Shakespeare: The World as Stage Read online

  Things didn’t go to plan, to put it mildly. England ’s ships were nimbler and sat lower in the water, making them awkward targets. They could dart about doing damage here and there while the Spanish guns, standing on high decks, mostly fired above them. The English ships were better commanded, too (or so all English history books tell us). It is only fair to note that most vessels of the Spanish fleet were not battleships but overloaded troop carriers, making plump and lumbering targets. The English also enjoyed a crucial territorial edge: They could exploit their intimate knowledge of local tides and currents, and could dart back to the warm comfort of home ports for refreshment and repairs. Above all they had a decisive technological advantage: cast-iron cannons, an English invention that other nations had not yet perfected, which fired straighter and were vastly sturdier than the Spanish bronze guns, which were poorly bored and inaccurate and had to be allowed to cool after every two or three rounds. Crews that failed to heed this-and in the heat of battle it was easy to lose track-often blew themselves up. In any case the Spanish barely trained their gun crews. Their strategy was to come alongside and board enemy ships, capturing them in hand-to-hand combat.

  The rout was spectacular. It took the English just three weeks to pick the opponent’s navy to pieces. In a single day the Spanish suffered eight thousand casualties. Dismayed and confused, the tattered fleet fled up the east coast of England and around Scotland into the Irish Sea, where fate dealt it further cruel blows in the form of lashing gales, which wrecked at least two dozen ships. A thousand Spanish bodies, it was recorded, washed up on Irish beaches. Those who struggled ashore were often slaughtered for their baubles. By the time the remnants of the Armada limped home, it had lost seventeen thousand men out of the thirty thousand who had set off. England lost no ships at all.

  The defeat of the Spanish Armada changed the course of history. It induced a rush of patriotism in England that Shakespeare exploited in his history plays (nearly all written in the following decade), and it gave England the confidence and power to command the seas and build a global empire, beginning almost immediately with North America. Above all it secured Protestantism for England. Had the Armada prevailed, it would have brought with it the Spanish Inquisition, with goodness knows what consequences for Elizabethan England -and the young man from Warwickshire who was just about to transform its theater.

  There is an interesting postscript to this. A century and a half after John Shakespeare’s death, workmen rooting around in the rafters of the Shakespeare family home on Henley Street in Stratford found a written testament-a “Last Will of the Soul,” as it was called-declaring John’s adherence to the Catholic faith. It was a formal declaration of a type known to have been smuggled into England by Edmund Campion.

  Scholars have debated ever since whether the document itself was genuine, whether John Shakespeare’s signature upon it was genuine, and what any of this might or might not imply about the religious beliefs of William Shakespeare. The first two of these questions are likely to remain forever unresolvable as the document was lost sometime after its discovery, and the third could never be other than a matter of conjecture anyway.

  Chapter Four. In London

  IN 1596, WHILE ATTENDING a performance at the new Swan Theatre in London, a Dutch tourist named Johannes de Witt did a very useful thing that no one, it seems, had ever done before. He made a sketch-rather rough and with a not wholly convincing grasp of perspective-depicting the Swan’s interior as viewed from a central seat in the upper galleries. The sketch shows a large projecting stage, partly roofed, with a tower behind containing a space known as the tiring (short for “attiring”) house-a term whose earliest recorded use is by William Shakespeare in A Midsummer Night’s Dream-where the actors changed costumes and grabbed props. Above the tiring area were galleries for musicians and audience, as well as spaces that could be incorporated into performances, for balcony scenes and the like. The whole bears a striking resemblance to the interior of the replica Globe Theatre we find on London ’s Bankside today.

