Through the Religious Drama, the Pageant, the Masque, we work our way to the Play itself. The first beginnings of the modern Drama must here be passed over: there were the rough and unformed comedies such as 'Gammer Gurton's Needle,' performed in a college hall: or the tragedy played on boards spread over a waggon in the courtyard of an inn. Let us suppose that we are past the beginnings and are in Shakespeare's time—i.e. the end of Queen Elizabeth and the whole reign of James I.

The first theatre was built in 1570. Thirty years after there were seven. The Queen had companies of children to play before her. They were the boys of the choirs of St. Paul's, Westminster, Whitehall, and Windsor. The actors called themselves the servants of some great lord. Lord Leicester, Lord Warwick, Lord Pembroke, Lord Howard, the Earl of Essex, and others all had their company of actors—not all at the same time. The principal Houses were those at Southwark, and especially at Bank Side, where there were three, including the famous Globe: the Blackfriars Playhouse: the Fortune in Golden Lane, and the Curtain at Shoreditch. If you will look at the map you will observe that not one of these theatres is within the City—that at Blackfriars was in the former precinct of the Dominicans and outside the City. No theatre was allowed in the City. Thus early sprang up the prejudice against actors. Probably this was of old standing, and first belonged to the time when the minstrel and the tumbler, the musician and the dancing girl, the buffoon and the contortionist, wandered about the country free of rule and discipline, leading careless and lawless lives.

The theatre was octagonal in shape but circular within. What we call the pit was called the 'yarde.' The stage projected into the 'yarde,' about three or four feet high. The people who filled the 'yarde' were called groundlings. Round the house were three galleries, the lowest of which contained 'rooms' or private boxes: what we call the upper circle and the gallery were above. There were no seats in the pit, nor apparently in the upper circles. On either side of the stage sat or lay gentlemen, chiefly of the younger kind, who smoked pipes of tobacco and talked loudly, disturbing the performance. At the back of the stage was a kind of upper stage, supported on columns, which gave the players a tower, gallery, wall, a town, or an upper story of a house, or anything of the kind that they wanted. There was a great sale of apples, nuts, and ale before the play began and between the acts: boys hawked the newest books about the 'rooms': the people while they waited smoked pipes, played cards. Above the stage on one side was the 'music.' Three times the trumpets sounded. At the first, those who were outside hurried in to get a place: at the second, the card-players left off their games: at the third, those who bawled apples and ale and shouted the name of the new book became silent: the audience settled down: the Play began. Not much costume was wanted: that of the Elizabethan—noble—courtier—young knight—clown—fitted any and every age. There was little scenery required: blue hangings above meant day: black hangings night: the actors came out upon the advanced stage and played their parts. No doubt the illusion was as complete as we can contrive with all our scenery, mounting, and correctness of costume.

The parts of women were taken by boys. No women appeared on the stage until the reign of Charles II. The Play began with the Prologue, spoken by an actor dressed in a long black velvet coat bowing very humbly to the audience. After the Play was over the clowns began to tumble and to sing. In short, a farce succeeded a tragedy. The time of performance was one o'clock, and the performance lasted until five.

In the year 1610 the Lord Mayor and Aldermen being alarmed at the increasing popularity of the Play, ordered that there should be only two theatres, the Fortune in Golden Lane and the Globe at Bankside. This order, however, like so many other laws, was only passed to satisfy a passing scare and does not seem to have been carried into effect. It was in such a theatre as this and with such scenery that the immortal plays of Shakespeare and Ben Jonson were acted. When next you read a play of Shakespeare, remember the stage projecting into the pit; the people in the pit all standing, the gallants on the stage talking and smoking, the ladies in the boxes, the boys enjoying apples and nuts and ale and new books, and the actors playing partly on the stage advanced and partly on the stage behind.