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75-484: The Rose was built in 1587 by Philip Henslowe and by a tanner from Bletchingley named John Cholmley. It was the first purpose-built playhouse to ever stage a production of any of Shakespeare's plays. The theatre was built on a messuage called the "Little Rose," which Henslowe had leased from the parish of St. Saviour, Southwark in 1585. The Rose was the first of several theatres to be situated in Bankside, Southwark near

150-606: A Hamlet , a Henry VI, Part 1 , a Henry V , a Taming of the Shrew and a Titus Andronicus are mentioned in the diary with no author listed. Most of these plays were recorded when the Admiral's Men and the Lord Chamberlain's Men briefly joined forces when the playhouses were closed owing to the plague (June 1594). In 1599, Henslowe paid Dekker and Henry Chettle for a play called Troilus and Cressida , which

225-622: A brothel . In 1587, Henslowe and John Cholmley built The Rose , the third of the large, permanent playhouses in London, and the first in Bankside . From 1591, Henslowe partnered with the Admiral's Men after that company split with The Theatre 's James Burbage over the division of receipts. Edward Alleyn , the Admiral's' lead actor, married Henslowe's stepdaughter Joan in 1592, and they worked in partnership. In 1598 Burbage's company (by then,

300-539: A brothel . North of London, professional playhouses like the Curtain Theatre and The Theatre had already been open for over a decade. However, Henslowe recognized the ease at which audiences could ferry across the River of Thames and established a playhouse in this particular location. The extent of Cholmley's involvement in the theatre project is unclear. The only mention of Cholmley among Henslowe's diaries of

375-498: A carpenter, and ten to twelve workmen. The beams were then carried south of the river to Southwark to form part of their new playhouse, the Globe Theatre . Built in 1599, this theatre was destroyed in a fire on 29 June 1613. The Globe was rebuilt by June 1614 and finally closed in 1642. The company also toured Britain, and visited France and Belgium. A modern reconstruction of the original Globe, named " Shakespeare's Globe ",

450-521: A grudge against the company; in 1603, they staged his Sejanus , with dissatisfying results. They also performed The London Prodigal , The Merry Devil of Edmonton , and The Fair Maid of Bristow , the last a rarity in that it is a Chamberlain's play that has never been attributed in any part to Shakespeare. The Lord Chamberlain's Men, and its individual members, largely avoided the scandals and turbulence in which other companies and actors sometimes involved themselves. Their most serious difficulty with

525-579: A merchant, also owned property in Southwark. It was at one time assumed that his wife's inheritance gave Henslowe his start in business, but there is no evidence. His success in business appears to have brought him some social prominence. By the early-17th century, he was a vestryman , churchwarden and overseer of the poor in St Saviour's ward in Southwark . During the reign of Elizabeth I , he

600-450: A nearby soap works, where the nuts were crushed for their oil, rather than evidence of litter left by the audience. In 1999, the site was re-opened to the public, underneath the new development. Work continues to excavate this historic site further and to secure its future. The foundations of the Rose are covered in a few inches of water to keep the ground from developing major cracks. In 2003

675-581: A sharer after Phillips's death in 1605. Richard Cowley , identified as Verges by the quarto of Much Ado About Nothing , became a sharer in the King's Men. Nicholas Tooley , at one point apprenticed to Burbage, stayed with the company until his death in 1623. John Sincler (or Sincklo) may have specialised in playing thin characters; he seems to have remained a hired man. John Duke was a hired man who went to Worcester's Men early in James's reign. At least two of

750-406: A tough floor surface "so tough, indeed, that 400 years later archaeologists had to take a pickaxe to it to penetrate it". Initially the floor of the yard (including the area beneath the raised wooden stage) had a screeded mortar surface but when the building was extended a compacted layer of silt , ash and clinker , mixed with hazelnut shells, was used. The nutshells were brought to the site from

825-403: A valuable source for the early iron-making industry. The diary begins covering Henslowe's theatrical activities for 1592. Entries continue, with varying degrees of thoroughness (authors' names were not included before 1597), until 1609; in the years before his death, Henslowe appears to have run his theatrical interests from a greater distance. At some time after his death, his papers, including

