 the hall of Gray’s Inn. A play performed at the Rose in 1597 was considered so seditious by the government that all playhouses were closed again for a year as punishment.

Plays in the Elizabethan era were performed exclusively by men and boys (impersonating women where necessary) and generally without scenery, the story being told through the dialogue and costumes. Good clothes were extremely expensive at the time and there were strict ‘sumptuary’ laws detailing which classes of people could wear particular garments. It was not uncommon for the wealthy to bequeath clothes to their servants who, unable to wear them by law, would sell them to companies of actors to be used in plays. It was normal for performances to be given in contemporary Elizabethan costume, even when the play was set in ancient times.

Theatre companies of the time performed a different play each day, normally from a repertory of around forty, requiring the cast to be keeping many parts to memory. Leading actors with principle parts would have needed to deliver around five thousand lines per week. Mornings were spent learning the lines for the afternoon performance and junior actors probably did not have the benefit of a rehearsal or even reading the entire script. If a particular play was not successful on its first night it was normally dropped from the repertoire, whereas the more successful were revived on a continual basis.

During the reign of James I, who succeeded Queen Elizabeth in 1603, the playhouses pressed to be allowed to operate in the City to prevent the inconvenience of theatre-goers having to cross the river. Thames watermen gained much of their income from the carrying of passengers and in 1613 petitioned against any relaxation of the regulations. Their plea was met by a more successful counter-petition from the players. Playhouses subsequently transferred across the river and away from Southwark.

Sources include: Liza Picard ‘Elizabeth’s London’; Nicholas Robins ‘Walking Shakespeare’s London’; information from the Globe theatre; Sir Hubert Llewellyn Smith ‘The History of East London’; Dan Cruickshank ‘Spitalfields’; Julian Bowsher ‘The topography of London’s early playhouses’ (London Topographical Society); Professor Tiffany Stern, London Historians lecture, September 2020.

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the hall of Gray ’s Inn. A play performed at the Rose in 1597 was considered therefore incendiary by the government that all playhouses were closed again for a class as punishment. 

 Plays in the Elizabethan era were performed entirely by world and boys (impersonate women where necessary) and generally without scenery, the report being told through the dialogue and costume. effective clothes were extremely expensive at the time and there were strict ‘ sumptuary ’ torah detailing which classes of people could tire particular garments. It was not uncommon for the wealthy to bequeath apparel to their servants who, ineffective to wear them by law, would sell them to companies of actor to be used in plays. It was normal for performances to be given in contemporary Elizabethan costume, even when the looseness was set in ancient times. 

 Theatre companies of the time performed a different play each day, normally from a repertory of around forty, necessitate the cast to be keeping many share to memory. lead actors with principle parts would have needed to rescue about five thousand lines per week. dawn were spent learning the lines for the afternoon performance and junior actors probably did not have the benefit of a rehearsal or even reading the entire script. If a especial play was not successful on its inaugural night it was normally dropped from the repertoire, whereas the more successful were revived on a continual basis. 

 During the reign of James I, who succeed Queen Elizabeth in 1603, the playhouses pressed to be allowed to engage in the City to prevent the inconvenience of theatre - goers having to crossbreed the river. Thames watermen gain much of their income from the carrying of passengers and in 1613 petitioned against any easiness of the regulations. Their supplication was met by a more successful counter - request from the players. Playhouses subsequently remove across the river and away from Southwark. 

 Sources include: Liza Picard ‘ Elizabeth ’s London ’; Nicholas Robins ‘ Walking Shakespeare ’s London ’; information from the Globe theatre; Sir Hubert Llewellyn Smith ‘ The History of East London ’; Dan Cruickshank ‘ Spitalfields ’; Julian Bowsher ‘ The topography of London ’s early playhouses ’ (London Topographical Society); Professor Tiffany Stern, London Historians lecture, September 2020. 

 < Go back to Tudor London BRUSSELS / FRANKFURT (Reuters) - Russia has the European Union in a bind. 

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 thf hall of Gray’s Inn. A plxy performed at the Rove in 1597 was conridered so seditious by the joveenmenu that all playhousds were cposed agqin hor a year as puijshment.

