Prince Charles's Men did not remain long at the Curtain. At some date between June 10 and August 19, 1623, they moved to the larger and more handsome Red Bull.[145] After this, so far as I can discover, there is no evidence to connect the playhouse with dramatic performances. Malone, who presumably bases his statements on the now lost records of Herbert, says that shortly after the accession of King Charles I it "seems to have been used only by prize-fighters."[146]
The last mention of the Curtain is found in the Middlesex County Records under the date February 21, 1627.[147] It is merely a passing reference to "the common shoare near the Curtain playhouse," yet it is significant as indicating that the building was then still standing. What ultimately became of it we do not know. For a time, however, its memory survived in Curtain Court (see page [79]), and to-day its fame is perpetuated in Curtain Road.
CHAPTER V
THE FIRST BLACKFRIARS
THE choir boys of the Chapel Royal, of Windsor, and of Paul's were all engaged in presenting dramatic entertainments before Queen Elizabeth. Each organization expected to be called upon one or more times a year—at Christmas, New Year's, and other like occasions—to furnish recreation to Her Majesty; and in return for its efforts each received a liberal "reward" in money. Richard Farrant, Master of the Windsor Chapel, was especially active in devising plays for the Queen's entertainment. But having a large family, he was poor in spite of his regular salary and the occasional "rewards" he received for the performances of his Boys at Court; and doubtless he often cast about in his mind for some way in which to increase his meagre income.
In the spring of 1576 James Burbage, having conceived the idea of a building devoted solely to plays, had leased a plot of ground for the purpose, and had begun the erection of the Theatre. By the autumn, no doubt, the building was nearing completion, if, indeed, it was not actually open to the public; and the experiment, we may suppose, was exciting much interest in the dramatic circles of London. It seems to have set Farrant to thinking. The professional actors, he observed, had one important advantage over the child actors: not only could they present their plays before the Queen and receive the usual court reward, but in addition they could present their plays before the public and thus reap a second and richer harvest. Since the child actors had, as a rule, more excellent plays than the professional troupes, and were better equipped with properties and costumes, and since they expended just as much energy in devising plays and in memorizing and rehearsing their parts, Farrant saw no reason why they, too, should not be allowed to perform before the public. This, he thought, might be done under the guise of rehearsals for the Court. Possibly the Queen might even wink at regular performances before the general public when she understood that this would train the Boys to be more skilful actors, would provide Her Majesty with more numerous and possibly more excellent plays, and would enable the Master and his assistants to live in greater comfort without affecting the royal purse.
BLACKFRIARS MONASTERY