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173:. On Farrant's death in 1580, Hunnis took on John Newman as a partner and they subleased the property from Farrant's widow, putting up a £100 bond on the promise to promptly pay the rent and to make needed repairs. But the venture did not go well financially, which put Farrant's widow in jeopardy of defaulting on the rent to More. In November 1583, Farrant brought suit against Hunnis and Newman for default on the bond. To escape a suit by her or More, Hunnis and Newman transferred their sublease to
498:, is a re-creation of a Jacobean theatre based on what is known of the original Blackfriars. Completed at a cost of $ 3.7 million, the 300-seat theatre opened in September 2001. Architect Tom McLaughlin based the design on plans for other 17th-century theatres, his own trips to England to view surviving halls of the period, Shakespeare's stage directions and other research and consultation. The lighting imitates that of the original Blackfriars.
357:) that, although failures in their first production, marked the first significant appearance of these two dramatists, whose work would profoundly affect early Stuart drama. The new plays of all these playwrights deliberately pushed the accepted boundaries of personal and social satire, of violence on stage, and of sexual frankness. These plays appear to have attracted members of a higher social class than was the norm at the
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After renovations, the King's Men began using the theatre for performances in 1609. Thereafter the King's Men played in
Blackfriars for the seven months in winter, and at the Globe during the summer. Blackfriars appears to have brought in a little over twice the revenue of the Globe; the shareholders
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of the former priory and rooms below. This large space, perhaps 100 feet (30 m) long and 50 wide (15 metres), with high ceilings allowed
Burbage to construct two galleries, substantially increasing potential attendance. The nature of Burbage's modifications to his purchase is not clear, and the
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was produced first at
Blackfriars on Shrove Tuesday and then at court on 3 March, with Lyly listed as the payee for both Court appearances. In November 1583, Hunnis, still Master of the Chapel Children, successfully petitioned the Queen to increase the stipend to house, feed, and clothe the company.
265:. There were at least two and possibly three galleries, and perhaps a number of stage boxes adjacent to the stage. Estimates of its capacity have varied from below 600 to almost 1000, depending on the number of galleries and boxes. Perhaps as many as ten spectators would have encumbered the stage.
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from More in order to stage plays. As often in the theatrical practice of the time, this commercial enterprise was justified by the convenient fiction of royal necessity; Farrant claimed to need the space for his child choristers to practice plays for the Queen, but he also staged plays for paying
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The
Blackfriars playhouse was also the source of other innovations which would profoundly change the nature of English commercial staging: it was among the first commercial theatrical enterprises to rely on artificial lighting, and it featured music between acts, a practice which the induction to
566:, and the theatre has an ornately painted ceiling. The seating capacity is 340, with benches in a pit and two horse-shoe galleries, placing the audience close to the actors. Shutters around the first gallery admit artificial daylight. When the shutters are closed, lighting is provided by
337:. Chapman and Jonson wrote almost exclusively for Blackfriars in this period, while Marston began with Paul's but switched to Blackfriars, in which he appears to have been a sharer, by around 1605. In the latter half of the decade, the company at Blackfriars premiered plays by
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within London proper. The black robes worn by members of this order lent the neighbourhood, and theatres, their name. In the pre-Reformation Tudor years, the site was used not only for religious but also for political functions, such as the annulment trial of
551:. They nevertheless represent the earliest known plan for an English theatre, and are thought to approximate the layout of the Blackfriars Theatre. Some features believed to be typical of earlier in the 17th century were added to the new theatre's design.
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While it housed this company, Blackfriars was the site of an explosion of innovative drama and staging. Together with its competitor, Paul's
Children, the Blackfriars company produced plays by a number of the most talented young dramatists of
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and theatrical affectionado. This unauthorised assignment of the sublease gave More an excuse to bring suit to retake possession of the property, but Evans used legal delays and finally escaped legal action by selling the sublease to
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many contemporary references to the theatre do not offer a precise picture of its design. Once fitted for playing, the space may have been about 69 feet (21 m) long and 46 feet (14 m) wide (20 by 14 metres), including
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to forbid playing there. Referring to "divers both honorable and others then inhabiting the said precinct" and "what inconveniences were likely to fall upon them from a common playhouse" the letter was signed even by
301:, which combined the choristers of the chapel with other boys, many taken up from local grammar schools under colour of Giles's warrant to provide entertainment for the Queen. The dubious legality of these dramatic
396:) took possession of the theatre, which they still owned, this time without objections from the neighbourhood. There were originally seven sharers in the reorganised theatre: Richard Burbage, William Shakespeare,
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in the gallery, rising in stages to three shillings for a seat in a box close to the stage); both these factors limited attendance at the theatre to a fairly select group of well-to-do gentry and nobles.