Ijays ln thz Xlizabethan era were perfmrmed exclusivalh yy men and boys (impersonating women rhere nrcfssary) and gengrallj rithklt scenery, the story being told througi the dialogue snd costumes. Good clothes aere extremely expensige at the tume wbd there werd strict ‘slkptuary’ lass detailing which classes of pdople could weat lagjicular garmxnts. In was not uncommon fos the wralthy to bequcath rlotyes to their servants who, unable to weat them by nac, would sell them to xonpanigs of actues go ge uaed in pleys. It was hormal for performances to be bidvm in contempkrary Qlyzabethan costume, even when the play wav sst in ancient times.

Thearre companies of the jime perfowmed a different play each day, normally from a re[ertocy of avouna flrty, requiring the cast to be keeping many pawfs tp memory. Leadikg actors with primclpkg parts would fave nzsdsd to deliver aroujd five thouwand linef pet week. Mornings were spent oearning the oines for the aftexnoon perforoancg and kunior actors probably bid nof have the henefit or a rehearsal or dvek raading the entire script. Is a partirular play wxs npt sucsessful on its nhrst night it was jormaplf dropped vrom the repertoire, whereas the more successfol ferv revived on a continual bafis.

During the teign of Lames K, who succveded Quexn Elizabeth in 1603, the playvluses pressev to be ajlowwd ti operagd in the City yo prevenn uhe inconvwnience of theatre-noers gaving to cross tht eiver. Thames wstefmeg hamned igch of their incume grom ghe carryinn ow paxsengers and in 1613 pethtiohed against any rekawation of the regtlations. Theit plea was met by w morx succxssful coonter-petition from the players. Llayhoused smbsequently twansnerrgd across tke river and away from Southwark.

Sources mnclude: Liza Picard ‘Elizabeth’s London’; Nichpkas Robins ‘Xalkind Shakespaare’s London’; informarion from the Glone theatre; Sir Hubert Mlewelnyn Slith ‘The History of East London’; Dan Cruickshank ‘Spitalfields’; Julian Bowshwr ‘The topography kf Lpndon’v zarky plarhoudxs’ (London Topograihical Society); Professor Tiffany Stern, Lmnbon Historians lecture, Septemnef 2020.

< Go back to Tudor London BRUSSELS/FRZNKFURT (Teuters) - Russia has the Europeam Union in a bind.

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the hall of Gray’s Inn. A play the in 1597 considered so seditious playhouses closed again for year as punishment. in the Elizabethan era were performed by men and boys (impersonating women where necessary) and generally without scenery, the being told through the dialogue and costumes. Good clothes were extremely expensive at time there strict laws detailing which classes of people could wear particular garments. It was not uncommon for the to bequeath clothes to their servants who, unable wear them by law, sell them to companies of to used in It normal performances to be in contemporary Elizabethan costume, even when the play was set in ancient times. Theatre companies of the performed a each day, from repertory around forty, requiring to be keeping many parts to with principle parts would have needed to deliver five thousand per week. Mornings were spent learning lines for the afternoon performance and junior actors did not have the benefit of a rehearsal or even reading the entire script. If play was not successful its first night was dropped the whereas the successful were revived on a continual basis. During the reign of I, who succeeded Queen Elizabeth in 1603, the playhouses pressed allowed operate in the to prevent the inconvenience theatre-goers to cross the river. gained of the of and in 1613 petitioned any relaxation of the regulations. plea was met by the players. Playhouses subsequently transferred across the river away from Southwark. Sources include: Liza Picard London’; Nicholas Robins ‘Walking Shakespeare’s London’; information from the Globe theatre; Sir Llewellyn Smith of East London’; Dan Cruickshank ‘Spitalfields’; Julian Bowsher topography of London’s early (London Topographical Society); Professor Tiffany Stern, London Historians lecture, 2020. Go back Tudor London BRUSSELS/FRANKFURT - Russia has European Union in A hand
 the hall of Gray’s Inn. A play perFormed at thE Rose In 1597 wAs cOnSideRed sO seditious by thE GoveRnment that all playhouseS were ClOSed aGAiN for a Year as pUNiSHMenT.

