The day originally set apart for theatrical exhibition appears to have been
Sunday; probably because the first dramatic pieces were of a religious cast. During a
great part of Queen Elizabeth's reign, the playhouses were only licensed to be open on
that day:[63] but before the end of her reign, or soon after, this abuse was probably
removed.
The usual time of acting was early in the afternoon,[64] plays being generally
performed by day-light.[65] All female parts were performed by men, no English
actress being ever seen on the public stage[66] before the Civil Wars.
Lastly, with regard to the playhouse furniture and ornaments, a writer of King
Charles the Second's time,[67] who well remembered the preceding age, assures us,
that in general "they had no other scenes nor decorations of the stage, but only old
tapestry, and the stage strewed with rushes, with habits accordingly."[68] Yet Coryate
thought our theatrical exhibitions, &c. splendid, when compared with what he saw
abroad. Speaking of the theatre for comedies at Venice, he says, "The house is very
beggarly and base in comparison of our stately playhouses in England: neyther can
their actors compare with ours for Apparrell, Shewes, and Musicke. Here I observed
certaine things that I never saw before: for, I saw Women act, a thing that I never saw
before, though I have heard that it hath been sometimes used in London: and they
performed it with as good a grace, action, gesture, and whatsoever convenient for a
Player, as ever I saw any masculine actor."[69]
It ought however to be observed, that, amid such a multitude of playhouses as
subsisted in the metropolis before the civil wars, there must have been a great
difference between their several accommodations, ornaments, and prices; and that
some would be much more showy than others, though probably all were much inferior
in splendour to the two great theatres after the Restoration.
***The preceding Essay, although some of the materials are new arranged, hathreceived no alteration deserving notice, from what it was in the second Edition, 1767,
except in Section IV. which in the present impression hath been much enlarged.
This is mentioned, because, since it was first published, the history of the
English stage hath been copiously handled by Mr. Tho. Warton in his "History of
English Poetry, 1774, &c." 3 vols. 4to. (wherein is inserted whatever in these volumes
fell in with his subject); and by Edmond Malone, esq. who, in his "Historical Account
of the English Stage," (Shakesp. vol. i. pt. ii. 1790), hath added greatly to our
knowledge of the oeconomy and usages of our ancient theatres.
NOTES
- Bp. Warburton'sShakesp. vol. v. p. 338.-- Pref. to Dodsley'sOld Plays.--
Riccoboni'sAcct. of Theat. of Europe, &c. &c. These were all the Author had seen
when he first drew up this Essay. - See Ben Jonson'sPoetaster, act iii. sc. 4, and his Masque ofThe Fortunate Isles.
Whalley's Edit. vol. ii. p. 49, vol. vi. p. 190. - Howleglass is said in the Preface to have died in M.CCCC.L. At the end of the
book, in M.CCC.L.
4.C. Emprunted... by William Copland: without date, in 4to. bl.let. among Mr.
Garrick'sOld Plays, K. vol. X.