Seventeenth-century theatre
Interest in theatre increased during the Stuart period. Many rich courtiers and aristocrats hosted touring theatrical productions in their homes. Masques too were a popular form of recreation for the royal court and the very rich, often commissioned for celebrations. They would involve music, dance and elaborate costumes and scenery. The architect Inigo Jones devised the sets for several royal masques, and later went on to design theatre buildings. He had toured Italy and France and was heavily influenced by their designs. He is also attributed with introducing the first proscenium arch – a decorative architectural frame over a thrust stage.
After the execution of Charles I in 1642, theatrical performances were outlawed owing to the threat of civil unrest. Theatres closed and many were demolished.
Following the Restoration of the monarchy twenty years later, interest in theatre resumed. In reward for their loyalty to the Crown, Charles II issued patents to two theatre companies in London, Davenant and Killigrew, to stage drama. They presented at various sites across the city before they set up permanent theatres in Drury Lane and Covent Garden. Later, the King issued limited patents to a few more theatres in London. However, by this time, theatre buildings began to change, influenced by those in Europe. They were now roofed, with stages for changeable scenery that was slid into position using grooves in their floors. Other scenery was flown in from above. To accommodate these elaborate stage sets more space was therefore needed behind the stage.
Another court architect, Christopher Wren, is also known to have drafted designs for theatres.