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to "little eyasses" suggests that even the adult companies felt threatened by them. By the later half of that decade, the fashion had changed somewhat. In 1608, Burbage's company (by this time, the
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in 1596, which included the
Parliament Chamber on the upper floor that was converted into the playhouse. The Children of the Chapel played in the theatre beginning in the autumn of 1600 until the
547:. The shell was built to accommodate a theatre as specified by the drawings, and the planned name was the Inigo Jones Theatre. In 2005, the drawings were dated to 1660 and attributed to
68:, and who from 1576 to 1584 staged plays in the vast hall of the former monastery. The second theatre dates from the purchase of the upper part of the priory and another building by
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audiences. The theatre was small, perhaps 46 feet (14 m) long and 25 feet (7.6 m) wide, and admission, compared to public theatres, expensive (six
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539:" of the Blackfriars Theatre. As no reliable plans of the Blackfriars are known, the plan for the new theatre was based on drawings found in the 1960s at
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132:. Cawarden used part of the monastery as Revels offices; other parts he sold or leased to the neighbourhood's wealthy residents, including
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and Thomas Evans, agent for the theatre manager Henry Evans. This arrangement of shareholders (or "housekeepers) was similar to how the
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313:. The residents did not protest at this use, probably because of perceived social differences between the adult and child companies.
218:(June) of 1584, thereby ending the First Blackfriars Playhouse after eight years and postponing the performance of Lyly's third play,
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for a cheap seat) probably excluded the poorer patrons of the amphitheatres. Prefaces and internal references speak of gallants and
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289:. The company was absolutely forbidden to perform there. Three years later, Richard Burbage was able to lease the property to
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led to a challenge from a father in 1600; however, this method brought the company some of its most famous actors, including
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men, who came not only to see a play but also, of course, to be seen; the private theatres sold seats on the stage itself.
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described the
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was operated. Sly, however, died soon after the arrangement was made, and his share was divided among the other six.
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In the years around the turn of the century, the children's companies were something of a phenomenon; a reference in
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297:, Hunnis's successor at the Chapel Royal. They used the theatre for a commercial enterprise with a group called the
201:, composed of the Children of the Chapel and the Children of Paul's, and turned his talents to play writing. Lyly's
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876:
Menzer, Paul (2006). "Afterword: Discovery Spaces? Research at the Globe and
Blackfriars". In Menzer, Paul (ed.).
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of monastic property, the monastery became the property of the crown; control of the property was granted to
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which, some eight decades later, would be reenacted in the same room by
Shakespeare's company. After Henry's
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The
Evolution of the English Drama up to Shakespeare With a History of the First Blackfriars Theatre
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The second Blackfriars was an indoor theatre built elsewhere on the property at the instigation of
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Stern, Tiffany (2006). "Actors and Audiences on the Stage at Blackfriars". In Menzer, Paul (ed.).
1007:"All the world's a stage (or two): Shakespeare's Globe to be joined by a candlelit indoor theatre"
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As Burbage built, however, a petition from the residents of the wealthy neighbourhood and led by
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was performed at Blackfriars and subsequently at Court on New Year's Day 1584; likewise, his
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As proprietor of the playhouse, Lyly installed Evans as the manager of the new company of
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535:, London, in the 1990s, the shell for an indoor theatre was built next door, to house a "
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could earn as much as £13 from a single performance, apart from what went to the actors.
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Conjectural reconstruction of the second Blackfriars Theatre from contemporary documents.
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For his playing company, Farrant combined his Windsor children with the Children of the
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was in the Blackfriars audience. On 13 May 1634 she and her attendants saw a play by
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article from The Map of Early Modern London project at The University of Victoria
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More finally obtained a legal judgement voiding the original lease at the end of
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Theatre Map of early modern London. Blackfriars Theatre is to the south-west of
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Digitised Posters and Flyers from the Second BlackFriars Theatre, held by the
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took over in 1608. They successfully used it as their winter playhouse until
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140:. After Cawarden's death in 1559, the property was sold by Lady Cawarden to
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976:"Shakespeare's Globe Announces Plans to Build an Indoor Jacobean Theatre"
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in January 2014. Designed by Jon Greenfield, in collaboration with
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190:(November) of 1583, who then gave it to his secretary, the writer
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was the name given to two separate theatres located in the former
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825:(2005 ed.). London: Weidenfeld and Nicolson. p. 137.
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Completed at a cost of £7.5 million, the theatre opened as the
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880:. Cranberry NJ: Associated University Presses. p. 223.
