Robert Cox (died December 1655) was a seventeenth-century English actor, best known for creating and performing the "drolls" that were a permitted form of dramatic entertainment during the English Civil War and the Interregnum, when theatres were officially closed and standard plays were not allowed.
A droll is a short comical sketch of a type that originated during the Puritan Interregnum in England. With the closure of the theatres, actors were left without any way of plying their art. Borrowing scenes from well-known plays of the Elizabethan theatre, they added dancing and other entertainments and performed these, sometimes illegally, to make money. Along with the popularity of the source play, material for drolls was generally chosen for physical humor or for wit.
The English Civil War (1642–1651) was a series of armed conflicts and political machinations between Parliamentarians ("Roundheads") and Royalists ("Cavaliers") over, principally, the manner of England's governance. The first (1642–1646) and second (1648–1649) wars pitted the supporters of King Charles I against the supporters of the Long Parliament, while the third (1649–1651) saw fighting between supporters of King Charles II and supporters of the Rump Parliament. The war ended with the Parliamentarian victory at the Battle of Worcester on 3 September 1651.
Gerard Langbaine called Cox an "excellent comedian." [1] His origins and early history are obscure; he was with Beeston's Boys in 1639, but nothing else is known about his early life. "Cox probably was a strolling or country player..." through much of his career. [2] Cox had one known connection with one of the theatre companies of the era: he was one of ten men who tried to re-organize the King's Men in December 1648, an attempt that, perhaps unsurprisingly, did not succeed.
Gerard Langbaine was an English dramatic biographer and critic, best known for his An Account of the English Dramatic Poets (1691), the earliest work to give biographical and critical information on the playwrights of English Renaissance theatre. He is sometimes called Junior or the Younger to distinguish him from his father (1609–58) of the same name, a Doctor of Divinity who was Provost of Queens College, Oxford (1646–58) and Keeper of the University Archives.
In Renaissance London, playing company was the usual term for a company of actors. These companies were organized around a group of ten or so shareholders, who performed in the plays but were also responsible for management. The sharers employed "hired men" – that is, the minor actors and the workers behind the scenes. The major companies were based at specific theatres in London; the most successful of them, William Shakespeare's company the King's Men, had the open-air Globe Theatre for summer seasons and the enclosed Blackfriars Theatre in the winters. The Admiral's Men occupied the Rose Theatre in the 1590s, and the Fortune Theatre in the early 17th century.
The King's Men was the acting company to which William Shakespeare (1564–1616) belonged for most of his career. Formerly known as The Lord Chamberlain's Men during the reign of Queen Elizabeth I, they became The King's Men in 1603 when King James I ascended the throne and became the company's patron.
Cox won his personal fame in writing and performing drolls — interludes or farces that usually consisted of comic scenes extracted and adapted from old dramas of English Renaissance theatre, by William Shakespeare (Bottom the Weaver was one droll), Ben Jonson, John Fletcher, and many others. Cox created at least eleven drolls, with titles like Simpleton the Smith, Bumpkin, Hobbinat, Simpkin, and John Swabber the Seaman. As a performer, Cox was said to have been "irresistible" in his role of Young Simpleton. [3]
English Renaissance theatre—also known as Renaissance English theatre and Elizabethan theatre—refers to the theatre of England between 1562 and 1642.
William Shakespeare was an English poet, playwright and actor, widely regarded as the greatest writer in the English language and the world's greatest dramatist. He is often called England's national poet and the "Bard of Avon". His extant works, including collaborations, consist of approximately 39 plays, 154 sonnets, two long narrative poems, and a few other verses, some of uncertain authorship. His plays have been translated into every major living language and are performed more often than those of any other playwright.
Benjamin Jonson was an English playwright, poet, actor, and literary critic, whose artistry exerted a lasting impact upon English poetry and stage comedy. He popularised the comedy of humours. He is best known for the satirical plays Every Man in His Humour (1598), Volpone, or The Fox, The Alchemist (1610) and Bartholomew Fair (1614) and for his lyric and epigrammatic poetry; he is generally regarded as the second most important English playwright during the reign of James VI and I after William Shakespeare.
Cox performed most often at the Red Bull Theatre, long a center of popular entertainment. By some reports he bribed local officials into looking the other way when his drolls grew too much like plays. If so, he was not entirely successful in his corruption: Puritan authorities raided the Red Bull in June 1653 looking for unauthorized drama, and found Cox, playing Swabber. [4] The gentry among the audience were required to pay five-shilling fines to exit. [5]
The Red Bull was an inn-yard conversion erected in Clerkenwell, London operating in the 17th century. For more than four decades, it entertained audiences drawn primarily from the City and its suburbs, developing a reputation over the years for rowdiness. After Parliament closed the theatres in 1642, it continued to host illegal performances intermittently, and when the theatres reopened after the Restoration, it became a legitimate venue again. There is a myth that it burned down in the Great Fire of London but the direct reason for its end is unclear.
A selection of Cox's drolls, including Simpleton, Oenone, and Acteon and Diana, was published by the bookseller Edward Archer in 1656. Francis Kirkman printed some of Cox's drolls in his famous collections The Wits, or Sport upon Sport (1662, 1672).
Francis Kirkman appears in many roles in the English literary world of the second half of the seventeenth century, as a publisher, bookseller, librarian, author and bibliographer. In each he is an enthusiast for popular literature and a popularising businessman, described by one modern editor as "hovering on the borderline of roguery".
