The Restoration Theatre, Audience, Actors.

In 1642, six years before the execution of Charles I in 1649, the Parliament closed the theatres in England. A few years later Oliver Cromwell was proclaimed Lord Protector of the Commonwealth of England, Scotland, and Ireland. His government was fiercely Puritan in religion and in administration. So until the Restoration of Charles II to the throne in 1660, there was very little of theatre in England. However, it was during this time that the influence of French theatre, and through it, Italian notions of theatre architecture, was experienced by English actors and royalists in exile. Charles II, the king, had been in France during the greater part of the Protectorate, together with many of the royalist party, all of whom were familiar with Paris and its fashions. Thus it was natural, upon the return of the court, that French influence should be felt, particularly in the theatre. In August, 1660, Charles issued patents for two companies of players, and performances immediately began. Theatre was beginning to focus more on the mechanics of scenery and spectacle. The plays themselves were often masques in which costume, dance and clever scenery and scene changes were more emphasized than acting and plot.

Theater Monopolies

Two playhouses given official sanction: The King‘s Company and Duke of York’s Co. From these two names comes the term, legitimate theater, which refers to professional stage plays.

Audience

The Restoration theatre was entirely the court’s preserve. Charles II was the first English monarch who regularly attended the public theatre. He personally interested himself in the preparation of scripts and in the running of the acting companies. The spectators at the two theatres were exclusively courtiers and their hangers-on. Two theatres were sufficient for the metropolis of London. Performances started at three-thirty or four in the afternoon. The aristocrats looked upon the playhouse as a social assembly where they had an opportunity to disport themselves.

Women Actors

The patent stated: “All women’s parts should be performed by women” and that plays and acting should be considered “not only harmless delights but useful and instructive representations of human life.” Nell Gwynn “moves the passions”. First Celebrity Actors.

Nell Gwynn (1650-1687),was one of the first actresses (and the mistress of Charles II). This period also saw the first professional woman playwright, Aphra Behn (1640-1689).