THE EARL OF SUSSEX’ COMPANY
This company had for their patrons successive Earls of Sussex. The first Earl was Thomas Radclyffe, who held the appointment of Lord Chamberlain, consequently we find his players frequently acting at Court. Thomas Radclyffe was succeeded by his son Henry, and on his death, in 1593, Robert Radclyffe became Earl of Sussex. All research in locating this company in London in its early days has hitherto been fruitless.
A
PLEASANT
CONCEYTED COMEDIE
of George a Greene, the Pinner
of VVakefield.
As it Was sundry times acted by the seruants of the right Honourable the Earle of Sussex.
Imprinted at London by Simon Stafford,
for Cuthbert Burby: And are to be sold at his shop
neere the Royall Exchange. 1599.
(Original Image)
The first record connecting this company with a London theatre then, under the patronage of Robert Radclyffe, is found in Henslowe’s Diary, 1594: “In the name of God Amen, beginning the 27th of December, 1593, the Earl of Sussex his men.”
They acted without intermission until the 23rd of January, between the last date and the sixth of February; but only five performances are placed to their credit. The next entry in the Diary occurs at Easter: “In the name of God Amen, beginning at Easter, 1593. The Queen’s men and my Lord of Sussex together.”
The two companies gave in all eight performances, acting on alternate days. Three out of the eight performances can be traced to the Sussex men, as on these occasions they acted in plays which are recorded in their first appearance at the Rose, namely, “The Jew of Malta” and the “Fair Maid of Italy.”
It must be borne in mind that the Easter holidays following Christmas were both notified as occurring in the same year. The reason being that in Elizabeth’s time, and long after, the ordinary year commenced on the 25th of March. Although the legal year commenced on the first of January. Even the names of the months in use to-day, such as September, October, November, December, are a reminiscence of this style of reckoning, the above months bearing in Latin their English equivalents of seventh, eighth, ninth, and tenth.
THE
VVEAKEST
goeth to the VVall.
As it hath bene sundry times plaide by the right honourable Earle of Oxenford, Lord great Chamberlaine of England his seruants.
LONDON
Printed by Thomas Creede, for Richard
Oliue, dwelling in Long Lane.
1600.
(Original Image)
One item of great interest attaches to the performance of the Sussex men at the Rose Theatre, namely, the first performance of “Titus Andronicus,” presented by this company. The following is the exact entry:
ne. R7 at titus & ondronicus the 23 of Januarye 1593 X 11s.
The letters “n e” have been clearly identified as meaning “new.” The question in debate is whether the play is the Shakesperean one or an older production.
After leaving the Rose in April, 1594, this company is not heard of again in London; their name appears in no document until 1602, when they acted at Coventry, they are last mentioned in 1615. During the years 1602–15 the company visited the provinces. It is especially noticeable regarding these London Companies that the documentary evidence is of the very slightest, and when not recorded in Henslowe’s Diary they cease having any separate existence. My own firm belief is that original research would reveal many valuable details connected with the dramatic history of London, and would well repay a young student in devoting his time to unravelling the mystery of these companies of actors who, at present, seem to flit here and there for a moment, and then vanish into thin air.