ACTING
Just as it had been throughout theatrical history, in Shakespeare’s world, only the men could perform. However, acting was not a legal profession. An actor was considered a vagrants, or a bum and could be arrested if they had no other profession. To actually be a professional actor, you had to be a servant of a household. If the master of the household wanted you to perform, well, that was their business. It wasn’t until 1572 that acting recognized as a legal profession. Of course, you had to belong to an acting company, and that company had to obtain a license, but at least it was legal. The Lord Chamberlain’s Men was Shakespeare’s company and was one of the first to get such a license. The group later changed their name to The King’s Men.
PLAYHOUSES
There were two types of performances one could attend if wanting to go the the theatre: public and private. A public show was in an open-air buildings that housed up to 2000 people. Since they had open roofs, the shows depended on good weather so to announce if a show would be presented that day, flags would flown early in the day to announce shows. Different colors announced “yea” or “nay.” A private show would take place in the grand hall of a noble. They were often open to the public with admission and could be performed all winter and during other inclimate days. Due to them being in a hall, the audiences would be much smaller with higher prices.
THE GLOBE
Shakespeare’s famous theatre, The Globe, was built in 1599 by the Lord Chamberlain’s Men on the Southern shore of the Thames River in London. All theatres had to be on the Southern Shore as theatres were not allowed within the city limits. Although theatre was popular, even with Queen Elizabeth herself, its reputation was anything but proper and dignified. The Globe had 3 seating levels in an octagon. The stage was at one side and there was a balcony and room for musicians on top.
The original Globe burned down in 1613 due to a cannon shot used as a prop during a performance of Henry VIII. It was soon rebuilt and remained open on its original foundations until the Puritans closed it in 1642 and then torn down two years later to make room for housing. The foundation remained buried until discovered until 1989 and rebuilt once again. You can go there and see a show! Many recreations and theaters bear the name The Globe all over the world.
THEATRE PATRONS
Anyone could attend the theatre and all variety of people did. The rich in the upper seats and paid more, while the poor were down below. the cheapest “seats” we not seats at all. If you were really down on your luck, or extremely cheap, you could pay a penny to get in and stand in front of the stage. These folks were referred to as “groundlings.” The audiences of Shakespeare’s day were not the quiet, respectful audience that turns off cell 
phones and “shhs” each other if they talk. They were a rowdy bunch that would talk, clap, cheer, boo and hiss and might throw things or yell at the actors if the performance was getting boring. Prior to the show, patrons might be found in a neighborhood pub or tavern drinking, bear baiting or bull baiting, or even at a cock fight. Bear or Bull baiting is where they take a bull/bear and stake them to the ground with a very short chain. Then they would poke, thrown things, and let dogs attack them to provoke roars or snorts. NICE, HUH! Yea, this crowd was in no condition to be polite. They wanted excitement. Shakespeare took his clue by adding in fights, dances, music, and a LOT of “locker room” humor.
Just take a quick peek at the opening scene of Romeo and Juliet. Read it through once.
SAMPSON
A dog of that house shall move me to stand: I will
take the wall of any man or maid of Montague’s.
GREGORY
That shows thee a weak slave; for the weakest goes
to the wall.
SAMPSON
True; and therefore women, being the weaker vessels,
are ever thrust to the wall: therefore I will push
Montague’s men from the wall, and thrust his maids
to the wall.
GREGORY
The quarrel is between our masters and us their men.
SAMPSON
‘Tis all one, I will show myself a tyrant: when I
have fought with the men, I will be cruel with the
maids, and cut off their heads.
GREGORY
The heads of the maids?
SAMPSON
Ay, the heads of the maids, or their maidenheads;
take it in what sense thou wilt.
GREGORY
They must take it in sense that feel it.
SAMPSON
Me they shall feel while I am able to stand: and
’tis known I am a pretty piece of flesh.
GREGORY
‘Tis well thou art not fish; if thou hadst, thou
hadst been poor John. Draw thy tool! here comes
two of the house of the Montagues.
SAMPSON
My naked weapon is out: quarrel, I will back thee.
Seems fine right, now realize that Shakespeare often played with double meaning. So go aback and read it again, but his time note that in this scene any time they talk about a sword or weapon or even being able to “stand,” they are playing a double meaning of male genitalia. Maids are women and a maidenhead is her virginity.
SAMPSON
A dog of that house shall move me to stand: I will
take the wall of any man or maid of Montague’s.
GREGORY
That shows thee a weak slave; for the weakest goes
to the wall.
SAMPSON
True; and therefore women, being the weaker vessels,
are ever thrust to the wall: therefore I will push
Montague’s men from the wall, and thrust his maids
to the wall.
GREGORY
The quarrel is between our masters and us their men.
SAMPSON
‘Tis all one, I will show myself a tyrant: when I
have fought with the men, I will be cruel with the
maids, and cut off their heads.
GREGORY
The heads of the maids?
SAMPSON
Ay, the heads of the maids, or their maidenheads;
take it in what sense thou wilt.
GREGORY
They must take it in sense that feel it.
SAMPSON
Me they shall feel while I am able to stand: and
’tis known I am a pretty piece of flesh.
GREGORY
‘Tis well thou art not fish; if thou hadst, thou
hadst been poor John. Draw thy tool! here comes
two of the house of the Montagues.
SAMPSON
My naked weapon is out: quarrel, I will back thee.
Isn’t all that sweet and innocent anymore, huh!
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