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900-419: A weekly basis. The Londoners who attended the theatre also enjoyed cock-fighting, bull-baiting, and bear-baiting. The theatres were in a rough part of London and were surrounded by the vices of drinking, gambling, and prostitution. As Lord Chamberlain’s Men popularity grew, they began to attract more and more theatre goers and became one of the most popular playing companies. But as their popularity grew so did

975-575: Is a valuable source of information on the theatrical history of the period. It is a collection of memoranda and notes that record payments to writers, box office takings, and lists of money lent. Also of interest are records of the purchase of expensive costumes and of stage properties , such as the dragon in Christopher Marlowe 's Doctor Faustus , which provide insight into the staging of plays in Elizabethan theatre . The diary

1050-466: Is probably the play currently known from British Library Add MS 10449 (the actors' names that appear in the plot connect it to the Admiral's Men and date it between March 1598 and July 1600). There is no mention of William Shakespeare (or Christopher Marlowe, Robert Greene, Thomas Kyd or any University Wits writer, or figures like Richard Burbage for that matter) in Henslowe's diary (which prompted

1125-465: Is right or wrong, Kempe had left the company by 1601. Another two sharers from Strange's Men had a long-standing association with Kempe. George Bryan had been in Leicester's Men in the 1580s, and at Elsinore with Kempe in 1586; because he is not mentioned in later Chamberlain's or King's Men documents, it is assumed that Bryan retired from the stage in 1597 or 1598. (Bryan lived on for some years; in

1200-581: Is written on the reverse of pages of a book of accounts of his brother-in-law Ralf Hogge's ironworks, kept by his brother John Henslowe for the period 1576–1581. Hogge was the Queen's Gunstonemaker, and produced both iron cannon and shot for the Royal Armouries at the Tower of London . John Henslowe seems to have acted as his agent, and Philip prudently reused his old account book. These entries are

1275-581: The Lord Chamberlain's Men ) erected the new Globe Theatre in Bankside; Henslowe moved the Admiral's Men to the north-western corner of the city, into a venue he had financed, the Fortune Theatre . John Taylor , the "Water Poet", petitioned the King on behalf of the Watermen's Company , because of the expected loss of business transporting theatre patrons across the Thames. He also had interests in

1350-664: The Newington Butts Theatre and The Swan Theatre in Southwark. Henslowe and Alleyn also operated the Paris Garden , a venue for baitings ; early in James's reign, they purchased the office of Keeper of the Royal Game, namely bulls, bears and mastiffs. In 1614, he and Jacob Meade built the Hope Theatre in Bankside; designed with a moveable stage for both plays and animal baiting, it was the last of

1425-588: The Rose Theatre Kingston opened in Kingston upon Thames . It is a modern theatre, but based on the plan of the original Rose, revealed by archaeology in 1989. 51°30′26″N 0°05′44″W  /  51.5072°N 0.09547°W  / 51.5072; -0.09547 Philip Henslowe Philip Henslowe ( c.  1550 – 6 January 1616) was an Elizabethan theatrical entrepreneur and impresario . Henslowe's modern reputation rests on

1500-560: The 1570s, Henslowe had moved to London, becoming a member of the Dyers' Company . Henslowe is recorded working as assistant to Henry Woodward, reputed to be the bailiff for Anthony Browne, 1st Viscount Montagu , owner of Cowdray House and Battle Abbey in Sussex. Henslowe married Woodward's widow, Agnes, and from 1577 lived in Southwark , opposite the Clink prison. His elder brother Edmund,

1575-528: The Admiral's Men, whose lost plays on Wolsey date from the same year. In 1601, in addition to their tangential involvement with the Essex rebellion, the company played a role in a less serious conflict, the so-called War of the Theatres . They produced Thomas Dekker 's Satiromastix , a satire on Ben Jonson that seems to have ended the dispute. Somewhat uncharacteristically, Jonson does not appear to have held