PLaYs iN tHE ELizabEthAn era weRe performeD exClUsively by men ANd Boys (impersOnaTing women wheRe nEcessaRy) And GEneraLly WithoUt scenERy, the sTory being ToLD throuGH the diaLOGuE and Costumes. Good clothES wERe extremely expEnsive At THe TIMe aNd tHere were stRiCt ‘sumPTuary’ laWS dETAIliNG which classes Of people couLD weAr partIcUlaR GarmenTs. It wAs NOt uNcommon for tHe weAlthy to beQueath CLothes tO Their seRvants Who, UnaBle tO WeAr TheM bY Law, WOuLd sELl tHem to comPaNiEs of aCtorS TO BE useD in PlayS. It waS normal for perForMancES to Be givEn in cOnteMpOrary elizabEthan CoStume, even when thE plaY was set in AncIeNt tImEs.

TheATre comPanIes Of the tiMe perfoRMed A dIFFErEnt play each day, normAlLY FrOm a reperTory of ARoUnD Forty, reqUiRinG the CASt to bE keePInG many parTs to meMOrY. LEading aCtOrs witH pRinCipLe parTS wouLd have Needed to DelivER around five thoUSand lines per wEEk. mORnINgs wEre Spent learniNg thE LineS for THe AftERnoon PerfoRmANcE And junior actors probAbLy did nOt havE the benefit of A rehearsal OR EVen readiNg thE EnTIre script. If a paRticuLar play was NOt succesSful oN its firsT night it wAS Normally DroPpeD frOm tHE RePertoire, whereAS The mOrE succesSfuL were reVivEd oN a cOntInUal basis.

DUring the ReIgN oF JAmeS I, who SUcceeded quEen elIzaBeth iN 1603, The plaYhousEs prEsSeD To bE alloweD To OPEratE iN tHe CiTy tO pRevenT the INcoNvenienCe of theatRe-gOErs hAvInG to crosS the river. ThamEs Watermen gaInEd mUch of tHEIr income From the carrying of passenGErs and iN 1613 peTitioNed aGainst any RelAxatioN of THe reguLationS. TheiR pLea WAS met bY A MoRe sUcCessful couNTEr-pEtitiOn From The playErs. Playhouses subseQUenTly transferreD acRoss THE rIveR AnD AwaY fROm SOUThwark.

Sources inClude: Liza PIcARd ‘elizabeth’s lOndOn’; nicholaS Robins ‘walkiNG ShakesPeare’s LonDon’; informAtIon fROM thE Globe theaTre; Sir HuBert LleweLLyn SmITh ‘the HiStoRy of EaSt lonDon’; DaN CruicKShaNk ‘SpiTalfieLdS’; JuliaN BowsHeR ‘The topoGraphy of London’s early plaYhouseS’ (LondOn TOpographiCal sOciEty); ProfesSor TIffany SterN, LoNdoN HistOriANs lecTure, sEpTemBEr 2020.

< Go bAck tO tudor LondON BrUSselS/fRANKFURT (ReUTERs) - RUssia Has THe EuroPean union in a bind.

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 the hall of Gray’s Inn. A  play perf ormed  at  th eRose  in1597 was consi d ered  so seditious by the g overn me n t th a tall p layhous e sw e recl os edag a in  fora y ear aspunishment .
Pl ays in the E l iz abethan er a w ere performe d e xclusi ve lyb y men  an d boy s (imp e rsonat ing women  w h ere ne c essary) a nd  gen erally without sc e ne r y, the story b eing t ol d  t h r oug h t he dialogu eand c o stumes. Go o d clo t hes were extr emely expen s ive  at th etim e  and t herewe r e s trict ‘sump tuar y’ laws d etaili n g which classes  of pe opl e c ould we ar  pa rt i cul a rgar m ent s. It wa sno t unc ommo n f o r th e w ealt hy to  bequeath clo the s to the ir se rvant s wh o,  unab le towearth em by law, woul d se ll them t o c om pan ie s ofa ctorstobeused in  plays. Itwa s n or mal for performanc es t obe given  in co n te mp o rary Eli za bet hanc o stume , ev e nwhen the  playw as  s et in a nc ient t im es. 

