Shakespeare

It was a residential area favoured by the richer merchants, among whose number could be counted Sir John Crosby and Sir Thomas Gresham. Crosby Place was in the parish, a late fifteenth-century mansion in which Richard III had lodged when he was Lord Protector; Shakespeare knew it well, and set part of The Tragedy of King Richard III there. It had also been owned by Sir Thomas More and, at the time of Shakespeare’s residence, it was inhabited by the Lord Mayor. The parish was also a harbour for several families of French or Flemish origin, and in fact there was a slightly less agreeable area known as “Petty France.” At a later date he would lodge with a Huguenot family in Silver Street; he preferred the company of what were termed “strangers” in the course of his restless London life. Another neighbour was Thomas Morley, the madrigalist and gentleman of the Chapel Royal; since Morley wrote the music for two or three of Shakespeare’s songs, at some stage they became acquainted. As an actor Shakespeare would also have been trained as a singer, and in his plays he displays a technical knowledge of musical terms. Is it too much to speculate that he and Morley joined in the universal Elizabethan pastime of music-making?

John Stow, the sixteenth-century London topographer, described the parish as containing “divers fair and large built houses for merchants and such like … many fair tenements, divers fair inns, large for receipt of travellers, and some houses for men of worship.” There was a new water conduit in the neighbourhood which, in the sanitary conditions of the period, was of great local benefit. So Bishopsgate had certain advantages over Shoreditch. The large inns here – among them the Bull, the Green Dragon and the Wrestlers – were well known for their commodious quarters. One of them, the Bull, had its own public stage where the Queen’s Men used to perform.

If Shakespeare was not quite yet a “man of worship,” in Stow’s sense, he was travelling ineluctably in that direction. His move to Bishopsgate may in fact have coincided with his admission into the Lord Chamberlain’s Men, in which he also progressed from “hired man” to “sharer.” The company was established in the spring of 1594 by Lord Hunsdon, the Lord Chamberlain, who wanted to bring order into the general confusion of the London playing companies. The connection of the companies and the court should never be forgotten, since the principal purpose of the players was theoretically to provide entertainment for Her Majesty. The quality and continuity of that entertainment were now in jeopardy. The plague and the subsequent closure of the theatres had affected all of the companies. Some of them, like the Queen’s Men, had divided. In April Lord Strange had died, under mysterious circumstances, and Lord Strange’s Men came under the less certain patronage of his widow. So it became the Lord Chamberlain’s business to provide a durable and reliable source for the queen’s entertainment.

And so Hunsdon advanced an ambitious scheme. He established a duopoly in the city. He would patronise a new company to be called the Lord Chamberlain’s Men while his son-in-law, Charles Howard, the Lord High Admiral, would patronise and support a group of players to be known as the Lord Admiral’s Men. The Lord Admiral’s Men would be led by Edward Alleyn, and would perform at the Rose in Southwark owned by Philip Henslowe; the Lord Chamberlain’s Men would be led by Richard Burbage, and would perform at James Burbage’s theatres at Shoreditch. One troupe would command the south of the river, in other words, and the other would dominate the northern suburbs. As a concession to the civic authorities, who were not happy to see playhouses formally established in the suburbs, Huns-don agreed that no inns would be employed for the staging of the drama. It was a very neat arrangement that, in its pristine form, did not last for very long.