)James VI and I is mentioned in the following documents:
James VI and I authored or edited the following items in MoEML’s bibliography:
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James VI and I. Letters of King James VI and I. Ed. G.P.V. Akrigg. Berkeley: U of California P, 1984. Print.
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Rhodes, Neill, Jennifer Richards, and Joseph Marshall, eds. King James VI and I: Selected Writings. By James VI and I. Aldershot: Ashgate, 2004.
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Ben Jonson is mentioned in the following documents:
Ben Jonson authored or edited the following items in MoEML’s bibliography:
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Chapman, George, Ben Jonson, and John Marston. Eastward Ho! Ed. R.W. Van Fossen. New York: Manchester UP, 1999. Print.
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Dekker, Thomas, Stephen Harrison, Ben Jonson, and Thomas Middleton. The Whole Royal and Magnificent Entertainment of King James through the City of London, 15 March 1604, with the Arches of Triumph. Ed. R. Malcolm Smuts. Thomas Middleton: The Collected Works. Gen. ed. Gary Taylor and John Lavagnino. Oxford: Oxford UP, 2007. 219–79.
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Gifford, William, ed. The Works of Ben Jonson. By Ben Jonson. Vol. 1. London: Nichol, 1816. Remediated by Internet Archive.
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Jonson, Ben. The Alchemist. London: New Mermaids, 1991. Print.
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Jonson, Ben. Bartholomew Fair. Ed. E.A. Horsman. Manchester: Manchester UP, 1979. Revels Plays. Print.
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Jonson, Ben. Bartholomew Fair. Ed. Suzanne Gossett, based on The Revels Plays edition ed. E.A. Horsman. Manchester: Manchester UP, 2000. Revels Student Editions. Print.
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Jonson, Ben. B. Ion: his part of King Iames his royall and magnificent entertainement through his honorable cittie of London, Thurseday the 15. of March. 1603 so much as was presented in the first and last of their triumphall arch’s. London, 1604. STC 14756. EEBO.
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Jonson, Ben. The Complete Poetry of Ben Jonson. Ed. William B. Hunter. Stuart Edtions. New York: New YorkUP, 1963.
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Jonson, Ben. The Devil is an Ass. Ed. Peter Happé. Manchester and New York: Manchester UP, 1996. Revels Plays. Print.
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Jonson, Ben. Epicene. Ed. Richard Dutton. Revels Plays. Manchester: Manchester UP, 2004. Print.
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Jonson, Ben. Every Man Out of His Humour. Ed. Helen Ostovich. Manchester: Manchester UP, 2001. Print.
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Jonson, Ben. The First, of Blacknesse, Personated at the Court, at White-hall, on the Twelfth Night, 1605. The Characters of Two Royall Masques: The One of Blacknesse, the Other of Beautie. Personated by the Most Magnificent of Queenes Anne Queene of Great Britaine, &c. with her Honorable Ladyes, 1605 and 1608 at White-hall. London : For Thomas Thorp, and are to be Sold at the Signe of the Tigers Head in Paules Church-yard, 1608. Sig. A3r-C2r. STC 14761. Reprint. EEBO. Web.
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Jonson, Ben. Oberon, The Faery Prince. The Workes of Benjamin Jonson. Vol. 1. London: Will Stansby, 1616. Sig. 4N2r-2N6r. Reprint. EEBO. Web.
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Jonson, Ben. The Staple of Newes. The Works. Vol. 2. London: Printed by I.B. for Robert Allot, 1631. Sig. 2A1r-2J2v. Reprint. EEBO. Web.
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Jonson, Ben. The Staple of News. Ed. Anthony Parr. Manchester; New York: Manchester UP, 1999. Revels Plays. Print.
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Jonson, Ben.
To Penshurst.
The Norton Anthology of English Literature. Ed. Stephen Greenblatt, Carol T. Christ, Alfred David, Barbara K. Lewalski, Lawrence Lipking, George M. Logan, Deidre Shauna Lynch, Katharine Eisaman Maus, James Noggle, Jahan Ramazani, Catherine Robson, James Simpson, Jon Stallworthy, Jack Stillinger, and M. H. Abrams. 9th ed. Vol. B. New York: W.W. Norton & Company, 2012. 1547. -
Jonson, Ben. The vvorkes of Beniamin Ionson. Containing these playes, viz. 1 Bartholomew Fayre. 2 The staple of newes. 3 The Divell is an asse. London, 1641. EEBO. Reprint. Subscr. STC 14754.
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John Marston is mentioned in the following documents:
John Marston authored or edited the following items in MoEML’s bibliography:
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Chapman, George, Ben Jonson, and John Marston. Eastward Ho! Ed. R.W. Van Fossen. New York: Manchester UP, 1999. Print.
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Philip Massinger is mentioned in the following documents:
Philip Massinger authored or edited the following items in MoEML’s bibliography:
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Massinger, Philip.
The City Madam.