590:(1959), a modern theatre built on, or near the original site
1395:
Shakespeare's Blackfriars Playhouse: Its History and Design
1201:
The Privileged Playgoers of Shakespeare's London, 1576–1642
959:
Shakespeare in the Theatre: The American Shakespeare Center
96:
Blackfriars Theatre was built on the grounds of the former
1250:"London's Blackfriars Playhouse and the Chamberlain's Men"
1122:"The Duchess of Malfi, Sam Wanamaker Playhouse, review"
1034:"Innovation in the theatre: Old spaces and new globes"
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began. In 1666, the entire area was destroyed in the
1555:
Former buildings and structures in the City of London
981:(Press release). Shakespeare's Globe. 20 January 2011
705:. London: Routledge and Kegan Paul. pp. 15–16.
687:, apparently a collaboration between Shakespeare and
285:, the Blackfriars printer and hometown neighbour of
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Shakespeare's Globe and the Sam Wanamaker Playhouse
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Inside Shakespeare: Essays on the Blackfriars Stage
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Inside Shakespeare: Essays on the Blackfriars Stage
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Inside Shakespeare: Essays on the Blackfriars Stage
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Inside Shakespeare: Essays on the Blackfriars Stage
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443:and they attended a third performance in May 1636.
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1416:. Susquehanna University Press. pp. 35–53.
1256:. Susquehanna University Press. pp. 17–30.
1068:"The Duchess of Malfi (Sam Wanamaker Playhouse)"
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1286:. Susquehanna University Press. pp. 7–16.
903:"There's much ado about the Bard in Virginia"
256:. In 1596, Burbage purchased, for £600, the
52:. The first theatre began as a venue for the
1362:(online ed.). Oxford University Press.
1322:(online ed.). Oxford University Press.
1226:(2nd ed.). Cambridge University Press.
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961:. London: Bloomsbury Arden Shakespeare.
450:, and was demolished on 6 August 1655.
446:The theatre closed at the onset of the
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931:Lebovich, William (14 November 2001).
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184:Edward de Vere, 17th Earl of Oxford
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1575:1650s disestablishments in England
1223:The Shakespearean Stage, 1574–1642
1094:"Sam Wanamaker Playhouse – review"
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1444:Wallace, Charles William (1912).
1182:. Oxford at the Clarendon Press.
823:Shakespeare The Poet in His World
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1092:Moore, Rowan (12 January 2014).
1005:Williams, Holly (22 June 2013).
344:The Knight of the Burning Pestle
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1180:The Complete Works of John Lyly
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901:Klein, Michael (14 July 2002).
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788:. William Collins. p. 29.
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1205:. Princeton University Press.
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1397:. New York University Press.
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578:and even held by the actors.
1383:UK public library membership
1350:Robison, William B. (2008).
1343:UK public library membership
54:Children of the Chapel Royal
7:
1489:East London Theatre Archive
1197:Cook, Ann Jennalie (1981).
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469:American Shakespeare Center
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1590:Theatres completed in 1596
1585:Theatres completed in 1576
911:Philadelphia Media Network
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152:leased part of the former
1560:Former theatres in London
1493:University of East London
1477:The Blackfriars Playhouse
1439:: Shakespeare Head Press.
1282:. In Menzer, Paul (ed.).
1252:. In Menzer, Paul (ed.).
1178:Bond, R. Warwick (1902).
784:Laoutaris, Chris (2023).
691:, probably dates to 1613.
541:Worcester College, Oxford
27:, which is left of centre
1499:Shakespearean Playhouses
1310:"Lyly, John (1554–1606)"
703:Jacobean private theatre
701:Sturgess, Keith (1987).
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354:The Faithful Shepherdess
1504:Joseph Quincy Adams Jr.
1450:. Berlin: George Reimer
1388:(subscription required)
607:Menzer & Cohen 2006
556:Sam Wanamaker Playhouse
527:Sam Wanamaker Playhouse
512:Sam Wanamaker Playhouse
502:Sam Wanamaker Playhouse
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1580:17th century in London
1570:1655 disestablishments
1368:10.1093/ref:odnb/37270
1328:10.1093/ref:odnb/17251
1308:Hunter, G. K. (2004).
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254:Lord Chamberlain's Men
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1479:in Staunton, Virginia
1393:Smith, Irwin (1964).
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659:"Blackfriars Theatre"
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1169:: CS1 maint: year (
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740:Bond, III, p. 310.
564:musicians' gallery
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1404:978-0-8147-0391-5
1381:(Subscription or
1341:(Subscription or
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1159:. EBSCOhost. n.d.
1157:Britannica Online
937:Architecture Week
863:Halliday, p. 235.
819:Bradbrook, Muriel
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663:Britannica Online
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