Topic III

THE ROSE THEATRE

Doubtless one reason for the obscure role which the theatre at Newington played in the
history of the drama was "the tediousness of the way" thither. The Rose, the second theatre
to make its appearance in Surrey, was much more conveniently situated with respect to the
city, for it was erected in the Liberty of the Clink and very near the river's edge. As a result,
it quickly attained popularity with London playgoers, and before the end of the century had
caused the centre of dramatic activity to be shifted from Finsbury Field to the Bank.

The builder of the Rose was one Philip Henslowe, then, so far as our evidence goes,
unknown to the dramatic world, but destined soon to become the greatest theatrical
proprietor and manager of the Tudor-Stuart age. We find him living on the Bankside and in
the Liberty of the Clink at least as early as 1577. At first, so we are told, he was "but a poor
man," described as "servant ... unto one Mr. Woodward." Upon the death of his employer,
Woodward, he married the widow, Agnes Woodward, and thus came into the possession of
considerable property. "All his wealth came by her," swore the charwoman Joan Horton.
This, however, simply means that Henslowe obtained his original capital by his marriage;
for, although very illiterate, he was shrewd in handling money, and he quickly amassed "his
wealth" through innumerable business ventures.

As one of these ventures, no doubt, he leased from the Parish of St. Mildred, on March 24,
1585, a small piece of property on the Bankside known as "The Little Rose." "Among the
early surveys of Edward VI," says Rendle, "we see that this was not merely a name -- the
place was a veritable Rose Garden." At the time of the lease the property is described as
consisting of a dwelling-house called "The Rose," "two gardens adjoining the same"
consisting of "void ground," and at least one other small building. The dwelling-house
Henslowe probably leased as a brothel -- for this was the district of the stews; and the small
building mentioned above, situated at the south end of one of the gardens, he let to a London
grocer named John Chumley, who used it "to keep victualing in."

Not satisfied, however, with the income from these two buildings, Henslowe a year and a
half later was planning to utilize a part of the "void ground" for the erection of a theatre.

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What interested him in the drama we do not know, but we may suppose that the same reason
which led Burbage, Brayne, Lanman, and others to build playhouses influenced him,
namely, the prospect of "great gains to ensue therefrom."

For the site of his proposed playhouse he allotted a small parcel of ground ninety-four feet
square and lying in the corner formed by Rose Alley and Maiden Lane. Then he interested
in the enterprise his tenant Chumley, for, it seems, he did not wish to undertake so
expensive and precarious a venture without sharing the risk with another. On January 10,
1587, he and Chumley signed a formal deed of partnership, according to which the
playhouse was to be erected at once and at the sole cost of Henslowe; Chumley, however,
was to have from the beginning a half-interest in the building, paying for his share by
instalments of £25 10s. a quarter for a period of eight years and three months. The total sum
to be paid by Chumley, £816, possibly represents the estimated cost of the building and its
full equipment, plus rental on the land.

The building is referred to in the deed of January 10 as "a playhouse now in framing and
shortly to be erected and set up." Doubtless it was ready for occupancy early in the summer.
That performances were given there before the close of the year is at least indicated by an
order of the Privy Council dated October 29, 1587.

What troupes of actors used the Rose during the first five years of its existence we do not
know; indeed, until 1592 we hear nothing further of the playhouse. As a result, some
scholars have wrongly inferred that the building was not erected until the spring of 1592. It
seems likely, as Mr. Greg suggests, that Henslowe and Chumley let the house to some
company of players at a stipulated annual rent, and so had nothing to do with the
management of its finances. This would explain the complete absence of references to the
playhouse in Henslowe's accounts.