  De Witt’s little effort was subsequently lost, but luckily a friend of his had made a faithful copy in a notebook, and this eventually found its way into the archives of the library of the University of Utrecht in the Netherlands. There it sat unregarded for almost three hundred years. But in 1888 a German named Karl Gaedertz found the notebook and its rough sketch, and luckily-all but miraculously-recognized its significance, for the sketch represents the only known visual depiction of the interior of an Elizabethan playhouse in London. Without it we would know essentially nothing about the working layout of theaters of the time. Its uniqueness explains the similarity of the interior design of the new, replica Globe. It was all there was to go on.

  Two decades after de Witt’s visit, another Dutchman, an artist named Claes Jan Visscher, produced a famous engraved panorama of London, showing in the foreground the theaters of Bankside, the Globe among them. Roughly circular and with a thatched roof, this was very much Shakespeare’s “wooden O” and has remained the default image of the theater ever since. However, in 1948, a scholar named I. A. Shapiro showed pretty well conclusively that Visscher had based his drawing on an earlier engraving, from 1572, before any of the theaters he depicted had actually been built. In fact, it appeared that Visscher had never actually been to London and so was hardly the most reliable of witnesses.

  This left just one illustration from the era known to have been drawn from life and that was a view made by a Bohemian artist named Wenceslas Hollar sometime in the late 1630s or early 1640s. Called the Long View, it is a lovely drawing-“perhaps the most beautiful and harmonious of all London panoramas,” in Peter Ackroyd’s estimation-but a slightly strange one in that it depicts a view from a position slightly above and behind the tower of Southwark Cathedral (then known as the Church of Saint Saviour and Saint Mary Overie), as if Hollar had been looking down on the cathedral from another building-a building that did not in fact exist.

  So it is a view-entirely accurate as far as can be made out-that no human had ever seen. More to the point, it showed the second Globe, not the first, which had burned down in 1613, three years before Shakespeare died. The second Globe was a fine theater, and we are lucky to have Hollar’s drawing of it, for it was pulled down soon afterward, but it was patently not the place where Julius Caesar, Macbeth, and a dozen or so other Shakespeare plays were (probably to almost certainly) first performed. In any case the Globe was only a very small part of the whole composition and was depicted as seen from a distance of nine hundred feet, so it offers very little detail.

  And there you have the complete visual record we possess of theaters in Shakespeare’s day and somewhat beyond: one rough sketch of the interior of a playhouse Shakespeare had no connection with, one doubtful panorama by someone who may never have seen London, and one depiction done years after Shakespeare left the scene showing a theater he never wrote for. The best that can be said of any of them is that they may bear some resemblance to the playhouses Shakespeare knew, but possibly not.

  The written record for the period is not a great deal more enlightening. Most of what little we know about what it was like to attend the theater in Shakespeare’s time comes from the letters and diaries of tourists, for whom the London sights were novel enough to be worth recording. Sometimes, however, it is a little hard to know quite what to make of these. In 1587 a visitor from the country wrote excitedly to his father about an unexpected event he had seen at a performance by the Admiral’s Men: One actor had raised a musket to fire at another, but the musket ball “missed the fellow he aimed at and killed a child, and a woman great with child forthwith, and hit another man in the head very sore.” It is astounding to suppose that actors were firing live muskets-which in the sixteenth century were really little more than exploding sticks-in the confined space of a theater, but, if so, one wonders where they were hoping the musket ball would lodge. The Admiral’s Men failed to secure an invitation to take part in the Christmas revels a
t court the following month-something that would normally have been more or less automatic-so it would appear that they were in some sort of temporary disgrace.

  We would know even less about the business and structure of Elizabethan theatrical life were it not for the diary and related papers of Philip Henslowe, proprietor of the Rose and Fortune theaters. Henslowe was a man of many parts, not all of them entirely commendable. He was an impresario, moneylender, property investor, timber merchant, dyer, starch manufacturer, and, in a very big way, brothel keeper, among much else. He was famous among writers for advancing them small sums, then keeping them in a kind of measured penury, the better to coax plays from them. But for all his shortcomings, Henslowe redeemed himself to history by keeping meticulous records, of which those from the years 1592 to 1603 survive. His “diary,” as it is usually called, wasn’t really a diary so much as a catchall of preoccupations; it included a recipe for curing deafness, notes on casting spells, even advice on how best to pasture a horse. But it also incorporated invaluable details of the day-to-day running of a playhouse, including the names of plays his company performed and the actors employed, along with exhaustive lists of stage props and wardrobes (including a delightfully mysterious “robe for to go invisible”).

