Category Archives: Theatre

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A Game At Chess

The following is an extract from a letter written by the Spanish Ambassador, in which he outlines the performance of a play at the Globe written by Thomas Middleton. A Game at Chess is a notoriously anti-Catholic play. It was licensed for performance on 12th June 1624, but was not performed by the King’s Men at the Globe until 6th August, by which time James I was out of London. It ran for nine days before being closed by the authorities. In addition to the rabid anti-Catholic slant the ambassador so objects to, and it is important to remember the play was performed at the height of English anxiety about the Spanish Match, his account reveals some fascinating details about production and performance styles on the London stage at this time

The actors whom they call here ‘the King’s Men’ have recently acted, and are still acting, in London a play that so many people come to see, that there were more than 3,000 on the day that the audience was the smallest. There was such merriment, hubbub and applause that even if I had been many leagues away it would not have been possible for me not have taken notice of it…

The subject  of the play is a game of chess, with white squares and black squares, their kings and other pieces, acted by the players, and the king of the blacks has easily been taken for our lord the King, because of his youth, dress and other details. The first act, or rather game was played by their ministers, impersonated by the white pieces, and the Jesuits, by the black ones. Here there were remarkable acts of sacrilege and, among other abominations, a minister summoned St Ignatius from hell, and when he found himself again in the world, the first thing he did was to rape one of his female penitents; in all this, these accursed and abominable men revealed the depths of their heresy by their lewd and obscene actions.

The second act was directed against the Archbishop of Spalatro, at that time a white piece, but afterwards won over to the black side by the Count of Gondomar, who, brought onto the stage in his litter almost to the life, and seated in his chair with a hole in it (they said), confessed all the treacherous actions with which he had deceived and soothed the king of the whites, and, when he discussed the matter of confession with the Jesuits, the actor disguised as the Count took out a book in which were rated all the prices for which henceforwards sins were to be forgiven…

The last act ended with a long, obstinate struggle between all the whites and the blacks, and in it he who acted the Prince of Wales heartily beat and kicked the ‘Count of Gondomar’ into Hell, which consisted of a great hole and hideous figures; and the white king [drove] the black king and even his queen [into Hell] almost as offensively.

It cannot be pleaded that those who repeat and hear these insults are merely rogues because during these last four days more than 12,000 persons have all heard the play of A Game at Chess, for so they call it, including all the nobility still in London. All these people come out of the theatre so inflamed against Spain that, as a few Catholics have told me who went secretly to the play, my person would not be safe in the streets; others have advised me to keep to my house with a good guard, and this is being done.

Don Carlos Coloma to the Count-Duke of Olivares, 10 August 1624.

Cited in Houston, S J., James I, Second Edition (Longman, 1995), 128-9

London Maps Shakespeare Theatre

Shakespeare in Cripplegate

I’ve been chasing Shakespeare around London in an attempt to trace his various homes from the early 1590s until his retirement in 1613. I thought it might be fun to compare his approximate locations on the map created by Ralph Agas, who surveyed London in the late 16th and early 17th Centuries (c.1570-1605), with current equivalent locations in modern London. What follows are a series of map locations and images related to Shakespeare’s known accommodation during these years.

 

BISHOPSGATE

Firstly, Shakespeare in Bishopsgate. He is known to have been living here in 1596, when he was assessed on goods valued at £5, and subsequently taxed 5 shillings. We don’t know the exact address at which he lived, but he was recorded as being resident in the parish of St Helens.

 

Bishopsgate

 

 

Bishopsgate c.1595

The arrow indicates the church of St Helens.

 

 

Bishopsgate 2012

St Helen’s church today, indicated by the arrow.

 

 SOUTHWARK

By 1599, Shakespeare had left Bishopsgate and moved across the river to Bankside. He is believed to have lodged in the liberty of the Clink in Southwark, just down from the newly-built Globe theatre.

