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“From the Globe to the West End, A history of London Theatre”
Today, London’s West End district boasts almost forty commercial theatres and acts as a major draw for tourists and students alike. Yet, London theatre did not begin as a global industry. It has evolved and adapted alongside the world around it, ensuring its own survival by moulding to the different religious, political and economic pressures it faced throughout history.
The influence of the early London theatre scene has shaped much of modern pop culture today. This is evident in the emergence of the actor as a celebrity and in the enduring commercial value of live performances.
We need look no further than the recent success of Hamnet, a modern adaptation of Maggie O’Farrell’s novel discussing the death of William Shakespeare’s son. The global success of this story is obviously a testament to O’Farrell’s writing ability, but it also hints at the reverence William Shakespeare is held in.
Shakespeare’s productions were predominantly shown at the open-plan Globe Theatre, where people from all walks of life were in attendance. Today, the globally renowned theatreland in London’s West End looks a little bit different, and this article will look to examine the evolution of London theatre from popular entertainment to a more global industry.
The origins of early English theatre can be traced back to church services from the 10th and 11th centuries, though it became truly popular in the 1350s, when religious leaders sanctioned the production of mystery cycles (stories from the bible) and miracle plays (stories of the saints).
A major contributing factor behind the draw of these productions was the language in which they were delivered; instead of Latin, the plays were performed in the common tongue, casting a wider net to the public, and allowing different classes of people access to entertainment.
However, the reformation in the 16th century and the decline of Papal influence in England resulted in the suppression of religious plays, viewing them as “Catholic Propaganda”. To carry out this censorship, an existing office was repurposed. The Master of Revels existed first as a temporary office in 1494, but became a permanent and key office after the Reformation.
At the office’s behest, plays could be either rewritten or banned if they were perceived to pose a threat to religion or the crown. Censorship around plays was also about where the play could be performed, who would perform it, and whether or not it could be performed outside London.
These stringent actions were taken in order to avoid potential unrest amongst wider audiences. Ignoring the laws around censorship could result in imprisonment, fines, or theatre companies being completely shut down.
Staged drama continued to exist through tentative means, but it wasn’t until the construction of The Theatre, London’s first permanent public playhouse at Finsbury Fields in 1576, that theatre began to truly take off. Over the following years, several new permanent theatres were constructed across London; the majority were circular, and audience members stood around the stage to watch the productions.
One of these purpose-built permanent playhouses was The Globe Theatre, closely associated with William Shakespeare. His plays attracted audiences from all walks of life, aristocrats, merchants, apprentices and labourers all gathered at the same location to watch the same productions.
While Plague outbreaks caused repeated temporary closures, the Civil War between Charles I and Oliver Cromwell caused an entire shutdown of theatres between 1642 and 1660.
The return of the monarchy and King Charles II to the throne saw the restoration of the theatre scene in 1660. Indoor theatres such as Drury Lane were built, and for the first time, women emerged as successful playwrights and performers. One such character was Susannah Centlivre, who wrote 19 plays between 1700 and 1722.
While theatre did return, there was increasing state control over its production. The Licensing Act of 1737 formalised censorship, ensuring that the sitting monarchy would not be subjected to criticism and the sowing of internal dissent.
Throughout the 18th century, there was a major shift towards melodrama, spectacle and visual effects. Here, there was also the rise of star actors and the emergence of celebrity culture around actors and playwrights, as people would watch plays for specific people involved in the production.
As the commercial aspect of theatre grew evident, there was a growth in middle-class attendance as well as the number of permanent theatres around London. Older plays were still produced, but many were rewritten in order to appeal to 18th century theatre goers. Shakespeare’s writing was seen as too erratic and unsettling, but his plays were performed, and his influence remained indisputable.
By the late 19th century, the West End had developed into a defined theatre district. The industry became increasingly driven by profit, long runs and tourism.
Shakespeare and London Theatre were repositioned as “high culture”, far removed from their original roots in open-air, noisy, and socially mixed playhouses.