  Henslowe’s papers also included a detailed contract for the building of the Fortune Theatre, at an agreed-on cost of £ 440, in 1600. Although the Fortune was not much like the Globe-it was somewhat larger, and square rather than round-and although the contract included no drawings, it provided specifications on the heights and depths of the galleries, the thickness of wood to be used in the floors, the composition of plaster in the walls, and other details that proved immeasurably beneficial in building the replica Globe on Bankside in 1997.

  Theaters as dedicated spaces of entertainment were a new phenomenon in England in Shakespeare’s lifetime. Previously players had performed in innyards or the halls of great homes or other spaces normally used for other purposes. London ’s first true playhouse appears to have been the Red Lion, built in 1567 in Whitechapel by an entrepreneur named John Brayne. Almost nothing is known about the Red Lion, including how much success it enjoyed, but its life appears to have been short. Still, it must have shown some promise, for nine years after its construction Brayne was at it again, this time working in league with his brother-in-law, James Burbage, who was a carpenter by trade but an actor and impresario by nature. Their new theater-called the Theatre-opened in 1576 a few hundred yards to the north of the City walls near Finsbury Fields in Shoreditch. Soon afterward Burbage’s longtime rival Henslowe opened the Curtain Theatre just up the road, and London was a truly theatrical place.

  William Shakespeare could not have chosen a more propitious moment to come of age. By the time he arrived in London in (presumably) the late 1580s, theaters dotted the outskirts and would continue to rise throughout his career. All were compelled to reside in “liberties,” areas mostly outside London ’s walls where City laws and regulations did not apply. It was a banishment they shared with brothels, prisons, gunpowder stores, unconsecrated graveyards, lunatic asylums (the notorious Bedlam stood close by the Theatre), and noisome enterprises like soapmaking, dyeing, and tanning-and these could be noisome indeed. Glue makers and soapmakers rendered copious volumes of bones and animal fat, filling the air with a cloying smell that could be all but worn, while tanners steeped their products in vats of dog feces to make them supple. No one reached a playhouse without encountering a good deal of odor.

  The new theaters did not prosper equally. Within three years of its opening, the Curtain was being used for fencing bouts, and all other London playhouses, with the single eventual exception of the Globe, relied on other entertainments, particularly animal baiting, to fortify their earnings. The pastime was not unique to England, but it was regarded as an English specialty. Queen Elizabeth often had visitors from abroad entertained with bearbaiting at Whitehall. In its classic form, a bear was put in a ring, sometimes tethered to a stake, and set upon by mastiffs, but bears were expensive investments, so other animals (such as bulls and horses) were commonly substituted. One variation was to put a chimpanzee on the back of a horse and let the dogs go for both together. The sight of a screeching ape clinging for dear life to a bucking horse while dogs leaped at it from below was considered about as rich an amusement as public life could offer. That an audience that could be moved to tears one day by a performance of Doctor Faustus could return the next to the same space and be just as entertained by the frantic deaths of helpless animals may say as much about the age as any single statement could.

  It was also an age that gave rise to the Puritans, a people so averse to sensual pleasure that they would rather live in a distant wilderness in the New World than embrace tolerance. Puritans detested the theater and tended to blame every natural calamity, including a rare but startling earthquake in 1580, on the playhouses. They considered theaters, with their lascivious puns and unnatural cross-dressing, a natural haunt for prostitutes and shady characters, a breeding ground of infectious diseases, a distraction from worship, and a source of unhealthy sexual excitement. All the female parts were of course played by boys-a convention that would last until the Restoration in the 1660s. In consequence the Puritans believed that the theaters were hotbeds of sodomy-still a capital offense in Shakespeare’s lifetime*-and wanton liaisons of all sorts.