 

Southwark

 

 

Liberty of the Clink c.1599

 

 

Clink 2012

 

 

Bankside before 1599

 

 

Bankside 2012

 

 

The Globe 2012

 

 

CRIPPLEGATE

In 1604, Shakespeare was living with the Mountjoy family on Silver Street, Cripplegate.

 

City of London

 

 

Cripplegate c.1600

The arrow indicates Shakespeare’s lodgings, in the house at the corner of Silver Street and Monkwell Street.

 

 

City of London 2012

The arrow indicates the approximate site of Shakespeare’s Cripplegate lodgings today, on the corner of Noble Street and London Wall.

 

BLACKFRIARS

In March 1613, Shakespeare bought the Blackfriars Gatehouse. It is unclear whether he ever lived in it, but after his death in 1616, it passed to his daughter Susanna:

And also all that tenemente with the appurtenaunces, wherein one John Robinson dwelleth, lying and being, in the Blackfriers in London, nere the Wardrobe. And all my other landes, tenementes, and hereditamentes whatsoever.

 

Blackfriars

 

 

Blackfriars c.1600

The site of the Blackfriars theatre. Shakespeare owned the Gatehouse nearby.

 

 

Blackfriars 2012

 

THEATRES

Finally, I’ve highlighted many of the theatres familiar to Shakespeare’s audiences on the Agas map.

 Left to Right top Row:

1)The Phoeneix/Cockpit, Drury Lane 2) The Red Bull, Clerkenwell 3) The Fortune, Whitecross Street
4) The Curtain, Shoreditch, and above it 5) The Theatre

Left to Right Middle Row:

1) Whitefriars 2) Blackfriars

Left to Right Bottom Row:

1) The Swan 2) The Hope 3) The Rose 4) The Globe

 

 

Source for Shakespeare’s addresses: Charles Nicholl, The Lodger: Shakespeare on Silver Street (Penguin, 2007). Nicholl’s book provides lots of fascinating detail about Shakespeare’s life in Cripplegate.

Explore the Agas map in detail here

Bankside Education Elizabeth Gunpowder Plot London Review Shakespeare Theatre

Staging the World: Review

 

The British Museum is soon to stage a major exhibition on the world of Shakespeare in collaboration with the Royal Shakespeare Company. The exhibition provides an insight ‘into the emerging role of London as a world city, seen through the innovative perspective of Shakespeare’s plays.’ It is part of the World Shakespeare Festival and runs from 19 July – 25 November 2012.

The British Museum Press has released several publications to compliment the exhibition, and kindly sent me review copies. A further book on Shakespeare and Food is forthcoming shortly. The titles I’m reviewing here are Shakespeare: Staging The World, Shakespeare’s Britain, and Angels and Ducats: Shakespeare’s Money and Medals,

First up is the rather splendid ShakespeareStaging The World by Jonathan Bate and Dora Thornton. This is a big beautiful book, which considers the early modern period through the eyes of Shakespeare; its premise being that the things he, his players, and his audience saw, ‘mattered at least as much as what they read in shaping their vision of the world.’ This is cleverly illustrated by the juxtaposition of a stunning collection of early modern objects with Shakespeare’s characters and plays.

To look at a woodcut of a Jewish household in Venice and a sixteenth-century Caribbean wood carving of a spirit imprisoned in a tree and a pack of playing cards in which Cleopatra and Queen Elizabeth appear side-by-side is to be given a new historical and intellectual perspective on the characters of Shylock, Ariel and Cleopatra.

The book not only serves as a catalogue of the objects on display at the exhibition, it features a rich and detailed commentary by the Shakespearean scholar Jonathan Bate, and the exhibition’s curator, Dora Thornton, which in and of itself enriches both existing scholarship, and our knowledge of daily life in early modern England. The book is divided into nine chapters, each of which explores a specific theme and the objects which serve to bring it to life. For example, Chapter One gives an overview of London in 1612; a World City. It provides a narrative of aspects of London life at this time, and considers the theatres as bustling commercial enterprises. One of the most compelling objects featured in this chapter is a surviving turned oak baluster excavated from the site of the Rose theatre. It may have been part of the safety rail around the upper galleries:

 

© The Trustees of The British Museum

 

Subsequent chapters explore Country, County and Custom, Kingship and the English Nation, The Legacy of Rome, Venice Viewed from London, The Noble Moor, The Scottish Play, and the Matter of Britain. Each is illustrated throughout with truly mouth-watering photographs, illustrations, maps, and woodcuts. One of my favourite objects is this Horn-book from the late 1600s, comprising a sheet of printed paper protected by a layer of horn, similar to the one from which Shakespeare himself would have learned his alphabet and Lord’s Prayer while at school:

 

© The Trustees of The British Museum

 

One of the many facts I discovered while reading Staging The World, is that in 1571, a statute was enacted enforcing the wearing of woolly caps by everyone over the age of six on Sundays and holidays. This knitted man’s cap was found in Moorfields, London and dates to the mid-sixteenth century:

 

 © The Trustees of The British Museum

Perhaps my favourite object is this lantern, traditionally associated with Guy Fawkes. It was given to the University of Oxford in 1641 as a memento of the Gunpowder Plot. It’s made from sheet iron and would originally have had a horn window so it could be completely closed to hide the lighted candle within:
 © The Trustees of The British Museum



Shakespeare: Staging The World is more than just a museum catalogue, it’s a stunning collection of early modern objects brought vividly to life by Jonathan Bates and Dora Thornton. I’d endorse it for anyone with an interest in Shakespeare or early modern England. For the Shakespeare scholar it’s a valuable addition to the bookshelf, for the historian it’s a smorgasbord of early modern artifacts. For the general reader it’s a beautifully illustrated and informative guide to the world of Shakespeare. Highly recommended. Shakespeare: Staging The World, Jonathan Bate and Dora Thornton (The British Museum Press: London, 2012) (£25).
*
A smaller, shorter version of Staging The World can be found in Shakespeare’s Britain, also by Jonathan Bate and Dora Thornton. It contains a condensed overview of some of the objects found in Staging The World and has a specific focus on Shakespeare and Britain; a theme which preoccupied the playwright in his later years, and one which was ushered in by James I who longed for a unified kingdom. Perfect for someone who wants to get a flavour of the period, it neatly encapsulates Shakespeare’s Britain with lavish illustrations. I particularly love the cover image, which comes from a watercolour entitled ‘Going to Bankside’ painted by Michael Van Meer in 1619, and depicts some rather fancy-looking people enjoying a trip across the Thames to Bankside, perhaps to see one of Shakespeare’s plays. Shakespeare’s Britain, Jonathan Bate and Dora Thornton (The British Museum Press: London, 2012) (£9.99)
The final book, Angels and Ducats: Shakespeare’s Money and Medals, is a fascinating catalogue of the coins on display at the exhibition. As anyone who’s been forced to admire my Elizabethan sixpence will testify, I do love sixteenth and seventeenth century coins. Not because I have any interest in numismatics, but because they give us pause to wonder just who’s pocket they’ve been in, and as such, they connect us with history in a real and immediate way.
© The Trustees of The British Museum
The above ducat dates from the office of Marino Grimani, Doge of Venice from 1595-1605. Ducats were, in origin, ‘the defining gold coin of Venice, but the term also meant any coin of the same standard and it was widely used and familiar.’
Another coin, perhaps my favourite, is a milled sixpence dated 1562, depicting the profile of Elizabeth I. It’s in much better condition than my own. Milled sixpences were machine-made coins circulated in the early 1560s at the beginning of Elizabeth’s reign. They were treasured at the time, and often used as reckoning-counters.
    © The Trustees of The British Museum

As well as using sixpences as counters, specially-made counters were available for accountants, and a bag or cylinder of counters served as an early modern calculator. The Clown, in The Winter’s Tale, talks of his need for counters before he goes shopping:

I cannot do’t without counters. Let me see, what am I to buy for our sheep-shearing feast? Three pounds of sugar, five pounds of currants, rice – what will this sister of mine do with rice?
(4.3.32-4)

Below is a set of silver counters depicting the Stuart royal family, dating to the 1600s. The accompanying silver box holds all twenty-nine counters.

