The Globe plays confirm the presence of at least two entrance doors at some distance from each other. On several occasions there is need for two characters to enter simultaneously from separate entrances and after some conversation come together. For the existence of a third entry the Globe plays offer no conclusive proof. No stage direction specifying an entry from a middle door, such as can be found in non-Globe plays, appears. However, certain scenes do suggest the use of a third entrance. In Macbeth (V, vii) Malcolm, who has presumably come through one door (A), is invited into the castle of Dunsinane by Siward. At his exit (through B presumably) Macbeth enters. Either he can come from the door (A) through which Malcolm entered, which is dramatically unconvincing, or from the door (B) of Dunsinane, which is awkward, or from a third entrance, evidence for which is not conclusive. Still, another sort of evidence does occur, which supports the idea of a third entry. In all cases, save one, where simultaneous entrances take place, the stage direction either reads “Enter A at one door, and enter B at another” or “at another door” or “Enter A and B severally,” or “at several doors.” In all the Globe plays, Shakespearean and non-Shakespearean, there are twenty-two instances of such stage directions.[6] The only exception is Pericles (IV, iv), “Enter Pericles at one doore, with all his trayne, Cleon and Dioniza at the other. Cleon shewes Pericles the tombe, whereat, Pericles makes lamentatton [sic].” The explanation for the article, “the” other door, if a third did exist, may be that the third entry was used to display the tomb. The presence of a word such as “another” in all other stage directions implies that when one door was used, more than one other entrance remained, and that, therefore, a third mode of entry was regularly employed on the Globe stage.
Regarding the position of the main entrance doors on either side of the stage, the Globe plays are equally unhelpful. Authority for oblique doors partly facing each other rests on three items of evidence that have been set forth. (1) The phrase “Enter A and B at opposite doors,” which appears in some of the Jacobean plays, proves, according to W. J. Lawrence, that the doors faced each other.[7] (2) Certain plays need facing doors in the action.[8] (3) The historical development of the playhouses explains the genesis of the oblique doors.[9] Concerning the first item, I need only point out that in no stage direction in the Globe plays does the phrase “at opposite doors” appear. Nor does it appear in any pre-Globe Shakespearean play. The second item invites subjective judgment. Lawrence insists that the last scene of The Merry Devil of Edmonton, a Globe play, could not be played unless the doors were oblique. However, cross-observation in that scene concerns the exchange of signs over the doors to two inns in Waltham.
Sir Arthur. Mine host, mine host, we lay all night at
the George in Waltham, but whether the
George be your fee-simple or no, tis a doubtfull
question, looke upon your signe.
Host. Body of Saint George, this is mine overthwart
neighbour hath done this to seduce
my blind customers.
[Sig. F2r]