  There may actually have been a little something to this, as popular tales of the day suggest. In one story a young wife pleads with her husband to be allowed to attend a popular play. Reluctantly the husband consents, but with the strict proviso that she be vigilant for thieves and keep her purse buried deep within her petticoats. Upon her return home, the wife bursts into tears and confesses that the purse has been stolen. The husband is naturally astounded. Did his wife not feel a hand probing beneath her dress? Oh, yes, she responds candidly, she had felt a neighbor’s hand there-“but I did not think he had come for that.”

  Fortunately for Shakespeare and for posterity, the queen brushed away all attempts to limit public amusements, including on Sundays. For one thing she liked them herself, but equally pertinent, her government enjoyed hearty revenues from licensing bowling alleys, theatrical productions, gaming houses (even though gambling was actually illegal in London), and the sale and manufacture of much that went on in them.

  But though plays were tolerated, they were strictly regulated. The Master of the Revels licensed all dramatic works (at a cost of 7 shillings per license) and made sure that companies performed in a manner that he considered respectful and orderly. Those who displeased him could in theory be jailed at his indefinite pleasure, and punishments were not unknown. In 1605, soon after the accession of James I, Ben Jonson and his collaborators on Eastward Ho! made some excellent but unwisely intemperate jokes about the sudden influx of rough and underwashed Scots to the royal court and were arrested and threatened with having their ears and noses lopped off. It was because of these dangers (and the Vagrancy Act of 1572, which specifically authorized the whipping of unlicensed vagabonds) that acting troupes attached themselves to aristocratic patrons. The patron afforded the actors some measure of protection, and they in turn carried his name across the land, lending him publicity and prestige. For a time patrons collected troupes of actors rather in the way rich people of a later age collected racehorses or yachts.

  Plays were performed at about two o’clock in the afternoon. Handbills were distributed through the streets advertising what was on offer, and citizens were reminded that a play was soon to start by the appearance of a banner waving from the highest part of the structure in which a performance was to take place and a fanfare of trumpets that could be heard across much of the city. General admission for groundlings-those who stood in the open around the stage-was a penny. Those who wished to sit paid a penny more, and those who desired a cushion paid another penny on top of that-all this at a time when a day’s wage was 1 shilling (12 pence) or less a day. The money was dropped into a b
ox, which was taken to a special room for safekeeping-the box office.

  For those who could afford an additional treat, apples and pears (both apt to be used as missiles during moments of disappointment) and nuts, gingerbread, and bottles of ale were on offer, as was the newly fashionable commodity tobacco. A small pipeful cost 3 pence-considerably more than the price of admission. There were no toilets-or at least no official ones. Despite their large capacity, theaters were reasonably intimate. No one in the audience was more than fifty feet or so from the edge of the stage.

  Theaters had little scenery and no curtains (even at the Curtain), no way to distinguish day from night, fog from sunshine, battlefield from boudoir, other than through words. So scenes had to be set with a few verbal strokes and the help of a compliant audience’s imagination. As Wells and Taylor note, “Oberon and Prospero have only to declare themselves invisible to become so.”

  No one set scenes more brilliantly and economically than Shakespeare. Consider the opening lines of Hamlet:

  Barnardo: Who’s there?

  Francisco: Nay, answer me. Stand, and unfold yourself.

  Barnardo: Long live the King!

  Francisco: Barnardo?

  Barnardo: He.

  In five terse lines Shakespeare establishes that it is nighttime and cold (“unfold yourself” means “draw back your cloak”), that the speakers are soldiers on guard, and that there is tension in the air. With just fifteen words-eleven of them monosyllables-he has the audience’s full, rapt attention.