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1650-541: The Bankside. The Swan Playhouse opened nearby in the winter of 1596. People were drawn to the comedies and tragedies performed at the Swan in contrast to the history plays for which the Rose Theatre was renowned. In 1598, Alleyn retired, and Henslowe shifted his position over from landlord and banker to the full financial manager. When the Lord Chamberlain's Men built the Globe Theatre on the Bankside in 1599, however,

1725-573: The Fortune, apparently to fill the vacuum created when the Chamberlain's Men left Shoreditch. The Rose was used briefly by The Lord Pembroke's Men in 1600 and the Worcester's Men in 1602 and 1603. The lease ended in 1605, and Henslowe was ready to renew his lease under the original terms. However, the parish insisted on renegotiating the contract and tripled the price of his rent. Henslowe gave up

1800-573: The Lord Chamberlain's Men were among the actors who accompanied Beeston to his pretrial hearing at Bridewell and caused a disturbance there; but little can be said for certain. Theatre-going became an extremely popular activity for many in London in the late 16th and early 17th century because of the constant advertisement seen throughout London playbills. During these years London had a population of approximately 200,000. Within that group of 200,000 over 15,000 men and women attended plays on

1875-653: The Lord Strange's Men performed on the Rose Stage. From 1593 to 1594, the Earl of Sussex's Men performed in its place, suggesting that the Lord Strange's Men were among the deceased. By the summer of 1594 the plague had abated, and the companies re-organized themselves. The Queen's Men performed in 1594 and the Lord Admiral's Men, still led by Alleyn, resumed its place at the Rose by Springtime. At their height, in

1950-481: The Rose had an enhanced capacity for this particularity of stagecraft. An archaeological dig began in Park Street during planned large scale redevelopment. Investigatory trenches revealed several finds, which came to the attention of Sam Wanamaker , who was seeking the means to recreate Shakespeare's Globe Theatre , and conveying updates to his contacts in theatrical productions early in 1988. An action committee

2025-616: The Rose was opened as a performance space with a production of Marlowe's Tamburlaine the Great . A replica of The Rose Theatre was featured in the film Shakespeare in Love and after 10 years in storage was donated by Dame Judi Dench to the British Shakespeare Company , who were planning to rebuild it in the north of England, although the plans have not progressed any further since they were announced in 2009. In 2008

2100-603: The Rose was put into a difficult position. In January the following year, Henslowe and Alleyn built The Fortune Theatre north of the River of Thames. Prompted by complaints from city officials, the Privy Council decreed in June 1600 that only two theatres would be allowed for stage plays: The Globe Theatre in Bankside, and the Fortune Theatre in Middlesex – specifically, Shoreditch . Henslowe and Alleyn had already built

2175-505: The author's possession, including Henry VI, Part 2 , Henry VI, Part 3 , as well as Titus Andronicus . A Midsummer Night's Dream may have been the first play Shakespeare wrote for the new company; it was followed over the next two years by a concentrated burst of creativity that resulted in Romeo and Juliet , Love's Labours Lost , The Merchant of Venice , and the plays in the so-called second tetralogy . The extent and nature of

2250-403: The boys had distinguished careers. Alexander Cooke is associated with a number of Shakespeare's female characters, while Christopher Beeston went on to become a wealthy impresario in the seventeenth century. The core members of the company changed in both major and minor ways before James's accession. The most famous change is that of Will Kemp, the circumstances of which remain unclear. Kempe

2325-587: The clown parts are unusually accurate. Whatever the reason for his departure, Kempe was replaced by Robert Armin , formerly of Chandos's Men and an author in his own right. Small and fanciful, Armin offered significantly different options for Shakespeare, and the change is seen in the last Elizabethan and first Jacobean plays. Armin is generally credited with originating such characters as Feste in Twelfth Night , Touchstone in As You Like It , and

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2400-602: The company of the Earl of Leicester in the 1580s, and had later joined the King's Men. As the company's clown, he presumably took the broadest comic role in every play; he is identified with Peter in the quarto of Romeo and Juliet , and probably also originated Dog-berry in Much Ado About Nothing and Bottom in A Midsummer Night's Dream . Kempe has traditionally been viewed as the object of Hamlet's complaint about extemporising clowns; whether this association

2475-573: The company's patron. The company held exclusive rights to perform Shakespeare's plays . From 1594 the players performed at The Theatre , in Shoreditch . Problems with the landlord caused the company to move to the nearby Curtain Theatre in 1597. On the night of 29 December 1598, The Theatre was dismantled by the Burbage brothers, along with William Smith, their financial backer, Peter Street ,

2550-585: The company, though Cuthbert did not act. This connection with the Burbages makes the Chamberlain's Men the central link in a chain that extends from the beginning of professional theatre (in 1574, James Burbage led the first group of actors to be protected under the 1572 statute against rogues and vagabonds) in Renaissance London to its end (in 1642, the King's Men were among the acting companies whose activities were ended by Parliament's prohibition of

2625-468: The demand. The audience’s lives were ever changing which led to Lord Chamberlain’s Men having to cater to their audience resulting in the group having to perform six different plays every week. This was extremely strenuous on the actors as they had to memorize lines from many different plays and were given very little time if any for rehearsal. As Lord Chamberlain’s Men continued to prosper, they began to perform at larger venues. In 1599 they began playing at

2700-423: The diary, were transferred to Dulwich College , which Alleyn had founded. Henslowe recorded payments to twenty-seven Elizabethan playwrights . He variously commissioned, bought and produced plays by, or made loans to Ben Jonson , Thomas Middleton , Henry Chettle , George Chapman , Thomas Dekker , John Webster , Anthony Munday , Henry Porter , John Day , John Marston and Michael Drayton . The diary shows

2775-500: The early 1590s. As a sharer, he was at first equally important as actor and playwright. At an uncertain but probably early date, his writing became more important, although he continued to act at least until 1603, when he performed in Ben Jonson 's Sejanus . No less important was Richard Burbage . He was the lead actor of the Chamberlain's Men, who played Hamlet and Othello , and would go on to play King Lear and Macbeth in

2850-416: The entrance of the building development. A campaign to save the site was launched by several well-known theatrical figures, led by Peggy Ashcroft and including Laurence Olivier and Judi Dench . Prior to the site being given full legal protections, a fundraising street party attended by several prominent entertainers was held on 23 April 1989. It was eventually decided to suspend the proposed building over

2925-548: The face of development threats. When the Department of Greater London Archaeology (now MOLA ) carried out the excavation work, the staff found many objects which are now stored in the museum itself. Portions of the theatre's foundations, under the ingressi (wooden stairs leading to the galleries), were littered with fruit seeds and hazelnut shells; it has been claimed that hazelnuts were the popcorn of English Renaissance drama. When combined with cinder and earth, they provided

3000-526: The fool in King Lear . Thus, by 1603 the core of the troupe was in some respects younger than it had been in 1594. Bryan, Pope, and Kempe, veterans of the 1580s, had left, and the remaining sharers (with the probable exception of Phillips), were roughly within a decade of 40. Shakespeare's work undoubtedly formed the great bulk of the company's repertory. In their first year of performance, they may have staged such of Shakespeare's older plays as remained in

3075-465: The forgeries of John Payne Collier ); their absence is due to the fact that Shakespeare and Burbage were only connected to Henslowe's companies in the early 1590's before Henslowe records any authors. Shakespeare's company, the Lord Chamberlain's Men, performed at The Theatre (starting in 1594) and later The Globe Theatre (starting in 1599). In 1598 Henslowe made an inventory of his company's stage props ; 'along with numerous weapons and crowns, there

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3150-482: The government came about as a result of their tangential involvement in the February 1601 insurrection of the Earl of Essex . Some of Essex's supporters had commissioned a special performance of Shakespeare's Richard II in the hope that the spectacle of that king's overthrow might make the public more amenable to the overthrow of Elizabeth (who later remarked, "I am Richard II, know ye not that?"). Augustine Phillips

3225-456: The large open-roof theatres built before 1642. The animal shows ended up ascendant at this venue. The introduction to Ben Jonson 's Bartholomew Fair , performed at the Hope in 1614 , complains that the theatre is "as dirty as Smithfield , and as stinking every whit." The theatre did not have a regular theatrical tenant after 1617; Henslowe's share in it was willed to Alleyn. Henslowe's "diary"

3300-576: The last years of the century, the company continued to stage Shakespeare's new plays, including Julius Caesar and Henry V , which may have opened the Globe, and Hamlet , which may well have appeared first at the Curtain. Among non-Shakespearean drama, A Warning for Fair Women was certainly performed, as was the Tudor history Thomas Lord Cromwell , sometimes seen as a salvo in a theatrical feud with

3375-424: The lead roles, including Hamlet , Othello , King Lear , and Macbeth . Formed at the end of a period of flux in the theatrical world of London, it had become, by 1603, one of the two leading companies of the city and was subsequently patronized by James I . It was founded during the reign of Elizabeth I of England in 1594 under the patronage of Henry Carey, 1st Baron Hunsdon , then the Lord Chamberlain , who

3450-424: The new reign of King James, among many other roles. Though relatively little-known in 1594, he would become one of the most famous of Renaissance actors, achieving a fame and wealth exceeded only by Alleyn's. Among the hired men were some who eventually became sharers. William Sly , who performed occasionally with the Admiral's Men during the 1590s, acted for the Chamberlain's by 1598, and perhaps before; he became

3525-473: The non-Shakespearean repertory in the first is not known; plays such as Locrine , The Troublesome Reign of King John , and Christopher Marlowe 's Edward II have somewhat cautiously been advanced as likely candidates. The earliest non-Shakespearean play known to have been performed by the company is Ben Jonson 's Every Man in His Humour , which was produced in the middle of 1598; they also staged

3600-488: The playhouse are in the deed of partnership between the two men, and in brief scribbles on the outside cover of the first folio: "Cholmley Cholmley" and "Cholmley when?". Cholmley died in 1589 nullifying their deed of partnership, 2 years into the agreed 8 year and 3 month term. Cholmley was a member of the Worshipful Company of Grocers and so is referred to as a Grocer in some sources, though his primary business

3675-460: The playhouse in 1605. The Rose may have been torn down as early as 1606. Henslowe moved on to build the Hope Theatre in 1613. He died three years later. The Rose appears to have differed from other theatres of the era in its ability to stage large scenes on two levels. It is thought that all Elizabethan theatres had a limited capability to stage scenes "aloft," on an upper level at the back of

3750-438: The plays of Shakespeare's First Folio (1623). Both were relatively young in 1594, and both remained with the company until after the death of King James; their presence provided an element of continuity across decades of changing taste and commercial uncertainty. (Some scholars have theorised that the company maintained its original eight-sharer structure, and that as any man left, through retirement or death, his place as sharer

3825-536: The reign of James , he is listed as a Groom of the Chamber , with household duties, as late as 1613.) Thomas Pope , another Leicester's veteran, retired in 1600 and died in 1603. Both Bryan and Pope came to the company from Lord Strange's Men. Augustine Phillips also came from Strange's Men. He remained with the troupe until his death in 1605. Two younger actors who came from Strange's, Henry Condell and John Heminges , are most famous now for collecting and editing

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3900-441: The size of the original Theatre built eleven years earlier, and its stage was also unusually small; the enlargement addressed both matters. Henslowe paid all the costs himself, given Cholmley was deceased. The renovation gave the theatre, formerly a regular polygon (with 14 sides), a distorted egg shape, a "bulging tulip" or "distorted ovoid" floor plan. However, the Rose's success encouraged other theatre companies to set up roots in

3975-576: The south shore of the River Thames. The area was known for its leisure attractions such as bear/bull-baitings, gaming dens and brothels. It was located in the Liberty of the Clink , a liberty outside the jurisdiction of the City of London's civic authorities. The Rose contained substantial rose gardens and two buildings; Cholmley used one as a storehouse, while Henslowe appears to have leased the other as

4050-422: The stage .) The Chamberlain's Men comprised a core of eight " sharers ", who split profits and debts; perhaps an equal number of hired men who acted minor and doubled parts; and a slightly smaller number of boy players , who were sometimes bound apprentices to an adult actor. The original sharers in the Chamberlain's were eight. Probably the most famous in the 1590s to the 1600s was William Kempe , who had been in

4125-468: The stage – as with Juliet at her window in Romeo and Juliet , II.ii. A minority of Elizabethan plays, however, call for larger assemblies of actors on the higher second level – as with the Roman Senators looking down upon Titus in the opening scene of Titus Andronicus . An unusual concentration of plays with the latter sort of staging requirement can be associated with the Rose, indicating that

4200-419: The summer of 1597, when the uproar over The Isle of Dogs temporarily closed the theatres; records from Dover and Bristol indicate that at least some of the company toured that summer. The character of Falstaff , though immensely popular from the start, aroused the ire of Lord Cobham , who objected to the use of the character's original name (Oldcastle), which derived from a member of Cobham's family. In

4275-577: The survival of his diary, a primary source for information about the theatrical world of Renaissance London. Henslowe was born in Lindfield , Sussex , into a family with roots in Devon . His father, Edmund Henslowe, was appointed Master of the Game for Ashdown Forest , Sussex, from 1539 until his death in 1562. Before Edmund Henslowe's death, his daughter Margaret had married Ralf Hogge , an ironmaster. By

4350-480: The theatre's main playwright. Edward Alleyn married Henslowe's step-daughter in 1592, and the two became partners. However, the 1592–4 period was difficult for the acting companies of London; a severe outbreak of bubonic plague meant that the London theatres were closed almost continuously from June 1592 to May 1594. The plague took nearly 11,000 Londoners. The companies were forced to tour to survive, and some, like Pembroke's Men , fell on hard times. From 1592 to 1593,

4425-410: The thematic sequel, Every Man Out of His Humour , the next year. On the strength of these plays, the company quickly rivalled Alleyn's troupe for preeminence in London; as early as 1595 they gave four performances at court, followed by six the next year and four in 1597. These years were, typically for an Elizabethan company, also fraught with uncertainty. The company suffered along with the others in

4500-536: The top of the theatre's remains, leaving them conserved beneath, resulting in what has been called "one of the weirdest sights in London". A blue plaque at 56 Park Street marks the spot. The handling of the Rose Theatre by government, archaeologists and the developer provided impetus for the legitimisation of archaeology in the development process and led the Conservative government of Margaret Thatcher to introduce PPG 16 in an attempt to manage archaeology in

4575-417: The use of the standard 16th-century measure of one rod as a base and the carpenter's " rule of thumb " method of dividing a circle into seven equal parts, subdivided. Henslowe's documentation of the Rose Theatre has survived, and was placed in the library of Dulwich College by its founder, Edward Alleyn , in 1619. Alleyn was the principal actor of the Lord Admiral's Men. City records indicate that The Rose

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4650-433: The varying partnerships between writers, in an age when many plays were collaborations. It also shows Henslowe to have been a careful man of business, obtaining security in the form of rights to his authors' works, and holding their manuscripts, while tying them to him with loans and advances. If a play was successful, Henslowe would commission a sequel. Performances of works with titles similar to Shakespearean plays, such as

4725-408: The year from June 1595, they performed 300 times, nearly thirty-six plays, twenty of which were new. The Lord Admiral's Men resided at The Rose for seven years. Henslowe enlarged the theatre for The Lord Admiral's Men, moving the stage further back (six feet six inches, or two metres) to make room for perhaps 500 extra spectators. The original Rose was smaller than other theatres, only about two-thirds

4800-628: Was a Groom of the Chamber . Under James I , he served as a Gentleman Sewer of the Chamber. Henslowe also served as a collector of the Lay Subsidy . Henslowe died in 1616 in London, still actively involved in the theatre. Henslowe developed extensive business interests, including dyeing, starch-making, pawn-broking , money lending and trading in goat skins. He owned property in East Grinstead and Buxted , Sussex, where his brother-in-law, Ralf Hogge , lived. Between 1576 and 1586, Henslowe

4875-485: Was a boar's head, a wooden leg, a golden fleece and the cauldron in which Marlowe's Jew of Malta is boiled to death.' The papers first came to critical attention in 1780, when Edmond Malone requested them from the Dulwich College library; the papers had been misplaced and were not found until 1790. Malone made a transcript of the parts he viewed as relevant to his variorum edition of Shakespeare. The original

4950-445: Was among the stakeholders in the Globe property, and he may have performed in that theatre in its first year. His famous morris dance to Norwich took place during Lent, when the company lay idle; not until the hastily added epilogue to Nine Days' Wonder (his account of the stunt) does he refer to his plan to return to individual performances. He may have had a hand in the bad quartos of Hamlet and The London Prodigal , in which

5025-502: Was deposed on the matter by the investigating authorities; he testified that the actors had been offered 40 shillings more than their usual fee, and for that reason alone had performed the play on 7 February, the day before Essex's uprising. The explanation was accepted; the company and its members went unpunished, and even performed for Elizabeth at Whitehall on 24 February, the day before Essex's execution. The following year, 1602, saw Christopher Beeston 's rape charge. Probably some of

5100-489: Was filled by someone else. So, Bryan was replaced by William Sly , ca. 1597; Kempe was replaced by Robert Armin , ca. 1599; Pope was replaced by Condell, ca. 1600. But this scheme, while possible, is not proven by the available evidence.) The two sharers who would contribute the most to the Chamberlain's Men did not come from Strange's Men. Shakespeare's activities before 1594 have been a matter of considerable inquiry; he may have been with Pembroke's Men and Derby's Men in

5175-402: Was formed to 'Save The Rose Theatre', being assisted by both 'Entertainment Stars and a rotation of public volunteers, to ensure the site's protection, which was continually threatened by construction crews ignorant of the potential 'English Heritage' beneath. In March 1989, the remains of The Rose were again threatened with destruction resulting in a physical stand-off between the two parties at

5250-460: Was in charge of court entertainments. After Carey's death on 23 July 1596, the company came under the patronage of his son, George Carey, 2nd Baron Hunsdon , for whom it was briefly known as Lord Hunsdon's Men . When George Carey in turn became Lord Chamberlain on 17 March 1597, it reverted to its previous name. The company became the King's Men in 1603 when King James ascended the throne and became

5325-419: Was in tanning. The theatre was built by the carpenter John Griggs. The new building was of timber, with a lath and plaster exterior and thatch roof. In shape it was a fourteen-sided polygon, of about 72 feet (22 m) in external diameter. The inner space was also a fourteen-sided polygon, about 47 feet (14 m) wide. Modern calculations show that the dimensions and fourteen-sided layout were dictated by

5400-465: Was in use by late 1587; however, it is not mentioned in Henslowe's accounts between its construction and 1592, and it is possible that he leased it to an acting company with which he was not otherwise concerned. In May 1591, The Lord Admiral's Men split off from the Lord Chamberlain's Men, a company of London's most famous actor, Richard Burbage , at The Theatre. Their repertoire included plays by Robert Greene and especially Christopher Marlowe , who became

5475-448: Was involved in the trade in timber from Ashdown Forest. However, his main activity was as a landlord in Southwark. One of his authors, Henry Chettle , described him as being unscrupulously harsh with his poor tenants, even though Henslowe made many loans to Chettle and they seem to have been on friendly terms. In 1584, Henslowe purchased a property known as The Little Rose, in Southwark, which contained rose gardens and, almost certainly,

5550-502: Was opened in 1997 near the site of the original theatre. The initial form of the Chamberlain's men arose largely from the departure of Edward Alleyn from Lord Strange's Men and the subsequent death of Lord Strange himself, in the spring of 1594. Yet the ultimate success of the company was largely determined by the Burbage family. James Burbage was the impresario who assembled the company and directed its activities until his death in 1597; his sons Richard and Cuthbert were members of

5625-620: Was returned to Dulwich after Malone's death. (Malone's transcript was returned to the library around 1900.) The next scholar to examine the manuscripts was John Payne Collier . Henslowe was portrayed by actor Geoffrey Rush in the Academy Award-winning film Shakespeare in Love . Lord Chamberlain%27s Men The Lord Chamberlain's Men was a company of actors, or a " playing company " (as it then would likely have been described), for which William Shakespeare wrote during most of his career. Richard Burbage played most of

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