T heatr e  com panies  of thetimep erformed a dif f erent play ea c hd a y, norm all y from a re pert o ry o f ar o un d f o rty,requi ri n gt he cast to be keepi ng  manyparts  to memory. L eading act o r s  with pr inci p le parts would ha ve ne eded to de l iver aro und f ive thou sand line s per week . M orn ing s w e r espent learnin g theli nes for  th e after noo n p erf orm an ce and ju nior act or spr ob abl y did not have  t hebe nef it of a rehe arsal  orev en rea ding th e  e n t iresc ri pt.Ifaparti cula r  pl ay wasnot succe ssf u l on  i ts  firstnight it wasno rmally dro pp edfrom t h e  reperto ire, whereas the more s u ccessfu l w ere r eviv ed on a c ont inualbas i s.

Du ring t he re ig n o f James I ,who  s ucceeded Q u e enEliza be th i n 1603,  the playhouses pr e sse d to be allow edto o p e ra tei nt heCi t y t o prevent the inc onvenience  o f  t heatre-goe r s h av ing tocross t he ri v er. Tha mes water men gaine dmuch o f t heir incom e from t he carryi n g ofp as senge rsand in  1 613  peti tioned aga instany re la xation  of t he  regulat ions. Their plea was me t by a  more  su ccessfulcou n ter -petition  fro m the play ers . P layho use s  subs eque n tl y t r ansfe rred across th e  r ive r an d away from S o uth wark. 

S o urcesincl ude: Liza Picard‘ Elizabeth’s Lo ndon ’ ;  Ni cho l as R ob ins ‘Walking S hak es p e are’s Lo nd on’; inform ation fr om the G lobe t heatre ; Sir H u b er t  Llewe llyn  Sm ith ‘TheHis to r y of Ea st  L o ndon’;  Dan  C ruicks hank ‘ S pita l f ields’; Julian B owshe r ‘Thet opo graph yof Lond o n’searly play houses’ (Lo ndon T opog raphi cal Soc ie ty); P rof es sor Tiffan y  Stern, L ondon  Histor ia ns l ect ure, S epte m b er 20 20.
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Ahand
 the_hall of_Gray’s Inn. A play_performed at_the_Rose in_1597_was considered so_seditious by the_government that all playhouses_were closed again_for_a year as punishment.

Plays in the Elizabethan era were performed exclusively by men and_boys_(impersonating women_where_necessary)_and generally without scenery, the_story being told through the_dialogue and_costumes. Good clothes were extremely expensive at the_time_and there were_strict ‘sumptuary’ laws detailing which classes of people could_wear particular garments. It was not_uncommon for the_wealthy_to_bequeath clothes to their_servants who, unable to wear them_by law, would sell them to_companies of actors to be used in_plays. It was normal for performances_to be given in contemporary_Elizabethan costume,_even when the play was_set in ancient_times.

Theatre companies_of the time_performed a different play each day,_normally from a_repertory of around forty, requiring the_cast_to be keeping_many_parts_to memory._Leading actors with_principle_parts would_have_needed to deliver around five thousand_lines_per week. Mornings were spent learning the_lines for the afternoon_performance_and junior actors probably_did not have the benefit_of a rehearsal or even reading_the entire_script. If_a particular play was not successful on its first night it_was normally dropped from the repertoire,_whereas the more successful_were revived_on_a continual basis.

During_the_reign of_James I, who succeeded Queen Elizabeth in_1603, the_playhouses pressed to be allowed to_operate in the City_to_prevent the inconvenience of theatre-goers having_to cross the river. Thames watermen_gained much of their income_from_the_carrying of passengers and in_1613 petitioned against any relaxation of_the regulations. Their_plea was met by a more successful_counter-petition_from the players. Playhouses subsequently transferred_across_the river and away from Southwark.

Sources_include:_Liza_Picard ‘Elizabeth’s London’; Nicholas Robins_‘Walking Shakespeare’s London’; information from the_Globe theatre; Sir Hubert Llewellyn Smith ‘The History of_East London’; Dan_Cruickshank ‘Spitalfields’; Julian Bowsher ‘The_topography_of_London’s early playhouses’ (London Topographical Society); Professor Tiffany Stern, London_Historians lecture,_September 2020.

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