The site is indicated by Red Bull Yard. (From Ogilby and Morgan's Map of London, 1677.)

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In or before 1605[486] Holland erected on this plot of ground "a playhouse for acting and setting forth plays, comedies, and tragedies." We may suspect that he did this at the instigation of the Earl of Worcester's Men, who had just been taken under the patronage of the Queen, and had been selected by the Privy Council as one of three companies to be "allowed." The warrant of the Privy Council, April 9, 1604, orders the Lord Mayor to "permit and suffer the three companies of players to the King, Queen, and Prince publickly to exercise their plays in their several and usual houses for that purpose, and no other, viz. the Globe, situate in Maiden Lane on the Bankside in the county of Surrey, the Fortune in Golding Lane, and the Curtain, in Holywell."[487] Among these three companies, as Dekker tells us, there was much rivalry.[488] No doubt the Queen's Men, forced to occupy the old Curtain Playhouse, suffered by comparison with the King's Men at the handsome Globe, and the Prince's Men at the new and magnificent Fortune; and this, I suspect, furnished the immediate cause for the erection of the Red Bull. In a draft of a license to the Queen's Men, made late in 1603 or early in 1604, the fact is disclosed that the actors, of whom Thomas Greene was the leader, were contemplating a new playhouse. The company was licensed to use any "playhouse not used by others, by the said Thomas Greene elected, or by him hereafter to be built."[489] Whether or no Greene and his fellows had some understanding with Holland, we cannot say. But in 1605 we find Holland disposing of one share in the new playhouse to Thomas Swynnerton, a member of Queen Anne's Troupe; and he may at the same time have disposed of other shares to other members, for his transaction with Swynnerton comes to our notice only through a subsequent lawsuit. The words used in the documents connected with the suit clearly suggest that the playhouse was completed at the time of the purchase. From the fact that Holland granted "a seventh part of the said playhouse and galleries, with a gatherer's place thereto belonging or appertaining, unto the said Thomas Swynnerton for diverse years,"[490] it appears that the ownership of the playhouse had been divided into seven shares, some of which, according to custom, may have been subdivided into half-shares.

The name of the playhouse, as in the case of the Rose and the Curtain, was taken from the name of the estate on which it was erected. Of the building we have no pictorial representation; the picture in Kirkman's The Wits (1672), so often reproduced by scholars as "The Interior of the Red Bull," has nothing whatever to do with that building. The Kirkman picture shows a small enclosed room, with a narrow stage illuminated by chandeliers and footlights; the Red Bull, on the contrary, was a large, open-air building, with its stage illuminated by the sun. It is thus described in Wright's Historia Histrionica (1699): "The Globe, Fortune, and Bull were large houses, and lay partly open to the weather."[491] Before its door was displayed a sign on which was painted a red bull; hence the playhouse is sometimes referred to simply as "at the sign of the Red Bull."

The building, as I have indicated, seems to have been completed in or before 1605; but exactly when the Queen's Men moved thither from the Curtain is not clear. The patent issued to the company on April 15, 1609, gives them license to play "within their now usual houses, called the Red Bull in Clerkenwell, and the Curtain in Holywell."[492] Since they would hardly make use of two big public playhouses at the same time, we might suspect that they were then arranging for the transfer. Moreover, Heath, in his Epigrams, printed in 1610 but probably written a year or two earlier, refers to the three important public playhouses of the day as the Globe, the Fortune, and the Curtain. Yet, that the Queen's Men were playing regularly at the Red Bull in 1609 is clear from Dekker's Raven's Almanack,[493] and they may have been playing there at intervals after 1605.

Dekker, in the pamphlet just mentioned, predicted "a deadly war" between the Globe, the Fortune, and the Red Bull. And he had good reasons for believing that the Queen's Men could successfully compete with the two other companies, for it numbered among its players some of the best actors of the day. The leader of the troupe was Thomas Greene, now chiefly known for the amusing comedy named, after him, Greene's Tu Quoque, but then known to all Londoners as the cleverest comedian since Tarleton and Kempe:

Scat. Yes, faith, brother, if it please you; let's go see a play at the Globe.

But. I care not; any whither, so the clown have a part; for, i' faith, I am nobody without a fool.

Gera. Why, then, we'll go to the Red Bull; they say Green's a good clown.[494]

The chief playwright for the troupe was the learned and industrious Thomas Heywood, who, like Shakespeare, was also an actor and full sharer in his company. Charles Lamb, who was an ardent admirer of Heywood's plays, enthusiastically styled him "a prose Shakespeare"; and Wordsworth, with hardly less enthusiasm, declared him to have been "a great man."