For almost forty years The Shakespearean Stage has been considered the liveliest, most reliable and most entertaining overview of Shakespearean theatre in its own time. It is the only authoritative book that describes all the main features of the original staging of Shakespearean drama in one volume: the acting companies and their practices, the playhouses, the staging and the audiences. Thoroughly revised and updated, this fourth edition contains fresh materials about how specific plays by Shakespeare were first staged, and provides new information about the companies that staged them and their playhouses. The book incorporates everything that has been discovered in recent years about the early modern stage, including the archaeology of the Rose and the Globe. Also included is an invaluable appendix, listing all the plays known to have been performed at particular playhouses and by specific companies.

This book is the first history of the professional acting companies who brought drama to London in William Shakespeare’s time. The book provides a general history of company development from the 1560s, when the first of the major companies belonging to great lords began regularly to offer their plays at court and in London, to 1642, when by Act of Parliament they were closed down. Only in London were the playing companies able to secure purpose-built premises (such as The Globe or The Fortune), and to foster a thriving theatrical and literary culture. This was in direct contrast to much of the rest of England, which was overtly hostile to professional theatre. In the second part of the book, there are detailed and fascinating accounts of each of the forty companies that played in London during the period, including Shakespeare’s company, The Chamberlain’s/King’s Men. Although professional playing was very much a collective endeavour, remarkable individuals emerge — from impresarios such as Philip Henslowe, Christopher Beeston, Richard Gunnell, and Richard Heton, to stars like Richard Burbage and Edward Alleyn. Thoroughly grounding its discussion in the highly mobile social and political historical context, the book focuses on the plays themselves and the distinctive repertory traditions that led the different companies to stage them. These companies, and the growth of the London theatrical culture, are the factors which helped produce Shakespeare and to put into practice Shakespearian conceptions of drama.

No abstract

No abstract

One of the features of the growth of playing in London in the late 1580s shows itself in the size of casts needed for some of the new plays composed around 1590. The history plays in particular laid exceptional demands on the numbers in the companies playing in London. Presumably this was one result of the foothold for performing to large audiences that the new amphitheatres had given the players. But it raises many questions about the organization of the companies. Did they enlarge the companies for the occasion with hired men, using casual if stagestruck labour hanging around the playhouses, or did they take on extra sharers? There is no evidence that this happened. The number of sharers in the leading companies, apart from the uniquely-large Queen's Men, who were allotted twelve players in 1583 but split into two in about 1590, when most of the companies had eight or ten players. Which came first, the larger companies or the larger plays? Did different companies join forces to stage them? Did they, after performance in London, take these large plays on tour? The conventional assumption about that, based largely on the evidence of the ‘bad’ and shortened quarto texts of the early plays, is that the ‘large’ plays were cut down to the ‘bad’ quarto size to allow the plays to be taken on tour. So were the large plays written only for London audiences? The writing of plays for large casts was a short-lived phenomenon, starting at the end of the 1580s and dying by 1594. What changed the conditions in that year? I believe we can address these questions most sharply by considering one of theatre history's more intriguing chimeras, the so-called ‘amalgamated company’ that is thought to have occupied Henslowe's Rose through the early 1590s.