 

 © The Trustees of The British Museum
Angels and Ducats fulfils a valuable role. It enables us to see for the first time exactly what the coins Shakespeare refers to in his plays actually look like. In this way this book enriches our understanding of both Shakespeare’s work and his life. Angels and Ducats is essential reading for anyone interested in the themes of money and finance on the London stage, but beyond that it is a wonderful introduction to the variety of coins in circulation in early modern England. Angels and Ducats: Shakespeare’s Money and Medals (The British Museum Press: London, 2012) (£9.99).
All three offerings from The British Museum Press are beautifully written and stunningly illustrated. If I had to recommend one, it would be Shakespeare: Staging The World, since it covers all the objects included in the exhibition. However Shakespeare’s Britain is a neat precis of some of the objects on display and Angels and Ducats is unique in its study of specific coins in England during this period. If you’re intending to visit the exhibition then any or all of the books are a great way to familiarise yourself with the history of the objects on display. If you can’t make the exhibition then each of the books serves as charming compensation. But in their own right, all three deserve a place on any bookshelf.
The books can be bought via The British Museum Bookshop online. Tickets for the exhibition Shakespeare: Staging The World can be bought here.
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Curiosities Entertainment Sport Theatre

Delightfully worried to death by dogs

Today’s post comes from guest blogger Simon Leake, who explores the curious and often over-looked early modern bloodsport of Horse Baiting.

There are many surviving eyewitness reports of bull and bear-baiting throughout England from the Middle Ages to the early 19th Century. The baiting of horses however seems to have been much less frequent, or less frequently described. Joseph Strutt, in The Sports and Pastimes of the People of England from the Earliest Period (1801) reproduces this image of “the cruel diversion of baiting a horse with dogs, from a fourteenth century manuscript.”

Strutt’s claim is repeated in several subsequent books on the subject, and even finds its way into Chamber’s The Medieval Stage (1903). In more than one of these later books, the baited animal in the image is given a mane

but closer examination of the manuscript upon which Strutt bases his claim, ‘The Queen Mary Psalter’ (MS Royal 2.VII), reveals that the animal in question is clearly a horned bull (see title image) and not a horse.

When horses appear in the Bear Gardens of 16th Century London, they are usually at the end of the bill, sent into the ring with apes tied to their backs. A report from an attendant to the Duke of Nájera, visiting London in 1544, shows that this entertainment was not without violence:

Into the same place they brought a pony with an ape fastened on its back, and to see the animal kicking amongst the dogs, with the screams of the ape, beholding the curs hanging from the ears and neck of the pony, is very laughable.

On the 23rd of August 1584 the German traveller Lupold von Wedel crossed the river to Southwark to see a bear baiting. After watching three bears fight with dogs, but before the baiting of a bull, “a horse was brought in and chased by the dogs.” The performance ended with dancing, fighting, a shower of bread and apples, and a fireworks display.

During the first half of the 17th Century horses continued to have a secondary role in the bloody business of the bear-garden. In his ‘Bull, Beare, and Horse, Cut, Curtail and Longtail’ (1638) John Taylor, the Water Poet, describes the appearance of the mounted ape on his Bear Garden palfrey:

Where Iack-an-Apes his horse doth swiftly run
His circuit, like the horses of the Sun.
And quicke as lightning, his will trace and track,
Making that endlesse round his Zodiacke,
Which Iacke (his Rider) bravely rides a straddle,
And in his hot Careere perfumes the saddle

It is in Restoration London that we find specific references to the baiting of horses, and these events seem to have caused a degree of anxiety that was absent from the baiting of bears and bulls. In both of the following examples the promoters of the event take pains to emphasise the unnatural viciousness of the animal, perhaps attempting to justify the baiting as a form of execution as much as a sport. On the 17th of August 1667 John Evelyn wrote in his diary:

There was now a very gallant horse to be baited to death with doggs; but he fought them all, so as the fiercest of them could not fasten on him, till they run him through with their swords. This wicked and barbarous sport deserv’d to have ben punish’d in the cruel contrivers to get mony, under pretence that the horse had kill’d a man, which was false. I would not be persuaded to be a spectator.

