They had, however, one obvious disadvantage; their long, narrow shape made a large number of the seats and a large proportion of the spaces available for standing room distinctly bad places from which to see what was happening on the stage. To remedy this defect, the builders of the theaters took a suggestion from the bull-baiting and bear-baiting rings. These rings, of which a considerable number already existed in the outskirts of London, had been built for fights between dogs and bulls or bears, sports vastly enjoyed by the Elizabethans. The rings, like the innyards, had galleries in which spectators could sit and an open yard in which they could stand, and they possessed the added merit of being round. Very possibly these rings, like the Cornish rings used for miracle plays, originated in the stone amphitheaters built by the Romans during their occupation of Britain, buildings occasionally used, even in the sixteenth century, for the performance of plays. It is hardly necessary, nevertheless, to look farther than the bear ring to find the cause which determined the shape of the Elizabethan public theater.
The History of the Public Theaters.—With such models, then, James Burbage—the father of Richard Burbage, later the great actor manager of Shakespeare's company—built the first London theater in 1576. It was erected not far outside the northern walls of the city, and was called simply the Theater. Not far away, a second theater, the Curtain, was soon put up, so called not from any curtain on the stage, but from the name of the estate on which it was built. The next theater, the Rose, was situated in another quarter, on the Surrey side of the Thames, where the bear-baiting rings were. This was constructed, probably in 1587, by Philip Henslowe, a prominent theatrical manager. Some time after 1594, a second theater, the Swan, was put up in this same region, commonly called the Bankside. The suitability of the Bankside as a location for theaters is still further attested by the removal thither of the Theater in the winter of 1598-1599. The owner of the land on which the Theater had originally been built had merely leased it to Burbage—who had since died,—and, when the lease expired, he attempted to raise the rent, probably believing that the Burbage heirs were receiving large profits from the building. Being unwilling to pay this increased rent, the Burbages took down the building, and reërected it on the Bankside, this time calling it the Globe. The last to be built of the great public theaters was the Fortune, which Henslowe erected in 1600. The situation of the Fortune outside Cripplegate, although a considerable distance west of the Curtain, was, roughly, that of the earlier theaters, the northern suburbs of the city.
This list does not include all the theaters built or altered between 1576 and 1600, nor did such building stop at the latter date,—the Globe, for instance, was burnt and again rebuilt in 1613,—but the sketch is complete enough for our purposes. By the end of 1600 all the more important public theaters were open, and after that date, so far as we know, no important changes in construction were made. The next real step—which was to do away altogether with this type of theater—did not come until after the Restoration.
The Buildings.—Before describing the buildings themselves, it is necessary to make one qualification. It is impossible to speak of the 'Elizabethan theaters' or of the 'Elizabethan stage' as if there were one type to which all theaters and stages conformed. The Fortune was undoubtedly a great improvement over the Theater, the outcome of an evolution which could be traced through the other theaters if we had the necessary documents. If the various theaters did not differ from each other as some of our modern theaters do, they still did differ in important points. For example, while the Globe and the Curtain were round, other theaters were hexagonal or octagonal, and the Fortune was square. Likewise, there were certainly differences in size. In spite of these facts, it is, however, still possible to describe the theaters, in general terms which are sufficiently accurate for our present purpose.
An Elizabethan theater was a three-story building of wooden or half-timber construction. The three stories formed three galleries for spectators. The first of these was raised a little above the level of the ground, while the yard, or 'pit,' in which the lower class of spectators stood, seems to have been somewhat sunken. The galleries were supported by oaken columns, often handsomely carved and ornamented. They were roofed and ceiled, but the yard was open to the weather. Although we know that the Fortune was eighty feet square outside, and that the yard within was fifty-five feet square, we are left in uncertainty about the seating capacity. From fifteen hundred to eighteen hundred is, however, the most convincing estimate. There were two boxes, or 'gentlemen's rooms,' presumably in the first balcony on either side of the stage. Besides these, there were other, cheaper boxes, and the rest of the balcony space was filled with seats. The better seats were most comfortably cushioned, and the whole theater anything but the bare rude place which people often imagine it. Coryat, a widely traveled Englishman of the period, writes of the theaters which he saw in Venice that they were "bare and beggarly in comparison of our stately playhouses in England; neither can their actors compare with us for stately apparel, shows, or music." That this was no mere British prejudice is shown by the similar statements of foreigners traveling in England.
The most striking difference between Elizabethan and modern theaters was in the position of the stage, which was not back of a great proscenium frame, but was built out as a platform into the middle of the yard. At the Fortune, the stage was forty-three feet wide,—wider, that is, than most modern stages.[[2]] Jutting out from the level of the top gallery, and extending perhaps ten feet over the stage, was a square structure called the 'hut,' which rose above the level of the outside walls. Built out from the bottom of this, a roof, or 'shadow,' extended forward over a large part of the stage. The front of this 'shadow' was borne, in the better theaters, on two columns. The shadow and the hut, taken together, are often referred to as the 'heavens.'
The Stage.—When we turn from these general features of the theaters to the stage, we shall find it convenient to speak of a front and a rear stage, but this does not imply any permanent line of demarcation between the two, or that they were not often used together as a single field of action. The rear stage is simply that part of the stage which could be shut off from the spectators by curtains; the other, that part which lay in front of the curtains. In other words, the front stage is that portion of the stage which was built out into the yard, for the curtains continued the line made around the rest of the house by the front of the galleries. In both front and rear stages were traps out of which ghosts or apparitions could rise and into which such properties as the caldron in Macbeth could sink. From the 'heavens,' actors representing gods or spirits—as Jupiter in Cymbeline or Ariel in The Tempest—could be lowered by means of a mechanical contrivance.
