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A child with the surname "Keane" (no
Christian name recorded) was baptized on 2 March 1589; this might have been the actor/goldsmith. In 1602, Cane began a ten-year apprenticeship to his older brother Richard, who had finished his own apprenticeship and established himself as a goldsmith in 1600. The
129:
A number of figures in
English Renaissance drama maintained formal membership in the guilds of London; this allowed them to bind apprentices to contracts, something that actors, as retainers in noble households, could not legally do under the system of the time. Most of these men kept only a formal
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kept his membership in the bricklayers' guild, but didn't lay bricks. Andrew Cane, however, was one of a number of actors who pursued a career beyond the stage; he was a member of the goldsmiths' guild and an active goldsmith. He crossed his two careers without hesitation, turning his goldsmithing
189:, Cane was an active supporter of the Royalist cause. By 1644, goldsmith Cane was coining the Royalists' debased coinage; he may have had to spend time in prison as a result. Cane did not abandon acting permanently, however. On 22 January 1650, he was one of eight performers arrested at the
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and the home of many theatre people) state that a foundling child called Hester, "her parents unknown," was christened on 18 April 1628; she is noted as having been "taken up" at Andrew Cane's "stall," his place of business.
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had fulfilled. Like other clowns in this function, Cane used the opportunity of a solo turn on the stage to develop a satiric rapport with his audience. He excelled at the task, and was said to possess "the tongue of
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and a group of actors, one of whom was Cane. Wintershall had married
Gunnell's daughter Margaret in the early 1640s, and so was drawn into the matter. The outcome of the suit in not known.
143:. The 14-year-old Arthur Savill was apprenticed to Cane the goldsmith on 5 August 1631 — and before the end of the year he was playing Quartilla, one of the female roles in
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and manager Robert Keysar — came from or maintained membership in the goldsmiths' guild. Evidence of their activity as goldsmiths, however, is lacking.)
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The date of Cane's death is also unknown. His son Edward and grandson Andrew continued Cane's trade — not as actors, but goldsmiths.
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took notice; in 1639 the
Council ordered the Attorney General to address the matter of Cane satirizing politicians from the stage of the
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London. In his own generation he was a leading comedian and dancer, and one of the famous and popular performers of his time.
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The same production featured, in the role of
Millicent, the 17-year-old John Wright, who'd become a Cane apprentice in 1629.
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and his wife, over a thirty-year-old debt of £40. The debt stemmed from a 1624 agreement between theater manager
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Cane's stage career was not limited by the official scrutiny. His fame led to non-theatrical expressions: in
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younger Cane won his "freedom" in the goldsmiths' guild in 1611. Cane married and began a family in 1612.
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One of his jobs was dancing the jig that concluded each performance, a traditional task that clowns from
300:
David
Kathman, "Grocers, Goldsmiths, and Drapers: Freemen and Apprentices in the Elizabethan Theater,"
278:, Vol. 1, Jane Milling and Peter Thomson, eds., Cambridge, Cambridge University Press, 2004; p. 150-1.
121:, exchanging witticisms on the issues of the day, and talking up the worth and value of playacting.
230:, Vol. 16, John Pitcher, ed., Madison, NJ, Fairleigh Dickinson University Press, 2003; pp. 130-42.
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John H. Astington, "The Career of Andrew Cane, Citizen, Goldsmith, and Player," in
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Wit's
Pilgrimage: Drama and the Social Impact of Education in Early Modern England
261:
S. P. Cerasano, "Must the Devil Appear?: Audiences, Actors, Stage
Business," in:
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Jane
Milling, "The development of a professional theatre, 1540–1660," in:
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maintained his membership in the grocers' guild, but didn't peddle groceries;
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82:(II) troupe, and received their payments for their performances at Court.
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106:(though the surviving records do not specify the outcome of the matter).
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98:." By the late 1630s, his political satire had grown so sharp that the
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329:, "Records of Players in the Parish of St. Giles, Cripplegate,"
78:(at the Fortune). After 1631 he was a "chiefe" member of the
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After the theatres were closed in 1642 at the start of the
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was printed, which portrays Cane and another famous clown,
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Cane's stage career had begun by 1622, when he moved from
333:
Vol. 44 No. 3 (September 1929), pp. 789-826; see p. 797.
45:, and other variants — was a comic actor in late
265:, Arthur Kinney, ed., London, Blackwell, 2002; p. 199.
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In 1654 Cane became involved in a lawsuit with actor
157:(Other theatre figures of the time — actors
193:, for play-acting against the regulations of the
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168:The records of the parish of St. Giles without
331:Papers of the Modern Language Association,
228:Medieval and Renaissance Drama in England
276:The Cambridge History of British Theatre
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304:Vol. 55 No. 1 (Spring 2004), pp. 1-49.
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19:For those of a similar name, see
363:17th-century English male actors
291:, London, Ashgate, 2000; p. 103.
263:A Companion to Renaissance Drama
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317:London, Routledge, 1992; p. 31.
250:The Jacobean and Caroline Stage
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358:English male stage actors
315:Jacobean Public Theatre,
74:(at the Cockpit) to the
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302:Shakespeare Quarterly
172:(which was near the
80:Prince Charles's Men
72:Lady Elizabeth's Men
16:English comic actor
313:Alexander Leggatt,
202:William Wintershall
287:Darryll Grantley,
239:Astington, p. 132.
145:Shackerley Marmion
130:guild membership:
113:a pamphlet titled
187:English Civil War
174:Fortune Playhouse
150:Holland's Leaguer
139:apprentices into
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170:Cripplegate
27:Andrew Cane
21:Andrew Kane
352:Categories
215:References
163:John Lowin
141:boy actors
136:Ben Jonson
91:John Shank
57:Beginnings
181:Aftermath
125:Goldsmith
197:regime.
47:Jacobean
96:Mercury
43:Keine
35:Kayne
161:and
111:1641
49:and
39:Kene
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31:fl.
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29:(
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