Theatricals were under the protection of the queen and nobles who were enthusiastic patrons. The Puritans agitated against theatre for about fifty years, using scripture to make a powerful case that was accepted by many as authoritative.
City of London Corporation and Puritans
Corporation members actively opposed theatricals by stating they were opportunities for lawlessness and violence, created traffic congestion in the crowded city, and caused the spread of the plague.
With royal protection, they were often outwitted when plays advertised as ‘rehearsals’ for the Court were presented and open to the public.
The Puritans’ movement began in 16th century England to bring about religious, societal, and moral reforms. The main concern expressed by some was Sunday playing, and usage of Bible stories on stage. The strictest among them believed that all pleasures were sinful. While they strenuously opposed all theatricals, they were not alone. Others believed that “disguise is sinful and imitation a form of lying”.
A clergyman who was not a Puritan claimed that theatricals caused the plague, and added that when it did not occur, the plays’ ungodliness caused it to return as a curse. When a brawl occurred outside a theatre, the ‘good people’ decided that it was a sign against the profession brought by the wrath of God.
When reminded that the Church had utilized play acting to teach lessons, people argued that theatricals should be banned because they were popish.
Royal Proclamation by James I
Queen Elizabeth’s successor, James I of England (James VI of Scotland), issued a proclamation that forbade plays and similar entertainments on Sunday, and removed licensing privileges from the nobles. In 1624, the function of stage censorship was transferred to the Lord Chamberlain who gave the responsibility of tight control to the Master of the Revels. Plays became less coarse and more political as playwrights and actors, emboldened by James’ love of theatre, ridiculed public figures and insulted the pious.
Not all Puritans opposed the theatre. Shakespeare’s patron, the 3rd Earl of Pembroke, was a Puritan in the government of James, and Oliver Cromwell, who emerged as leader of the Parliamentary Puritans, had as his chaplain a man who admired and quoted Shakespeare.
King Charles I met great opposition from the Puritan Parliament for many reasons. Among the issues was his great extravagances connected to the theatre. As difficulties increased, pamphlets and petitions reviving 16th century arguments described the stage as immoral and indecent.
The Player’s Scourge
Puritan William Prynne’s Histriomastix (The Player’s Scourge) published in 1632 is a strong critique of professional theatre and actors, and clearly presents the Puritans’ belief that plays were condemned by scripture, unlawful, and incentives to immorality.
In 1642, an ordinance issued by Parliament ignored the peoples' need of diversion and suppressed all stage plays The stated reason was that during difficult times (Civil War), diversions and amusements were not appropriate. A more stringent order was issued in 1647 as a consequence of infractions. Soon after, all actors were officially described as rogues and vagabonds, and Justices of the Peace were authorized to demolish all theatres. Some of the punishments ordered:
- Performing actors’ first offense would result in whippings
- For a second offense, actors would be treated as incorrigible rogues who could be banished “beyond the seas”
- Audience members would be fined five shillings
Some members of the nobility privately welcomed players into their homes to perform. Small companies of comedians performed at venues such as universities far from the city while furious zealots attempted to prevent all performances.
Politicians, Puritan or not, feared disorder by large assemblies of poor and hungry unemployed people. Records indicate that it may have been fear of possible rioting that caused the closing of theatres by Parliament. However, records show also that the Puritan campaign against all frivolous endeavors was strong incentive for the closures.
Sources:
- English Actors: From Shakespeare to Macready by Henry Barton Baker, Henry Holt & Company Publishers, 1879
- Puritanism and Theatre by Margot Heinemann, Cambridge University Press, 2007
Kathleen Airdrie - Kathleen has thirty years' freelance writing experience covering history, biographical profiles, environmental and social issues
