THE ADMIRAL’S COMPANY
The Lord Admiral’s Company played an important part in the theatrical annals of the country, disputing inch by inch the formidable rivalry of the Lord Chamberlain’s men. The celebrated Edward Alleyn, by far the most brilliant actor of the early days of theatrical enterprise in Elizabethan times, was the head of the company. His father-in-law, Philip Henslowe, financed the Admiral’s men, and gradually installed himself as the managing director. The Rose Theatre, owned by Henslowe, was chiefly occupied by them when in London, and it is solely owing to the famous Diary kept by him that so many details are known in connexion with this company.
The Admiral’s Servants acted at Court almost every year during Elizabeth’s reign; they likewise toured the provinces, acting in all the most important towns, travelling as far north as York and reaching Dover in their southern circuit. This company is first noticed as early as 1574, when they acted at Court in a play called “The History of Phedrastus and Phigon”; at this period they were under the patronage of Lord Charles Howard, and were known as the Lord Chamberlain’s men, as Lord Howard was acting as Lord Chamberlain during the illness of the Earl of Sussex. After 1577 they again adopted the title of Lord Howard’s Servants. In 1588 Lord Howard was appointed Lord High Admiral, when the actors became the servants of the Lord High Admiral, retaining this position until the death of the Queen. Sometimes we find these players designated as the Earl of Nottingham’s servants, this nobleman receiving the Earldom in 1596; he was closely related by marriage to Lord Hunsdon, having married that nobleman’s daughter.
The first part
Of the true and honorable
historie, of the life of Sir
John Old-castle, the good
Lord Cobham.
As it hath been lately acted by the right honorable the Earle of Notingham Lord high Admirall of England his seruants.
LONDON
Printed by V.S. for Thomas Pauier, and are to be solde at
his shop at the signe of the Catte and Parrots
neere the Exchange.
1600.
(Original Image)
In the early years of this company’s existence a difficulty is experienced in tracing with any degree of certainty their actual playing place. They may have occupied the stages of the Theatre and the Curtain for short periods, but most possible of all, their chief stage was one of the inn-yards of which so little is known, although they played so important a part in early theatrical days. A document exists showing that in 1587 they set up bills in the City every day in the week, “so that when the bells toll for the Lecturer the trumpets sound to the stages to the joy of the wicked faction of Rome.” The first mention of the Lord Admiral’s men in the Diary occurs in Folio 9, under the following entry:
“In the name of God Amen, beginning the 14th of May, 1594, by the Lord Admiral’s men.”
Then follows the entry of three performances, the last taking place on the 16th of May. Another entry is as follows:
“In the name of God Amen, beginning at Newington, my Lord Admiral’s men and my Lord Chamberlain’s men, as followeth 1594.”
The two companies played alternately from the 3rd of June until the 13th, when a line is drawn in the Diary, which indicates that the two-fold engagement was at an end.
The Admiral’s men returned to the Rose and played there from the 13th of June, 1594, and continued until the 25th of June, 1595, opening again on the 25th of August, continuing until the following February, 1596, when a break occurs until the 12th of April of the same year. On and off they acted at this theatre until the year 1600, when Henslowe removed his company to his new theatre in Golden Lane, called the Fortune. At this theatre they acted under various patrons until the place was burnt down in 1621. Alleyn, noting the event in his diary: “Midnight this night, at 12 o’clock, the Fortune was burnt.” The catastrophe is more detailed in a letter from Mr. Chamberlain to Sir Dudley Carleton.
A most pleasant and
merie nevv Comedie,
Intituled,
A Knacke to knowe a Knaue.
Newlie set foorth, as it hath sundrie
tymes bene played by ED. ALLEN
and his Companie.
VVith KEMPS applauded Merrimentes
of the men of Goteham, in receiuing
the King into Goteham.
Imprinted at London by Richard Iones, dwelling
at the signe of the Rose and Crowne, nere
Holborne bridge. 1594.
(Original Image)
Of this Company nothing is known. It may refer to the Lord Admiral’s Company, in which Allen was the chief actor.
The theatre was rebuilt in 1623, when the same company was installed in their new playhouse. Later these comedians are found playing at the theatre in Salisbury Court. According to the title page of Holland’s Leaguer, which it states as having been acted by Prince Charles’ men (a new patron of the Admiral’s) at Salisbury Court Theatre, a list of actors and their parts are prefixed to this play. The reason of their abandoning their own theatre, the Fortune, is not known. They also acted at the Red Bull Theatre, returning to the Fortune in 1640, where they remained until the theatre was closed by Act of Parliament. For clearness’ sake, the reader should remember that this company was known during the reign of Elizabeth as the Lord Admiral’s, but in James’ and Charles’ reigns it was under different patrons:
Until 1597, Admiral’s men, patron Baron Howard.
Until 1603, Nottingham’s men, more often Admiral’s men.
From 1603–1612, Prince’s men, patron Prince Henry, eldest son of James I, died in 1612.
Then the company came under the patronage of Frederick Elector Palatine, who married Elizabeth, daughter of James I, from whom the Hanoverian monarchy is descended. The company remained under the patronage of the Elector, under the name of the Palsgrave’s men, until the birth of Prince Charles, eldest son of Charles I, when they became Prince Charles’ men until the closing of the theatres in 1642.
The list of plays in which the Admiral’s men acted would total several hundreds. Anyone who is desirous of studying the list will find an excellent account of all the plays mentioned in Mr. W. Greg’s edition of Henslowe’s Diary. As I have stated elsewhere, and repeat again with pleasure, no writer of the theatrical history of the Elizabethan period is better equipped with all the necessary scholarship than the industrious and marvellously learned editor of the Diary.