The Plays and Poems of Philip Massinger. Ed. Philip Edwards and Colin Gibson. Oxford: Claredon, 1976. Print. -
Massinger, Philip. A New Way to Pay Old Debts. London: Printed by E[lizabeth] P[urslowe] for Henry Seyle, 1633. Reprint. EEBO. Web.
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Thomas Middleton is mentioned in the following documents:
Thomas Middleton authored or edited the following items in MoEML’s bibliography:
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Brissenden, Alan.
Introduction.
A Chaste Maid in Cheapside. By Thomas Middleton. 2nd ed. New Mermaids. London: A&C Black; New York: Norton, 2002. xi–xxxv. Print. -
Dekker, Thomas, Stephen Harrison, Ben Jonson, and Thomas Middleton. The Whole Royal and Magnificent Entertainment of King James through the City of London, 15 March 1604, with the Arches of Triumph. Ed. R. Malcolm Smuts. Thomas Middleton: The Collected Works. Gen. ed. Gary Taylor and John Lavagnino. Oxford: Oxford UP, 2007. 219–79.
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Middleton, Thomas, and Thomas Dekker. The Roaring Girl. Ed. Paul A. Mulholland. Revels Plays. Manchester: Manchester UP, 1987. Print.
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Middleton, Thomas. A Chaste Maid in Cheapside. Ed. Alan Brissenden. 2nd ed. New Mermaids. London: Benn, 2002.
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Middleton, Thomas. Civitatis Amor. Ed. David Bergeron. Thomas Middleton: The Collected Works. Gen. ed. Gary Taylor and John Lavagnino. Oxford: Oxford UP, 2007. 1202–8.
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Middleton, Thomas. The Triumphs of Honour and Industry. London: Printed by Nicholas Okes, 1617. STC 17899. Reprint. EEBO. Web.
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Middleton, Thomas. The Triumphs of Integrity. Ed. David Bergeron. Thomas Middleton: The Collected Works. Gen. ed. Gary Taylor and John Lavagnino. Oxford: Oxford UP, 2007. 1766–1771.
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Middleton, Thomas. The Triumphs of Love and Antiquity. London: Printed by Nicholas Okes, 1619. STC 17902. Reprint. EEBO. Web.
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Middleton, Thomas. The Triumphs of Truth. London, 1613. Ed. David M. Bergeron. Thomas Middleton: The Collected Works. Ed. Gary Taylor and John Lavagnino. Oxford: Clarendon, 2007. 968–76.
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Middleton, Thomas. The Triumphs of Truth. London, 1613. STC 17903. Reprint. EEBO. Web.[Differs from STC 17904 in that it does not contain the additional entertainment.]
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Middleton, Thomas. The Triumphs of Truth. London, 1613. STC 17904. Reprint. EEBO. Web. [Differs from STC 17903 in that it contains an additional entertainment celebrating Hugh Middleton’s New River project, known as the Entertainment at Amwell Head.]
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Middleton, Thomas. The Works of Thomas Middleton, now First Collected with Some Account of the Author and notes by The Reverend Alexander Dyce. Ed. Alexander Dyce. London: E. Lumley, 1840. Print.
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Taylor, Gary, and John Lavagnino, eds. Thomas Middleton: The Collected Works. By Thomas Middleton. Oxford: Oxford UP, 2007. The Oxford Middleton. Print.
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Edmund Tilney is mentioned in the following documents:
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John Underwood is mentioned in the following documents:
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John Webster is mentioned in the following documents:
John Webster authored or edited the following items in MoEML’s bibliography:
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Webster, John. The dramatic works of John Webster. Vol. 3. Ed. William Hazlitt. London: John Russell Smith, 1897. Print.
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Webster, John. The Tragedy of the Dutcheſſe of Malfy. London: Nicholas Okes, 1623. STC 25176. Subscr. EEBO.
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Webster, John. The Works of John Webster: An Old-Spelling Critical Edition. 3 vols. Ed. David Gunby, David Carnegie, and Macdonald P. Jackson. Cambridge: Cambridge UP, 2007. Print.
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Webster, John. The Works of John Webster. Ed. Alexander Dyce. Rev. ed. London: Edward Moxon, 1857. Print.
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John Fletcher is mentioned in the following documents:
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Richard Daborne is mentioned in the following documents:
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Anne of Denmark
Anne Queen consort of Scotland Queen consort of England Queen consort of Ireland
(b. 12 December 1574, d. 2 March 1619)Queen consort of Scotland 1589–1619. Queen consort of England and Ireland 1603–1619. Wife of James VI and I. Daughter of Frederick II of Denmark and Sophie of Mecklenburg-Güstrow. Sister of Christian IV of Denmark, Elizabeth of Denmark, and Ulric of Denmark.Anne of Denmark is mentioned in the following documents:
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Thomas Woodford
Helped establish Whitefriars Theatre.Thomas Woodford is mentioned in the following documents:
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Edward Kirkham
Financier of Whitefriars Theatre.Edward Kirkham is mentioned in the following documents:
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William Rastall
Financier of Whitefriars Theatre.William Rastall is mentioned in the following documents:
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Thomas Kendall
Financier of Whitefriars Theatre.Thomas Kendall is mentioned in the following documents:
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Robert Keysar
Financier of Whitefriars Theatre.Robert Keysar is mentioned in the following documents:
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Philip Rosseter
Musician. Helped manage Whitefriars Theatre.Philip Rosseter is mentioned in the following documents:
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John Tarbock
Helped manage Whitefriars Theatre.John Tarbock is mentioned in the following documents:
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Richard Jones
Helped manage Whitefriars Theatre. Not to be confused with Richard Jones.Richard Jones is mentioned in the following documents:
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Robert Brown is mentioned in the following documents:
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Lewis Machin
Amateur playwright.Lewis Machin is mentioned in the following documents:
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Gervase Markham
Amateur playwright.Gervase Markham is mentioned in the following documents:
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John Mason
Amateur playwright. Not to be confused with John Mason or Sir John Mason.John Mason is mentioned in the following documents:
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Edward Sharpham
Amateur playwright.Edward Sharpham is mentioned in the following documents:
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John Cooke
Amateur playwright. Not to be confused with John Cook.John Cooke is mentioned in the following documents:
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Nathan Field
Actor and playwright.Nathan Field is mentioned in the following documents:
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William Barksted
Clown.William Barksted is mentioned in the following documents:
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William Ostler is mentioned in the following documents:
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Morose
Dramatic character in Ben Jonson’s Epicœne.Morose is mentioned in the following documents:
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Epicœne
Dramatic character in Ben Jonson’s Epicœne.Epicœne is mentioned in the following documents:
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Ned Clerimont
Dramatic character in Ben Jonson’s Epicœne.Ned Clerimont is mentioned in the following documents:
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Sir Dauphine Eugenie
Dramatic character in Ben Jonson’s Epicœne.Sir Dauphine Eugenie is mentioned in the following documents:
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Truewit
Dramatic character in Ben Jonson’s Epicœne.Truewit is mentioned in the following documents:
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Sir Amorous La Foole
Dramatic character in Ben Jonson’s Epicœne.Sir Amorous La Foole is mentioned in the following documents:
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Sir John Daw
Dramatic character in Ben Jonson’s Epicœne.Sir John Daw is mentioned in the following documents:
Locations
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London is mentioned in the following documents:
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Whitefriars
This page points to the district known as Whitefriars. For the theatre, see Whitefriars Theatre.Whitefriars is mentioned in the following documents:
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Ludgate
Located in Farringdon Within Ward, Ludgate was a gate built by the Romans (Carlin and Belcher 80). Stow asserts that Ludgate was constructed by King Lud who named the gate after himselffor his owne honor
(Stow 1: 1).Ludgate is mentioned in the following documents:
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Fleet River is mentioned in the following documents:
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Middle Temple
Middle Temple was one of the four Inns of CourtMiddle Temple 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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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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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:
Organizations
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Blackfriars Children
Blackfriars Children was a playing company of boy actors in early modern London, known by various names. The company staged plays by Beaumont, Chapman, Fletcher, Jonson, Marston, and Middleton between 1603-1613. The company was known at different times as the Blackfriars Boys, Revels Children, Children of the Queen’s Revels, Children of the Chapel, and the Children of Whitefriars (see Gurr 287-287).This organization is mentioned in the following documents:
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King’s Men
King’s Men was a playing company in early modern London. During the reign of Queen Elizabeth I, the group had been known as the Lord Chamberlain’s Men after its then patron, Henry Carey, Lord Hunsdon. It was re-named in 1603 when King James I took over as patron soon after acceding to the throne. It is famous for being the company to which William Shakespeare belonged for most of his career.This organization is mentioned in the following documents:
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King’s Revels Children
King’s Revels Children (also known as Children of the King’s Revels) was a playing company of boy actors in early modern London. It appears to have emerged in early 1607, and its history is closely linked to the Blackfriars Children after 1609 (see Gurr 361-362, 365).This organization is mentioned in the following documents:
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Prince Charles’s Company
Prince Charles’s Company or Prince Charles’s Men was a playing company in early modern London. The group was formed in 1608 as the Duke of York’s Men after Charles, who was then Duke of York and the second son of King James I and Anne of Denmark. When Charles’s elder brother, Prince Henry, died in 1612, the company gradually became known as Prince Charles’s Company. Andrew Gurr identifies this company as Prince Charles’s Company (I) to distinguish it from the company established in 1631 after the birth of the future King Charles II, also called Prince Charles’s Company, but usually referred to by theatre scholars as Prince Charles’s Company (II) (Gurr 395).This organization is mentioned in the following documents:
Variant spellings
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Documents using the spelling
theatre at Whitefriars
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Documents using the spelling
Whitefriars
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Documents using the spelling
Whitefriars playhouse
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Documents using the spelling
Whitefriars Theatre