On these Court and University performances large sums of money were spent. It may be assumed therefore that considerable attention was paid to the mounting and staging of a play. Possibly painted scenery and even the luxury of a completely curtained-off stage were provided. Every advantageous adjunct to the dramatist's art known in that day would be at the service of Lyly. But it was otherwise with Marlowe and those who wrote for the public stage. It is this last which we must consider.
In Exeter at least, and possibly in other towns, a playhouse was built long before such a thing was known in the vicinity of London. We shall probably be right, however, in judging the major portion of the country by its metropolis and assuming that, until 1572 or thereabouts, actors and audiences had to manage without buildings specially designed for their purpose. Very probably the old 'pageants' (or 'pagonds') were refurbished and brought to light when the need arose; and in this case the actors would have the spectators in a circle around them. Inn-yards, however—those of that day were constructed with galleries along three sides—proved to be more convenient for the audience, inasmuch as the galleries provided comfortable seats above the rabble for those who cared to pay for them. The stage was then erected either in the midst or at the fourth side, projecting out into the yard. In such surroundings the popular Morality-Interludes and Interludes proper were performed.
In the midst of the wide popularity of the drama arose Puritanism, full of condemnation. Keeping our attention upon London as the centre of things, we see this new enemy waging a fierce battle with the supporters of the stage. The latter included the Queen and her Privy Council; the former found spokesmen in the mayor and City Fathers. Between Privy Council and Corporation there could be no compromise, for the Corporation insisted that within its jurisdiction dramatic performances should be entirely suppressed. The yearly outbreaks of the plague, with its weekly death-roll of thirty, forty, fifty, periodically compelled the summer performances to cease, and lent themselves as a powerful argument against packed gatherings of dirty and clean, infected and uninfected, together. At last one of the leading companies, fearing that time would bring victory to the Puritans and to themselves extinction, decided to solve the difficulty by migration beyond the jurisdiction of the mayor. Accordingly, about the year 1572, 'The Theatre' was built outside the city boundary and occupied by Leicester's company. Not long afterwards other companies followed suit, and 'The Curtains' and 'Newington Butts' were erected. After that many other theatres rose. In 1599 was built the famous Globe Theatre in which most of Shakespeare's plays were represented. But the three earlier theatres (and perhaps 'The Rose') were probably all that Marlowe ever knew.
What we know of the Elizabethan theatre is based on information concerning the Globe, Fortune and Swan Theatres. From this a certain clear conception—not agreed upon, however, in all points by critics—may be deduced with regard to the earlier ones. They were round or hexagonal in shape. The stage was placed with its back to the wall and projected well into the centre. The spectators were gathered about its three sides, the poor folk standing in the area and crushing right up to it, the rich folk occupying seats in the galleries that formed the horse-shoe round the area. A roof covered the galleries but not the rest of the building—the first completely roofed theatre was probably not built before 1596. Performances took place between two and five o'clock in the afternoon. The title of the piece was posted outside; a flag flying from a turret informed playgoers in the city that a performance was about to take place, and the sound of a trumpet announced the commencement of the play. An orchestra was in attendance, not so much to enliven the intervals—for they were few and brief—as to lend its aid to the effect of certain scenes, in exactly the same way as it is used to-day.
Of the stage itself little can be said positively, nor are surmises about the Swan or Globe stage necessarily applicable to its predecessors. But the following description will serve as a fair conjecture. It was divided into two parts, a front and back stage, separated by a curtain. By this device the back scene could be prepared while the front stage was occupied, or two scenes could be presented together, as in Friar Bacon and Friar Bungay, or a second scene could be added to the main one, as occurs when Rasni, in A Looking-Glass for London and England, 'draws the curtains' and reveals Remilia struck with lightning. There was no curtain before the front stage. At the rear of the back stage was a fixed structure like the outside of a house with doors and an upper balcony. The doors led into the dressing rooms, and through them, as through the curtain if the front stage only were in use, the exits and entrances were made. The balcony was used in many ways familiar to us in Shakespeare's works; when, in the Second Part of Tamburlaine, the Governor of Babylon enters 'upon the walls' we recognize that he is on the balcony. A roof extended over the whole or part of the stage to protect the actors from rain; but it was also made use of as a hiding-place from which angels or goddesses could descend. In Alphonsus, King of Arragon Venus's exit is managed thus: 'If you can conveniently, let a chair come down from the top of the stage and draw her up.' The stage floor was fitted with a trap-door; through it Queen Elinor, in Edward the First, disappears and re-appears; through it 'a flame of fire' appears and 'Radagon is swallowed', in A Looking-Glass for London and England.
As far as can be gathered from records, there was no great attempt to preserve, in the actor's dresses, the local colouring of the play. Nevertheless various easy and obviously required concessions would be made. Kings and queens would dress magnificently, mechanics and serving-men humbly. In Orlando Furioso we read that Orlando is to enter 'attired as a madman' and that Marsilius and Mandricard are to appear 'like Palmers'; in Alphonsus, King of Arragon 'Calchas rises up in a white surplice and a cardinal's mitre', and in Edward the First Longshanks figures 'in Friar's weeds'. The list could be continued. It is practically certain that there was no painted scenery, the absence of which would greatly facilitate the expeditious passage from scene to scene. Stage properties, however, were probably a valuable part of the theatrical belongings. If we glance over the stage-directions in the plays of Greene, Peele, Kyd and Marlowe, we come upon such visible objects as a throne, a bower, a bed, a table, a tomb, a litter, a cage, a chariot, a hearse, a tree; more elaborate would be Alphonsus's canopy with a king's head at each of three corners, Bungay's dragon shooting fire, Remilia's 'globe seated in a ship', the 'hand from out a cloud with a burning sword' (A Looking-Glass), and the Brazen Head casting out flakes of fire (Alphonsus).
Considering Marlowe's plays in the light of this information we shall be obliged to admit that they stood a good chance of having very fair justice done to them. The points in which the staging differed from our modern methods were in favour of greater realism. Daylight is more truthful than foot-lights are; and if there was any poverty in the setting, so much the more was attention centred upon the actors, who are declared, by the authors themselves, to have attained a high level of excellence. Fame has not yet forgotten the names of Burbage and Alleyn.