In 1649 the interior of the building was sacked, if we may trust the manuscript note entered in the Phillipps copy of Stow's Annals (1631): "The playhouse in Salisbury Court, in Fleet Street, was pulled down by a company of soldiers set on by the sectaries of these sad times, on Saturday the 24 day of March, 1649. The Phœnix, in Drury Lane, was pulled down also this day, being Saturday the 24 day of March, 1649, by the same soldiers."[615] In the passage quoted, "pulled-down" merely means that the stage and its equipment, and possibly a part of the galleries and the seats, were wrecked, not that the walls of the building itself were thrown down.
In 1656 Sir William Davenant undertook to create a form of dramatic entertainment which would be tolerated by the authorities. The Lord Protector was known to be a lover of music. Sir William, therefore, applied for permission to give operatic entertainments, "after the manner of the antients," the "story sung in recitative music," and the representation made "by the art of perspective in scenes." To such entertainments, he thought, no one could object. He was wise enough to give his first performances at Rutland House; but in 1658 he moved to the Cockpit, where, says Aubrey, "were acted very well, stylo recitativo, Sir Francis Drake and The Siege of Rhodes (1st and 2d parts). It did affect the eye and ear extremely. This first brought scenes in fashion in England; before at plays was only a hanging." Thus the Cockpit had the distinction of being the first English playhouse in which scenery was employed, and, one should add, the first English home of the opera.[616]
Later in the same year, 1658, Davenant exhibited at the Cockpit The Cruelty of the Spaniards in Peru; but this performance excited the suspicion of the authorities, who on December 23 sent for "the poet and the actors" to explain "by what authority the same is exposed to public view."[617]
"In the year 1659," writes John Downes in his Roscius Anglicanus, "General Monk marching then his army out of Scotland to London, Mr. Rhodes, a bookseller, being wardrobe-keeper formerly (as I am informed) to King Charles the First's company of commedians in Blackfriars, getting a license from the then governing state,[618] fitted up a house then for acting, called the Cockpit, in Drury Lane, and in a short time completed his company." If this statement is correct, the time must have been early in the year 1659-60, and the company must have attempted at first to play without a proper license. From the Middlesex County Records (iii, 282), we learn that one of their important actors, Thomas Lilleston, was held under bond for having performed "a public stage-play this present 4th of February [1659-60] in the Cockpit in Drury Lane in the parish of St. Giles-in-the-Fields, contrary to the law in that case made"; and in the Parish Book[619] of St. Giles we find the entry: "1659. Received of Isack Smith, which he received at the Cockpit playhouse of several offenders, by order of the justices, £3 8s. 6d." Shortly after this, it is to be presumed, the company under Rhodes's management secured the "license of the then governing state" mentioned by Downes, and continued thereafter without interruption. The star of this company was Betterton, whose splendid acting at once captivated London. Pepys went often to the theatre, and has left us some interesting notes of his experiences there. On August 18, 1660, he writes:
Captain Ferrers, my Lord's Cornet, comes to us, who after dinner took me and Creed to the Cockpit play, the first that I have had time to see since my coming from sea, The Loyall Subject, where one Kinaston, a boy, acted the Duke's sister, but made the loveliest lady that ever I saw in my life, only her voice not very good.
Again on October 11, 1660, he writes:
Here in the Park we met with Mr. Salisbury, who took Mr. Creed and me to the Cockpit to see The Moor of Venice, which was well done. Burt acted the Moor, by the same token a very pretty lady that sat by me called out to see Desdemona smothered.
The subsequent history of the Cockpit falls outside the scope of the present treatise. The reader who desires to trace the part the building played in the Restoration would do well to consult the numerous documents printed by Malone from the Herbert Manuscript.[620]