Even if this inhibition was shortly raised, the Whitefriars organization was not much better off, for in July the plague set in with unusual violence, and acting was seriously if not wholly interrupted for the next twelve months and more. As a result, the profits from the theatre did not come up to the "fair and false flattering speeches" which at the outset Barry had made to prospective investors, and this led to bad feeling among the sharers.

The company at Blackfriars, of course, was suffering in a similar way. On August 8, 1608, their playhouse was surrendered to the owner, Richard Burbage, and the Children being thus left without a home were dispersed. Early in 1609, probably in February, Robert Keysar (the manager of the Blackfriars troupe), Philip Rosseter, and others secured the lease of the Whitefriars Playhouse from Drayton and the rest of the discontented sharers, and reassembled there the Children of Blackfriars. What became of the Whitefriars troupe we do not know; but it is highly likely that the new organization took over the better actors from Drayton's company. At any rate, we do not hear again of the Children of His Majesty's Revels.

When Keysar and this new troupe of child-actors moved into Whitefriars, Slaiter and his family of ten were expelled from the building. This led to a lawsuit, and explains much in the legal documents printed by Greenstreet. Slaiter complained with no little feeling that he had been "riotously, willfully, violently, and unlawfully, contrary to the said articles and pretended agreement [by which he had been not only engaged as a manager, but also guaranteed a home for the period of "all the term of years in the lease">[, put and kept out of his said rooms of habitation for him, this defendant, and his family, and all other his means of livelihood, thereby leaving this defendant and his whole family, being ten in number, to the world to seek for bread and other means to live by."[530]

The new Whitefriars troupe acted five plays at Court during the winter of 1609-10. Payments therefor were made to Robert Keysar, and the company was referred to merely as "The Children of the Whitefriars." But on January 4, 1610, the company secured a royal patent authorizing the use of the title "The Children of the Queen's Revels."[531] The patent was granted to Robert Daborne, Philip Rosseter, John Tarbock, Richard Jones, and Robert Browne; but Keysar, though not named in the grant, was still one of the important sharers.[532]

The troupe well deserved the patronage of the Queen. Keysar described the Blackfriars Children whom he had reorganized as "a company of the most expert and skillful actors within the realm of England, to the number of eighteen or twenty persons, all or most of them, trained up in that service in the reign of the late Queen Elizabeth for ten years together."[533] And to these, as I have pointed out, it seems likely that the best members of the bankrupt Children of His Majesty's Revels had been added. The chief actor of the new organization was Nathaniel Field, whose histrionic ability placed him beside Edward Alleyn and Richard Burbage. One of the first plays he was called upon to act in his new theatre was Jonson's brilliant comedy, Epicœne, in which he took the leading rôle.

THE SITES OF THE WHITEFRIARS AND THE SALISBURY COURT PLAYHOUSES

The Whitefriars Playhouse was just north of "K. 46"; the Salisbury Court Playhouse was just south of the court of that name. (From Ogilby and Morgan's Map of London, 1677.)

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The idea then occurred to Rosseter to secure a monopoly on child-acting and on private playhouses. The Children of His Majesty's Revels had ceased to exist. The Blackfriars Playhouse had been closed by royal command, and its lease had been surrendered to its owner, Richard Burbage. The only rival to the Children at Whitefriars was the troupe of Paul's Boys acting in their singing-school behind the Cathedral. How Rosseter attempted to buy them off is thus recorded by Richard Burbage and John Heminges: