The Cockpit was a theatre in London, operating from 1616 to around 1665. It was the first theatre to be located near Drury Lane. After damage in 1617, it was named The Phoenix.
The Cockpit was a theatre in London, operating from 1616 to around 1665. It was the first theatre to be located near Drury Lane. After damage in 1617, it was named The Phoenix.
The original building was an actual cockpit; that is, a staging area for cockfights. Most likely a round building with a peaked roof, about 40 feet (12 m) in diameter, it was erected under Henry VIII, c. 1530-32, as part of a gaming complex. Records indicate a major restoration in 1581-82 and renovations in 1589-90, 1602-3, and 1608-9 (the latter under the supervision of John Best, "cockmaster" to Henry Frederick, Prince of Wales, King James I's eldest son and heir). [1] [2] [3]
In August 1616, Christopher Beeston acquired the lease to the building and converted it to an indoor playhouse. [4] In March 1617, rioting apprentices attempted to destroy the playhouse, probably out of anger that their favorite plays had been removed from the Red Bull outdoor amphitheater, which charged only one penny for admission, to this more expensive (six-penny) venue. The actors shot at the rioters, killing three. The apprentices entered the building and cut up the costumes. [5]
Beeston's rapid restoration of the playhouse after the riot may explain why it was sometimes called the Phoenix. [6] Like earlier theatres, such as The Theatre in Shoreditch and The Globe in Southwark, the location was just outside the jurisdiction of the City of London. Beeston expanded the original small building; the construction work prompted complaints by neighbors, which left traces in the legal records of the time. [7] The resulting theatre was, by one estimate, 52 feet (16 m) by 37 feet (11 m), "noticeably smaller than the Blackfriars." [6]
The architect commissioned for the renovation is not known for a certainty, but circumstantial evidence points to Inigo Jones. Two sheets drawn by Jones and showing the interior and exterior design of some theatre have survived; John Orrell makes the case that the theatre is the Cockpit, while allowing that he cannot produce conclusive evidence to that end. [8] (In 1629, Inigo Jones would design another "Cockpit" theatre, a private one within Whitehall called the Cockpit-in-Court or Royal Cockpit.)
Beeston intended the Cockpit to serve as an indoor complement to the Red Bull, the outdoor theatre then home to his acting troupe, Queen Anne's Men. A winter venue was needed to compete with the Blackfriars Theatre in the possession of their rival troupe, the King's Men. After a rocky start, the company proved successful in their new locale. Wickham attributes the success more to the theatre's location and comfort and to the flair of its manager, Beeston, than to the quality of its performers. [9]
Beeston would oversee several different troupes in the Cockpit before his death in 1639. Queen Anne's Men were there from 1617 to 1619; when that company dissolved upon the death of Anne of Denmark in 1619, their place was taken by Prince Charles's Men from 1619 to 1622. Lady Elizabeth's Men were there from 1622 to 1624, and perhaps for sporadic periods as early as 1619 (the two companies, Prince Charles's and Lady Elizabeth's, had combined for a time ca. 1615). Queen Henrietta's Men had a long run at the Cockpit, from 1625 to 1636. The last troupe to occupy the Cockpit in Beeston's lifetime was one of his own creation, the King and Queen's Young Company, colloquially known as Beeston's Boys — the last assembly of boy actors in the period. They would continue in the theatre under the management of his son William. [10]
William Beeston was forced out of the theatre when his choice of plays met with the disapproval of the Court. He was replaced by William Davenant in 1639. All theatres were closed by Parliament in 1642, under the Commonwealth. The Cockpit was used as a schoolroom, but plays continued to be shown illegally. It was raided by Puritan soldiers during a performance in 1649 and the players were imprisoned. In 1651 William Beeston paid £200 for repairs to the theatre, in the hope that he would be able to start performances there again — though the hope proved illusory. [11] In the last years of the English Interregnum, under the common conceit that music was not acting, Davenant was permitted to present two licensed operas in the Cockpit: The Cruelty of the Spaniards in Peru in 1658 and Sir Francis Drake in 1659. [12]
The theatres were permitted to reopen after the English Restoration in 1660, when Charles II granted Letters Patent to two companies to perform "legitimate drama" in London: the Duke's Company, led by Davenant, and the King's Company, led by Thomas Killigrew. Both companies briefly made use of the earlier generation of theatres including the Cockpit and the Salisbury Court Theatre, but quickly moved to newer and more fashionable venues — Davenant in 1661 to a theatre in Lincoln's Inn Fields that was once Lisle's Tennis Court, and Killigrew in 1660 to Gibbon's Tennis Court in Vere Street. The Cockpit was also used in this era by the companies of John Rhodes and George Jolly. Samuel Pepys wrote in his diary of several visits to the theatre between 1660 and 1663.
In 1663, Killigrew's King's Company opened the Theatre Royal, Drury Lane nearby. The Cockpit was unable to compete with this relatively grand new theatre and was further hamstrung since it was shut out of the monopoly on "legitimate drama" granted to the two patent companies. There is no record of any play being mounted at the Cockpit after 1665; the eventual fate of the structure is unknown.
The Phoenix was located in the middle of the area bounded today by Drury Lane, Great Queen Street, Great Wild Street, and Kemble Street. The entrance to the theatre was in Cockpit Alley, which ran from Drury Lane to Great Wild Street; the present-day Martlett Court is off Drury Lane roughly opposite where the entrance to Cockpit Alley was. [13]
The Theatre Royal, Drury Lane, commonly known as Drury Lane, is a West End theatre and Grade I listed building in Covent Garden, London, England. The building faces Catherine Street and backs onto Drury Lane. The building is the most recent in a line of four theatres which were built at the same location, the earliest of which dated back to 1663, making it the oldest theatre site in London still in use. According to the author Peter Thomson, for its first two centuries, Drury Lane could "reasonably have claimed to be London's leading theatre". For most of that time, it was one of a handful of patent theatres, granted monopoly rights to the production of "legitimate" drama in London.
Michael Mohun was a leading English actor both before and after the 1642–60 closing of the theatres.
Queen Anne's Men was a playing company, or troupe of actors, in Jacobean era London. In their own era they were known colloquially as the Queen's Men — as were Queen Elizabeth's Men and Queen Henrietta's Men, in theirs.
The Restoration spectacular was a type of theatre production of the late 17th-century Restoration period, defined by the amount of money, time, sets, and performers it required to be produced. Productions attracted audiences with elaborate action, acrobatics, dance, costume, scenery, illusionistic painting, trapdoors, and fireworks. Although they were popular with contemporary audiences, spectaculars have earned a reputation from theatre historians as vulgar in contrast to the witty Restoration drama.
Christopher Beeston was a successful actor and a powerful theatrical impresario in early 17th century London. He was associated with a number of playwrights, particularly Thomas Heywood.
The King's Company was one of two enterprises granted the rights to mount theatrical productions in London, after the London theatre closure had been lifted at the start of the English Restoration. It existed from 1660 to 1682, when it merged with the Duke's Company to form the United Company.
Gibbon's Tennis Court was a building off Vere Street and Clare Market, near Lincoln's Inn Fields in London, England. Originally built as a real tennis court, it was used as a playhouse from 1660 to 1663, shortly after the English Restoration. As a theatre, it has been variously called the "Theatre Royal, Vere Street", the "Vere Street Theatre", or simply "The Theatre". It was the first permanent home for Thomas Killigrew's King's Company and was the stage for some of the earliest appearances by professional actresses.
The Cockpit-in-Court was an early theatre in London, located at the Palace of Whitehall, next to St. James's Park, now the site of 70 Whitehall, in Westminster.
The Salisbury Court Theatre was a theatre in 17th-century London. It was in the neighbourhood of Salisbury Court, which was formerly the London residence of the Bishops of Salisbury. Salisbury Court was acquired by Richard Sackville in 1564 during the last seven years of his life when he was Chancellor of the Exchequer under Queen Elizabeth; when Thomas Sackville was created Earl of Dorset in 1604, the building was renamed Dorset House.
William Beeston was an English actor and theatre manager, the son and successor to the more famous Christopher Beeston.
Beeston's Boys was the popular and colloquial name of The King and Queen's Young Company, a troupe of boy actors of the Caroline period, active mainly in the years 1637–1642.
Prince Charles's Men was a playing company or troupe of actors in Jacobean and Caroline England.
Queen Henrietta's Men was an important playing company or troupe of actors in Caroline era in London. At their peak of popularity, Queen Henrietta's Men were the second leading troupe of the day, after only the King's Men.
The Duke's Company was a theatre company chartered by King Charles II at the start of the Restoration era, 1660. Sir William Davenant was manager of the company under the patronage of Prince James, Duke of York. During that period, theatres began to flourish again after they had been closed from the restrictions throughout the English Civil War and the Interregnum. The Duke's Company existed from 1660 to 1682, when it merged with the King's Company to form the United Company.
John Rhodes was a theatrical figure of the early and middle seventeenth century. He rose to a brief prominence in 1660 when the London theatres re-opened at the start of the English Restoration era.
George Jolly, or Joliffe was an actor, an early actor-manager and a theatre impresario of the middle seventeenth century. He was "an experienced, courageous, and obstinate actor-manager" who proved a persistent rival for the main theatrical figures of Restoration theatre, Sir William Davenant and Thomas Killigrew.
Claricilla is a Caroline era stage play, a tragicomedy written by Thomas Killigrew. The drama was acted c. 1636 by Queen Henrietta's Men at the Cockpit Theatre, and first published in 1641. The play was an early success that helped to confirm Killigrew's choice of artistic career.
Richard Gunnell was an actor, playwright, and theatre manager in Jacobean and Caroline era London. He is best remembered for his role in the founding of the Salisbury Court Theatre.
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