In 1598, in the last days on the year, a group of men tore a building down in Shoreditch. Giles Allen, who owned the plot of land had claimed that the building being dismantled belonged to him, since the lease on the land had expired. The men disagreed, and when Allen went off to his country home for Christmas, they picked the building apart, and transported it, timber by timber, to a warehouse in Bridewell. That spring they rebuilt that building, the Theatre, and adorned it with a new, more imaginative name. The Globe had come into being.
Richard Burbage was 31, already a successful actor, when he rebuilt his father’s Theatre. When he played a part in creating the Globe, Burbage erected a stage he would come to rule. If the marble slab to his – and James Burbage’s, Cuthbert Burbage’s, William Somers’, Richard Tarlton’s, Gabriel Spencer’s, William Sly’s, and Richard Cowley’s – memory in St Leonard’s is to be believed, his most memorable thespian achievements took the form of Richard III and Hamlet.
He was a shareholder in the Lord Chamberlain’s Men, who would become the Queen’s Men, and then, with James’ ascension, the King’s Men. Shakespeare left him money in his will, alongside John Heminge and Henry Condell, for mourning rings. Burbage overtook Shakespeare on the final stretch of road, while Heminge and Condell went on to become the driving forces behind the First Folio in 1623.
When Burbage died, in early March 1619, the sorrow that enveloped London and particularly the theatrical world of the capital was so all-encompassing it became the subject of an anonymous mocking verse, punning on the opening lines from Henry VI part 1:
Hung be the heavens with black, yield day to night!
Comets importing change shoot through the sky:
Scourge the foul fates that thus afflict our sight!
Burbage, the player, has vouchsafed to die!
Therefore, in London is not one eye dry:
The deaths of men who act our Queens and Kings,
Are now more mourn’d than are the real things.
A second Globe stood where the Theatre’s timbers had turned to ash in 1613, but it was a hollow world, the poet complained:
Hereafter must our Poets cease to write.
Since thou art gone, dear Dick, a tragic night
Will wrap our black-hung stage
For more information on Richard Burbage check out these books:
C.C. Stopes Burbage and Shakespeare’s Stage (PR3095)
Bart Van Es Shakespeare in Company (PR2957)
Evelyn Tribble Early Modern Actors and Shakespeare’s Theatre – Thinking with the Body (new)
Sara Westh, Library Support Assistant