During the four years of quarrelling and bickering, the widow Farrant sold the lease to Hunnis, a celebrated Master of the Children of the Chapel, who continued training the children and producing plays. The other company, the Children of Windsor, ceased playing there two years before the death of Farrant. Hunnis, after two years’ ownership, was so much harassed by the proprietor, that he, in his turn, leased the theatre to Henry Evans, who took over the management. This new arrangement lasted but for a brief period, for in the same year Evans disposed of the lease to the Earl of Oxford, who placed here his company of boy actors. But eventually the Earl made a present of the lease to Lyly, the poet and dramatist, who managed the theatre until 1584, when an order of the Court awarded the premises to Sir William More. This ends the history of the first Blackfriars Theatre.
The second Blackfriars Theatre dates from the year 1596. James Burbage, the father of Richard Burbage, purchased from Sir William More, for £600, the buildings that lay between the office on the north and Lord Hunsdon’s mansion on the south. After the purchase of the property he immediately remodelled these rooms, making them suitable for a theatre.
James Burbage died in 1597, and his sons leased the second Blackfriars Theatre to Henry Evans, in conjunction with Nathaniel Gyles, who succeeded Hunnis as Master in 1597. The Children of the Chapel occupied the stage, acting plays written by all the celebrated dramatists of the period, with the exception of Shakespeare, whose plays are not mentioned as acted by the Children. Most critics, including Professor Wallace himself, contend that Shakespeare acted in this theatre. There does not exist an item of evidence in support of this theory, beyond a statement made by Burbage’s sons many years after Shakespeare’s death, that Richard Burbage installed Shakespeare at this theatre, but in what capacity is nowhere mentioned; and I doubt very much if Shakespeare ever set foot upon the stage, in spite of the above statement. No authentic views of this theatre are known; Professor Baker gives an illustration of the exterior of this theatre, but its authenticity is not beyond doubt. The second Blackfriars Theatre was situated in a different part of the building from the first. When Burbage purchased the property, several rooms on the south side were converted into one large hall, measuring 66 by 46 feet. The room on the north side was formerly the home of the boy actors, under Farrant. The Blackfriars was a private playhouse, the word “private” denoting that the theatre was roofed and performances were given at night time, or on account of the theatre being within the liberties of the City, the proprietor safeguarded himself by this designation in order to comply with the Act of Common Council; one clause of which exempted from penalties any private dwelling house exhibiting Enterludes, Comedies and Tragedies. The charges were somewhat higher than those in force at the public theatres. At this theatre, stools were allowed upon the stage, Although called a private theatre, anyone by paying the higher price was allowed admittance.
WHITEFRIARS THEATRE
There is some slight evidence that a stage for acting existed in the vicinity of Whitefriars as early as 1574. Richard Rawlidge, in his tract already referred to, enumerates, among other playhouses in the year 1576, “one in Whitefriars.” Fleay mentions that this is the only reference to the old Whitefriars playhouse until 1610. Professor Lawrence is again at variance with the usual authorities: he would assign the opening of the new Whitefriars, circa 1608. According to a burial register of St. Dunstan’s Parish, Whitefriars, in September 29th, 1607, which records the following interment: “Gerry out of the playhouse in the Friars buried.” Another entry is: “We present one playhouse in the same precinct, not fitting these to be now tolerable.”
THE
INSATIATE
Countesse.
A
TRAGEDIE:
Acted at VVhite-Fryers.