During this obscure period of five years Chumley disappears from the history of the Rose. It
may be that he withdrew from the undertaking at the outset; it may be that he failed to meet
his payments, and so forfeited his moiety; or it may be that, becoming dissatisfied with his
bargain, he sold out to Henslowe. Whatever the cause, his interest in the playhouse passed
over to Henslowe, who appears henceforth as the sole proprietor. In the spring of 1592 the
building was in need of repairs, and Henslowe spent a large sum of money in thoroughly

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overhauling it. The lathing and plastering of the exterior were done over, the roof was re-
thatched, new rafters were put in, and much heavy timber was used, indicating important
structural alterations. In addition, the stage was painted, the lord's room and the tiring-house
were provided with ceilings, a new flagpole was erected, and other improvements were
introduced. Clearly an attempt was made to render the building not only stronger, but also
more attractive in appearance and more modern in equipment.

On October 4, 1605, the Commissioners of the Sewers amerced him for the Rose, but return was
made that it was then "out of his hands." From a later entry in the Sewer Records, February 14,
1606, we learn that the new owner of the Rose was one Edward Box, of Bread Street, London. Box,
it seems, either tore down the building or converted it into tenements. The last reference to it in the
Sewer Records is on April 25, 1606, when it is referred to as "the late playhouse."

SHAKESPEARE'S GLOBE THEATRE

 

Step back into Shakespeare's time with a visit to the Globe Theatre in Southwark, a stunning
reconstruction of the Bard's early playhouse. Founded by the actor Sam Wanamaker, this is
not only a working theatre, but an educational centre and the world's largest exhibition
devoted entirely to Shakespeare and his world.

Shakespeare's company erected the storied Globe Theatre circa 1598 in London's Bank side
district. It was one of four major theatres in the area, along with the Swan, the Rose, and the
Hope. The open-air, octagonal amphitheatre raised three stories high with a diameter of
approximately 100 feet, holding a seating capacity of up to 3,000 spectators. The
rectangular stage platform on which the plays were performed was nearly 43 feet wide and
28 feet deep. This staging area probably housed trap doors in its flooring and primitive
rigging overhead for various stage effects.

The foundations of the Globe were rediscovered in 1989, rekindling interest in a fitful
attempt to erect a modern version of the amphitheatre. Led by the vision of the late Sam
Wanamaker, workers began construction in 1993 on the new theatre near the site of the
original. The latest Globe Theatre was completed in 1996, Queen Elizabeth II officially

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opened the theatre on June 12, 1997 with a production of Henry V. The Globe is as faithful
a reproduction as possible to the Elizabethan model, seating 1,500 people between the
galleries and the "groundlings." In its initial 1997 season, the theatre attracted 210,000
patrons. The Globe Theatre, and indeed, the entire Elizabethan theatre scene opened its
doors to the low life of the pits, it also accommodated an audience of higher-status, well-
heeled, and better educated individuals.

It is often mentioned in passing that Shakespeare himself appeared as an actor on the

Globe's stage. This aspect of the Bard's life in the theatre should not be over-estimated.
Shakespeare's name appears in the cast lists of plays written by himself and by other
Elizabethan authors, but there is no indication of the roles that he played. Tradition ascribes
two parts to Shakespeare himself, that of the Ghost of Hamlet's Father in Hamlet and that of
Adam, the loyal, aged servant in As You Like It. In 1603, Shakespeare apparently acted in a
play written by his friend and fellow author, Ben Jonson.

Shakespeare's Globe is the new kid on the block (or the oldest kid, depending upon how you
look at it). A faithful reconstruction of the original, the open-air theatre is open only from
May through September but, by using floodlights which furnish what its spokespeople call
"artificial daylight" at night, The Globe is able to schedule both matinee and evening
performances.

The Globe also offers "The Globe Experience," a museum/tour which tells the story of how
Sam Wanamaker, an American actor, pursued and fulfilled his dream of re-building the
same theatre for which Shakespeare wrote. The museum contains costumes, miniatures of
other Elizabethan theatres and interactive displays which allow visitors to "join the cast" or
hear actors, ranging from Ellen Terry to Kenneth Branagh, bringing Shakespeare's words to
life.

References

1.Shakespearean Playhouses: A History of English Theatres from the Beginnings to the

Restoration. Joseph Quincy Adams. Cambridge: Riverside Press, 1917.

2. Anil Gupta, 2006