The names of several of these London inn-yards are well known, both from contemporary literature and documentary records; unfortunately little information can be gleaned of their connection with the drama. These resorts were fairly well suited for stage plays. The fore part of the yard corresponded to the pit of a modern provincial theatre, with the exception that standing room only was provided. The galleries that surrounded the yard accommodated the better class of spectators, probably a space at the back of the stage supplied the needs of a dressing room. How the play was produced, the manner in which the scenes were indicated, the number of stage properties used and other details connected with the drama are questions that cannot be satisfactorily answered; the historian in search of full information on these subjects seeks in vain. However much we may deplore the loss of written documents elucidating this period of our early drama, we possess proof that the acting companies of the Earl of Leicester, Lord Strange, the Admiral’s and other noblemen’s companies frequently gave performances in these places. Although Southwark, the pleasure seeking resort of Londoners, was plentifully supplied with inn-yards, many becoming quite famous, namely, The Tabard, White Hart, Cross Keys, George, and several others, there exists no record or reference that any company of actors set up their stage in any one of those taverns named above. As already stated, little is known of the conditions under which theatrical companies acted in those impromptu places of entertainment.
In connection with these taverns one great difficulty arises of a rather perplexing nature, namely, how was the money collected during one of these performances? Devoid of any reliable information, every reader who is interested in the question must work out a theory for himself, relying on his own conclusion for the solution. My own particular theory is that, whenever the players announced a performance they hired the premises for the afternoon, with the right of charging admission for anyone entering the yard or the rooms in the gallery surrounding the building. As these last could be entered through the inn proper, money takers were stationed at the door or doors of all the private entrances and also at the place where the general public entered. In confirmation of the above, an account of a quarrel may be quoted from Halliwell-Phillipps’s “Illustrations to Shakespeare”: “Whilst the Queen’s players were performing at Norwich a man named Wynsdon endeavoured to gain admission without payment. An altercation ensued, during which the money box was upset. The disturbance had a tragic sequel, so far as regards the originator of the quarrel, as he received a sword thrust from one of his pursuers, from which he succumbed.” The above written testimony proves that some kind of system existed, whereby money could be taken at the doors before gaining admission. The entire subject of plays produced at inn-yards requires special treatment by a trained Shakesperean scholar. The subject is a difficult one, necessitating patient research, exact knowledge of sixteenth century theatrical customs and much leisure, but finally the student will be amply rewarded by the interest and fascination which the theme evokes. Printed matter has been ransacked in the hope of throwing light on the subject, but with poor results. Original research among the MSS. of the British Museum and the documents stored at the Record Office must be henceforth the order of the day. Considering so little is known in connection with this interesting subject, reference to similar theatrical conditions in Spain during the Elizabethan period may interest the reader. In Madrid plays were performed in a corral, which, in Spanish, signifies a courtyard of a private house, corresponding in England to our inn-yard. The stage was erected at the back of the yard, in all cases being a movable one, the majority of the audience viewing the performance standing in the court-yard. From the windows of the surrounding houses the better class of spectators watched the play. The entire building was open to the sky, fine weather being absolutely necessary for a continuous performance.
Two years before a permanent theatre was erected in London, these “corrals” were partly roofed, besides providing seats and benches. An awning was thrown across to protect the spectators in the unroofed courtyard from the glare of the sun. From these facts it will be noted that from 1574–1576 theatrical performances were given in Madrid under better conditions than those of any other country. Regular organized theatres did not exist in France, Italy, Russia, or any other European city except England and Spain until the beginning of the seventeenth century. Although for a short period Spanish playgoers were provided with more comforts than any other known theatre, the honour of erecting the first organized theatre in Europe must be awarded to English enterprise.
The chief taverns with inn-yards in which the different companies of actors pitched their tents are seven in number, although several others, whose names are unrecorded, were similarly used for the same purpose. The seven known are “The Bull,” in Bishopsgate Street; “The Bull,” “Cross Keys,” and “The Bell,” in Gracechurch Street; “The Belle Savage” on Ludgate Hill; “The Boar’s Head,” in Eastcheap, and “The Boar’s Head” in Aldgate Without. “The Bell” was situated in Gracechurch Street. A reference to this inn is mentioned in the Revel’s Account: “A well counterfeit from ‘The Bell’ in Gracious Street.” This and two others are the only known references to this tavern being used as a playhouse. Even this quotation is rather vague. Probably “the well” refers to a play called “Cutwell,” which was performed at Court during Shrovetide, 1577, by the Earl of Warwick’s company, the actors having previously appeared at “The Bell” in the same piece.
Reproduced by kind permission from Professor G. P. Baker’s The Development of Shakespeare as a Dramatist, The Macmillan Company, New York, 1907.
A Stage Play in progress at an inn-yard.
Reproduced by kind permission of Professor G. P. Baker.
A typical inn-yard in Elizabethan times used by the players for the acting of their plays.