On the 7th of April 1682 the following advertisement ran in Nathaniel Thomson’s newspaper, The Loyal Protestant and True Domestick Intelligence:

London, April 7. At the house on the Bankside, being his Majesties Bear-garden, on Wednesday the 12th day of this instant April, at one of the clock in the afternoon, will be a Horse baited to death, of a most vast strength and greatness, being between 18 and 19 hands high, formerly belonging to the Earl of Rochester, and for his prodigious qualities in killing and destroying several horses, and other cattel, he was transmitted to the Marquiss of Dorchester; where doing the like mischiefs, and also hurting his keeper, he was sold to a brewer; but is now grown so headstrong they dare not work him; for he hath bitten and wounded so many persons (some having died of their wounds) that there is hardly any can pass the streets for him, though he be fast tied; for he breaks his halter to run after them (though loaden with eight barrels of beer), either biting or treading them down, monstrously tearing their flesh, and eating it, the like whereof hath hardly been seen. And ’tis certain the horse will answer the expectation of all spectators. It is intended for the divertisement of his Excellency the Embassadour from the Emperour of Fez and Morocco; many of the nobility and gentry that knew the horse, and several mischiefs done by him, designing to be present.

The venue for this event was Philip Henslowe and Jacob Meade’s Hope Theatre, which had opened in 1614 on the site of the earlier Bear Garden as a dual-purpose venue. By 1682 the Hope was used exclusively for bloodsports, but this event did not go exactly according to plan and the monstrous, murderous horse almost won a reprieve:

London, April 15. This day, the great Horse mentioned in our last being brought to the Bear-garden, several dogs were set upon him, all which he overcame, to the great satisfaction of all the spectators. But, after a little time, a person resolving to save his life, and preserve him for another time, led him away; and being come almost as far as London bridge, the Mobile then in the house cryed out it was a cheat, and thereupon began to untyle the house, and threatened to pull it quite down, if the Horse were not brought again and baited to death. Whereupon the Horse was again brought to the place, and the dogs once more set upon him; but they not being able to overcome him, he was run through with a sword, and dyed. It was designed principally for the entertainment of his Excellency the Embassadour from the Emperour of Fez and Morocco; but, by reason of bad weather, he was not there.

Soon after the baiting of the Earl of Rochester’s horse the Hope appears to have been abandoned as a venue for bloodsports. A new Bear Garden opened at Hockley-in-the-Hole, Clerkenwell, where animals were baited and men fought until the 1730s:

At the Bear-garden in Hockley in the Hole, near Clerkenwell Green, 1710. This is to give notice to all gentlemen, gamesters, and others, that on this present Monday is a match to be fought by two dogs, one from Newgate-market, against one from Honey-lane market, at a bull, for a guinea to be spent, five let-goes out of hand, which goes fairest and fastest in, wins all. Likewise, a green bull to be baited, which was never baited before; and a bull to be turned loose with fireworks all over him. Also a mad ass to be baited. With a variety of bull-baiting and bear-baiting, and a dog to be drawn up with fireworks. To begin exactly at three of the clock.

A much later reference to horse-baiting, from the notes to Alexander Chalmers 1822 edition of The Tatler shows how attitudes to some bloodsports began to change as the 18th century drew to a close:

…it was advertised in 1785, that a fine horse, brought at great expense from Arabia, would be delightfully worried to death by dogs, in an inclosure near the Adam and Eve, in Tottenham-court-road; and to exclude low company, every admission-ticket was to cost half-a-guinea. But the interposition of the magistrates, who doubted of the innocence, or of the wisdom of training dogs and horses to mutual enmity, put a stop for once to that superfine exhibition.

Simon Leake lives in Seattle with his wife and daughter. He tries to be kind to his cat. You can follow him on Twitter here

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