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3. London theatres

owards the end of the 16^th century, most of the playhouses were removed from the city proper. A typical playhouse of the time was circular, with three galleries running along the walls. Inside, there was a wooden stage with a roof over it, which was supported by two columns, or pillars. The open yard in front of the stage was cobbled and provided standing room for those paying a penny. The stage itself was high, with a skirt of cloth, hanging down to the ground. There used to be several sets of hangings – in different colours for different plays. Black hangings were used for tragedies; comedies, histories or pastoral plays used red, white or green hangings. At the back of the stage there were two doors which led to the ‘tiring house’ where actors changed costumes, or attired themselves. Actors usually wore expensive clothes which they got as gifts or bought at a low price from their patrons. Today, it is called backstage. The doors were large, so that the scenic properties could be easily carried through. An old playhouse inventory lists trees, thrones, tombs, chariots and other things. Actors usually wore expensive clothes which they got as gifts or bought at a low price from their patrons.

Every playhouse had a flag, and if a performance was expected, the flag was hoisted above the theatre. On the previous day, notices advertising the play would have been put up. Plays were not put on for a run, as they are nowadays. Two or three consecutive performances of the same play would be an exception. There were many revivals of the established favourites, but, needless to say, new plays were always a great attraction, and for these the fee was usually doubled. At the end of the 16^th century, there was an entrance fee already.

Theatres or playhouses were usually situated on the southern bank of the Thames. Before and after a play, the Thames boatmen gathered at landings to pick up customers.

The audience entered a playhouse through the main entrance, as a rule, though certain privileged people were admitted through the tiring-house door at the back of the stage. They paid the highest prices to be allowed to sit in the gallery over the stage, or even sometimes – upon the stage itself. According to one contemporary writer, they were often a nuisance, not because they took up too much room, but because by talking and playing cards and showing off their clothes they drew too much attention to themselves. But the ordinary people went in through the main gate and paid a penny which enabled them to go into the yard. It was the cheapest part of the house and the spectators were contemptuously called ‘groundlings’. For another penny, the audience were allowed into the galleries where they either stood or, for a third penny, could sit on a stool. One of the galleries was divided into small compartments that could be used by the wealthy and aristocrats. The sitting capacity of Shakespeare’s famous theatre, The Globe, was about 2500 people. The audience consisted chiefly of men. Women did sometimes go to public playhouses, suitably escorted, but generally it was not considered to be respectable and proper for them to do so.

Before the beginning of a performance, one of the actors would blow the trumpet three times. At the third sounding, the play would begin. After the performance there came the Jig, which was a jolly dance. A German visitor wrote about the Jig: ‘At the end of the play, two or three actors in men’s clothes and two in women’s clothes performed a dance, as is their custom, wonderfully well together.’ This customary after-piece was usually a rhyming farce on some topical theme. After that, the audience would leave. The boatmen ferried people back to the city