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recorded, undermining the influence of women performing in the theatre. An example of one of the women that was first to perform was Mrs. Eastland. Although her name appears on the prompter of
Killigrew's original actresses, "her name appears on no dramatis personae until 1669 and she only ever played minor parts". In addition, she only appears on the cast list in 1669; nine years after the start of the company. In spite of the allowance of women in the theatre, it is evident that the patriarchal nature of the theatre was still very apparent. For men, the acting profession was a respected and successful career, however, "no woman with serious pretentions to respectability would countenance a stage career". But due to the nature and demands of being an actress; learning lines quickly, and needing to have a civilised etiquette meant that the company had to find women of a middle ground; this suggests the class differences, and the overall significance of men compared to women within the company.
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of large painted flats which could be moved along grooves set in the floor and flies of the stage". This was the first public playhouse in
England to use such innovation and so impacted the choice of play. The plays became spectacles; the Siege of Rhodes being a "magnificent production". Other productions such as Hamlet (1661), Love and Honour (1661) and The Tempest (1667) characterise the company's restoration spectaculars and operas. Downes remarked that the adaptation of Love and Honour, originally from 1643, in 1661 was "Richly Cloth'd" with Betterton robed in fine garments and the set extraordinary.
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which would therefore mean
William Davenant would be the owner for the period of 1660–1668. Thereafter Lady Davenant would be considered the owner, with Betterton and Harris as the managers. William Van Lennep supports this assumption writing "The formal structure, then, of this type of arrangement consisted of a proprietor (the largest shareholder), who was the master of the company in both theatrical and financial affairs; a small number of sharing actors, who received a proportion of the profits after the gross receipts had provided for the major expenses; and a large number of actors on salary."
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European theatres. Furthermore, they continued to boast new writers including Aphra Behn, Thomas Otway and once again John Dryden. Unlike
Davenant, neither wrote their own work. However, unlike the King's Company, the second managers wanted to make the transition as smooth as possible. Their decisions had "been reviewed by the board of sharing actors as well as by representatives of the Davenant family". Thus we see that despite having recognizable influence within the company, the duo didn't want to alienate or anyone involved in the company.
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to sustain acting as a full career due to the plays infrequency due to the uncertain status of theatre during the
Interregnum (1649 – 1660). Documents link Betterton's name to working with John Rhodes, a bookseller, during this time. John Downes, a theatre prompter for Davenant's acting troupe, first documents Betterton's participation in theatre in 1659, Drury Lane. Downes accredited Betterton's talents saying; "His voice being audible strong, full and Articulate, as in the Prime of his Acting".
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Dukes theatre, on 24 December 1662. Together, they accumulated shares within the Dukes
Theatre Company by re-investing their money in part-shares. They never had children of their own, however had two adopted daughters who were both trained for the theatre. There is suggestion that Betterton may have fallen ill from 16 October 1667 to 6 July 1668, as Pepys notes in his diary; "Betterton, ill of fever- did not return for several months".
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as well as always updating these scenes to make performances feel fresh and new for the audiences. During his time as manager he set the standard for the Duke's company. After being lumbered with only 23 plays in comparison to the King's 108, Davenant turned his company in the direction of new writing and adaptations of pre-restoration work that he did have. He worked with writers such as George
Etheredge, John Dryden and Roger Boyle.
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theatre companies. Davenant could do this because he was rewarded with a warrant from
Charles I during 1639 to build his own theatre, which whilst defunct still added gravitas to his claims. Furthermore, his masque work with Charles I, also being the writer for the two operas performed during the Puritan regime certainly cemented him as an accomplished and reliable manager to the second company. Thus the Duke's company was created.
480:. During the run of Dryden and Davenant's The Tempest from 1667 to 1668, the Lord Chamberlain issued a warrant for the arrest of the comedian Edward Angel a member of the Dukes Company. Although the reasons behind the order remain unclear, one possible explanation is that Angel had caused offence with his talent for improvisation and unscripted political satire.
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Much of
Betterton's private life and character remains a mystery, as he did not leave behind any personal journals or records. His shadowy reputation is encouraged by Pepys description of him as "a very sober, serious man, and studious and humble". Betterton married Mary Saunderson, an actress in the
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Betterton as a writer is never recorded to have created any original texts, however he took a key role in production adaptation and revamping old texts, which meant combining plot lines. He worked very closely with contemporary playwrights of the time such as Aphra Behn and John Dryden, and very much
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Betterton undertook the responsibility of many lead roles in both
Shakespeare, such as Hamlet, and in newer plays, such as Solyman the Magnificent. He is described as versatile actor, being able to play both villainous and comedic roles, however he did not play farce. In Milhous's "Census" there are
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On 6 October 1660, Betterton was a part of the Kings Company led by Thomas Killigrew. However, by 5 November, he had moved to a formal sharing agreement with Davenant to constitute the Dukes Company, as he may have felt his talent was overshadowed in the Kings Company. Betterton, in the Dukes Company
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As a young boy, Betterton's education is unclear, however he is described to have had a "great propensity" for reading, which may explain why he was bound to Sir William Davenant's publisher, John Holden, in an apprenticeship. He may have performed in Davenant's early-unlicensed plays, however unable
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William Davenant, as a manager and on good terms with the King, was able to use his patency and Betterton's talents to produce performances of his own plays. Killigrew and Davenant planned to put on tragedies, comedies, plays, operas, and all other similar entertainments, setting reasonable admission
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The new theatre the Duke's Playhouse opened on 28 June 1661 in Dorset Gardens, with the spectacular The Siege of Rhodes. The new theatre encompassed new possibilities for the company to create rich and dramatic theatre. "A small stage and proscenium arch; the scenery consisted of wings fronting pairs
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Not only did he attempt to keep the work performed for the Duke's men modern, he also had plans to keep the theatres as functional and of the highest quality. This new and exciting theatre manifested as Dorset Garden. Whilst this was not created until after his death, he managed to fund the project.
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Davenant, with a background in masque, grew to believe that spectacle was the way forward for British theatre. Mary Edmond comments that he "realised very early on that play goers would soon be demanding scenic theatres". Thus he went forward with creating theatre spaces that used changeable scenes,
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Charles Gildon quotes Betterton as saying the company were "obliged to make Study business", and even learning the parts before rehearsals to "enter thoroughly into the Nature of the Part". We can see here an early Stanislavskian approach to acting, where Betterton even "kept his mind in the same
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The Dukes theatre, with the help of Betterton's acting, were recognized for passing on a "traditional" and "correct" way to perform older plays, such as Shakespeare. The actors in the company owned some of the repeat roles as long as they remained in the company, which meant the actors could create
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saw many of their productions, and recorded them in his Diary. King Charles witnessed many of their productions too; in a break with past practice, the King sometimes came to the theatre to see the plays, which in previous reigns had never happened. (Instead, the acting companies had always gone to
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As for who owned the company, it doesn't appear that there was one owner. Instead the companies were owned by shareholders who all had some say in the running of the company, and who helped with raising funds. Indeed, the main shareholder and patent holder should be considered the principal owner,
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Sir William Davenant was the first manager for the Duke's Company. Moreover, he was the patent holder and fundamentally the creator of the theatre group. After Killigrew had been granted his patent for the King's Company, Davenant drafted a document to give him and Killigrew duel monopoly over the
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On 7 April 1668 Sir Davenant died, and Betterton and Augustus Harris, being elected by all parties involved in the theatre, took over as administrators until 1677 whilst the heir to the company, Charles Davenant was too inexperienced. They successfully took control and led the construction of the
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The King's theatre monopoly was controlled by the legislative power the Lord Chamberlain, who had the power to censor dramatic and printed work, having patents submit work 14 days before the performance. The Duke's Company found themselves subject to Chamberlain's legislation because of the comic
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Betterton throughout his career travelled to France regularly to learn about the Spectaculars and foreign Operas in order to increase the Dukes repertoire. However, Bettertons role in the spectaculars remained as chief consultant as he could neither sing nor dance, but he continued performing in
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Betterton's most successful role in the Dukes Company was Hamlet, which he first played in the aftermath of Charles II's coronation in 1661. John Downes writes that Davenant had seen Joseph Taylor act the part before the interregnum and then taught Betterton "in every particle of it". The Dukes
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The Duke's Company were granted exclusive rights to ten Shakespearean plays; Hamlet, Macbeth, King Lear, Romeo and Juliet, The Tempest, Twelfth Night, Much Ado About Nothing, Measure for Measure, Henry VII and Pericles, Prince of Tyre. This, combined with the talented actors, such as Betterton,
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In 1660, for the first time women were allowed to perform on the commercial stage. However, the significance of this at the time was evidently not as apparent. One can assume this because the records of this precise actress that performed is yet to be found; therefore suggesting that it was not
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under the watch of Davenant's wife. Both Betterton and Harris were star players of Davenant. They continued the legacy of the Duke's company well. The theatre house that was erected during their time as managers was state of the art, boasting machinery, something that was no doubt inspired by
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People joined the company by buying shares within the company, as "the companies were a business, and shares in them were sold to raise money needed to furnish theatres, hire personnel, and produce plays". Therefore, it is assumed that only those of a certain class could join the company.
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After Davenant's death in April 1668, Betterton took command of the company, in collaboration with Davenant's widow Lady Mary Davenant. Their management team expanded its strategies to ensure success: the company engaged in three consecutive (and profitable) summer seasons in
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Companies reparatory system was commercially influenced to catch and shape the social mood of the time. As the Dukes Company had royal monopoly, he created a king in Hamlet to reflect the positive influence of the return of the monarchy; his Hamlet was valiant.
256:(Davenant even had to petition for the right to perform his own pre-1642 plays). The Duke's Company was driven to seek out new work by a new generation of writers, and to experiment with new forms and styles. The company performed the plays of Davenant,
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He did this by selling 7 7/10ths of his shares to people at a price range of £600 – £800. Then sharers then managed to raise the rest of the substantial sum of £9000 which it is roughly considered to have cost.
328:, sometimes called the Queen's Theatre, "the most elegant of all the Restoration playhouses...". The Duke's Company exploited the scenic capacities of the Dorset Garden Theatre to produce many of the
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became one of the most famous actors of the Restoration period. He was Samuel and Elizabeth Pepys's favourite actor; "He is called by us both, the best actor in the world."
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saw their production on 24 August; he described it as "done with scenes very well, but above all, Betterton did the Prince's part beyond imagination".
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276:'s plays from 1670 to 1682. The company also acted many translations and adaptations of French and other foreign plays; their 1662 production of
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Thomas Patrick Betterton (ca. 1635 – 28 April 1710), English actor in Dukes Theatre Company, son of an undercook for Charles I, born in London.
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in 1682, under the Duke's Company's management. The United Company began performances in November of that year. The King's Company theatre, the
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and semi-operas that characterized the Restoration era. The most successful of the company's semi-operas was the Dryden/ Davenant adaptation of
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180 documented appearances of Betterton in the Dukes company however the real figure is most likely higher as 128 plays are left undocumented.
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The licensing act even controlled the schedule and permitted attendees. For example, on 6 February 1720 he ordered Gay's new pastoral tragedy
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period, 1678–81. When the King's Company fell into difficulties due to mismanagement, the Duke's Company joined with them to form the
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The theatre house was built under the next set of managers for the Duke's company. This was the collaboration of Thomas Betterton and
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Like the King's Company, the Duke's pioneered the use of the first English actresses in the early 1660s. Their standout performer was
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in Drury Lane, was used mainly for plays, while the Duke's Dorset Garden theatre was devoted to operas and spectaculars.
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Court to perform.) In its busiest seasons, the company staged fifty different plays in a year, ten of them new works.
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and sustain their interpretations of the characters. Betterton is noted today as being "the first classical actor".
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Davenant tried to make the most of the limited Shakespearean materials available to him. In 1662 he staged
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charges to meet "the great expences of scenes, musick and new decorations as have not bin formerly used".
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The Duke's Theatre at Dorset Gardens, on the riverfront, London's most luxurious playhouse.
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Both the Duke's and King's Companies suffered poor attendance during the turmoil of the
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allowed the company to create adaptations of the Shakespeare's within the playhouse.
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The Duke's Company had the patronage of the King's younger brother Prince James,
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starting in 1669. On 9 November 1671 the company moved into a new theatre in
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The Duke's Company was one of the two theatre companies (the other being the
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216:. In 1661, their first year at Lincoln's Inn Fields, the company revived
69:. The Duke's Company existed from 1660 to 1682, when it merged with the
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controlled more of the "Old Stock Plays", the traditional repertory of
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Treading the bawds: Actresses and playwrights on the Late Stuart stage
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Shakespeare Adaptations from the Early Eighteenth Century: Five Plays
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Milhous, Judith (2004). "Betterton, Thomas (bap. 1635, d. 1710)".
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of the Duke's Company from 1662 to 1706. In 1708 he published his
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220:, in a production that employed the innovation of stage scenery.
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Thomas Betterton: The Greatest Actor of the Restoration Stage
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Edmond, Mary (2004). "Davenant, Sir William (1606–1668)".
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and his collaborators. Yet the rival King's Company under
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The company also acted some of the plays in the canon of
144:, a building on Portugal Street that had previously been
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The First English Actresses: Women and Drama, 1660–1700
148:(it opened on 18 June 1661). There they were joined by
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The Cambridge Companion to English Restoration Theatre
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140:. After a year, the actors moved to a new theatre in
340:, which premiered on 7 November 1667. From 1675 on,
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era, when the London theatres re-opened after their
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All the King's Ladies: Actresses of the Restoration
903:Brayne, Charles (2004). "Angel, Edward (d. 1673)".
601:In 1668, five more Shakespearean plays were added:
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53:was manager of the company under the patronage of
1042:. Cambridge Companions to Literature. Cambridge:
554:encouraged the development of their new works.
1187:Beaumont and Fletcher on the Restoration Stage
961:. Women, Theatre and Performance. Manchester:
1210:The London Stage 1660–1800: Part 1: 1660–1700
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1141:(online ed.). Oxford University Press.
1013:(online ed.). Oxford University Press.
909:(online ed.). Oxford University Press.
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1212:. Vol. 1 (1st ed.). Carbondale:
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309:and Mary Lee also had noteworthy careers.
932:The Oxford Illustrated History of Theatre
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534:temperament as his character required".
41:was a theatre company chartered by King
1138:Oxford Dictionary of National Biography
1010:Oxford Dictionary of National Biography
906:Oxford Dictionary of National Biography
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1290:Organizations disestablished in 1682
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476:performer and renowned improvisor,
1214:Southern Illinois University Press
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1285:Organizations established in 1660
1275:1682 disestablishments in England
1208:Van Lennep, William, ed. (1960).
1066:A Shakespeare Companion 1564–1964
1034:Fisk, Deborah Payne, ed. (2000).
930:Brown, John Russell, ed. (2001).
404:Henry Harris and Thomas Betterton
128:. The company started at the old
1112:Johanson, Kristine, ed. (2013).
237:that blended in characters from
546:Dorset Garden Theatre in 1671.
233:, a heavily adapted version of
1270:1660 establishments in England
1185:Sprague, Arthur Colby (1926).
89:) that were chartered by King
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512:Early life and apprenticeship
1295:Theatre companies in England
1237:Wilson, John Harold (1958).
1162:Roberts, David, ed. (2010).
1155:UK public library membership
1027:UK public library membership
923:UK public library membership
283:The Adventures of Five Hours
132:, and occasionally used the
1245:University of Chicago Press
990:Manchester University Press
963:Manchester University Press
953:Bush-Bailey, Gilli (2006).
101:(1642–60) during the
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1095:Cambridge University Press
1044:Cambridge University Press
292:Los Empeños de Seis Horas
254:English Renaissance drama
124:). It was managed by Sir
1191:Harvard University Press
1085:Howe, Elizabeth (1992).
435:Least influential member
330:Restoration spectaculars
272:and others; it produced
213:Pericles, Prince of Tyre
1222:2027/mdp.39015020696632
936:Oxford University Press
130:Salisbury Court Theatre
915:10.1093/ref:odnb/39756
239:Much Ado About Nothing
230:The Law Against Lovers
195:Much Ado About Nothing
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1019:10.1093/ref:odnb/7197
980:Edmond, Mary (1987).
802:, pp. lviii–lix.
644:Pepys, 2 October 1662
492:The Siege of Damascus
99:eighteen-year closure
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1280:17th-century theatre
610:Troilus and Cressida
584:Notes and references
387:Sir William Davenant
146:Lisle's Tennis Court
142:Lincoln's Inn Fields
93:at the start of the
51:Sir William Davenant
45:at the start of the
1305:James II of England
550:traditional plays.
426:Joining the company
235:Measure for Measure
201:Measure for Measure
154:Shakespeare's plays
95:English Restoration
18:Duke's Theatre
371:Roscius Anglicanus
122:James II & VII
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1189:. Cambridge, MA:
1153:(Subscription or
1025:(Subscription or
921:(Subscription or
865:, pp. 143–4.
766:, p. cxliii.
715:, pp. 28–33.
626:Pepys, 4 Nov 1661
377:Company structure
103:English Civil War
63:English Civil War
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1016:
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991:
986:
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978:
974:
972:9780719072505
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947:
945:9780192854421
941:
937:
933:
928:
924:
916:
912:
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907:
901:
900:
896:
889:, p. 15.
888:
883:
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876:
871:
868:
864:
859:
856:
852:
847:
845:
841:
837:
832:
829:
826:, p. 24.
825:
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796:
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789:
784:
781:
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772:
769:
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745:
742:
738:
737:Halliday 1964
733:
730:
726:
721:
718:
714:
709:
706:
702:
697:
694:
690:
685:
682:
679:, p. 62.
678:
677:Halliday 1964
673:
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666:
665:Halliday 1964
661:
658:
651:
641:
638:
635:Cibber, 7.301
632:
629:
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1113:
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1008:
983:
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931:
904:
887:Roberts 2010
882:
877:, p. 1.
875:Roberts 2010
870:
858:
838:, p. 8.
831:
819:
814:, p. 4.
807:
795:
788:Milhous 2004
783:
771:
744:
732:
727:, p. 6.
720:
708:
703:, p. 8.
696:
684:
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573:George Jolly
561:
558:Private life
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120:(later King
114:Duke of York
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84:
73:to form the
59:Duke of York
55:Prince James
38:
36:
26:
1243:. Chicago:
863:Edmond 1987
851:Edmond 2004
749:Edmond 1987
701:Wilson 1958
578:John Rhodes
453:Shakespeare
363:John Downes
349:Popish Plot
338:The Tempest
258:John Dryden
183:The Tempest
107:Interregnum
67:Interregnum
1264:Categories
1157:required.)
1029:required.)
999:071902286X
934:. Oxford:
925:required.)
613:, and the
471:Censorship
382:Management
288:Calderón's
274:Aphra Behn
207:Henry VIII
138:Drury Lane
91:Charles II
43:Charles II
1253:492052383
1078:222822680
836:Howe 1992
824:Howe 1992
812:Fisk 2000
725:Fisk 2000
689:Fisk 2000
652:Citations
589:Footnotes
417:Ownership
171:King Lear
118:of Albany
1064:(1964).
617:trilogy.
615:Henry VI
567:See also
462:Davenant
367:prompter
365:was the
105:and the
65:and the
49:, 1660.
1230:1083463
1070:Penguin
897:Sources
290:comedy
165:Macbeth
134:Cockpit
81:History
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499:Actors
334:operas
322:Oxford
218:Hamlet
210:, and
159:Hamlet
486:Dione
444:Plays
1249:OCLC
1226:OCLC
1195:ISBN
1172:ISBN
1122:ISBN
1099:ISBN
1074:OCLC
1048:ISBN
994:ISBN
967:ISBN
940:ISBN
116:and
37:The
1218:hdl
1143:doi
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20:)
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