The Cambridge History of English and American Literature in 18 Volumes (1907–21).
Volume VIII. The Age of Dryden.
V. The Restoration Drama.
§ 5. The King’s and the Duke of York’s Companies “Created” after it.
| Upon his restoration, king Charles issued a patent to Thomas Killigrew and Sir William D’Avenant, empowering them to “erect” two companies of players. 11 This raised a storm of protest, especially from Herbert, who immediately petitioned the king and council and brought action in the courts, singling out D’Avenant as his peculiar foe and describing him as one who had “obtained leave of Oliver and Richard Cromwell to vent his operas at a time when your petitioner owned not their authority.” 12 In the first instance, combination, and then a second division, of the two companies followed; but, before long, the claims of Herbert were adjusted and the two royal patentees were upheld. Their troupes soon became known, Killigrew’s as the king’s, and D’Avenant’s as the duke of York’s, company of players. In 1661, the latter company removed to a new playhouse built for them in Lincoln’s inn fields, Portugal row, and later, in 1673, after the death of D’Avenant, to the sumptuous theatre in Salisbury court, Fleet street, a site previously known as Dorset garden. D’Avenant’s house was commonly called “the opera” from the performance of musical plays there. But D’Avenant by no means gave an undivided attention to such productions. The king’s company (Killigrew’s), variously housed before 1663, removed in that year to the Theatre Royal in Drury lane, Covent garden. |
5 |
|