all theatres, was at three o'clock in the afternoon, and boys outside
held the horses of the gentlemen who went in to the play. When theatres
were restrained, in 1600, only two were allowed, the Globe and the
Fortune, which was on the north side, on Golden Lane. The Fortune was
fifty feet square within, and three stories high, with galleries, built
of wood on a brick foundation, and with a roof of tiles. The stage was
forty-three feet wide, and projected into the middle of the yard (as the
pit was called), where the groundlings stood. To one of the galleries
admission was only twopence. The young gallants used to go into the yards
and spy about the galleries and boxes for their acquaintances. In these
theatres there was a drop-curtain, but little or no scenery. Spectators
had boxes looking on the stage behind the curtain, and they often sat
upon the stage with the actors; sometimes the actors all remained upon
the stage during the whole play. There seems to have been great
familiarity between the audience and the actors. Fruits in season,
apples, pears, and nuts, with wine and beer, were carried about to be
sold, and pipes were smoked. There was neither any prudery in the plays
or the players, and the audiences in behavior were no better than the
plays.

The actors were all men. The female parts were taken usually by boys, but
frequently by grown men, and when Juliet or Desdemona was announced, a
giant would stride upon the stage. There is a story that Kynaston, a
handsome fellow, famous in female characters, and petted by ladies of
rank, once kept Charles I. waiting while he was being shaved before
appearing as Evadne in "The Maid's Tragedy." The innovation of women on
the stage was first introduced by a French company in 1629, but the
audiences would not tolerate it, and hissed and pelted the actresses off
the stage. But thirty years later women took the place they have ever
since held; when the populace had once experienced the charm of a female
Juliet and Ophelia, they would have no other, and the rage for actresses
ran to such excess at one time that it was a fashion for women to take
the male parts as well. But that was in the abandoned days of Charles II.
Pepys could not control his delight at the appearance of Nell Gwynne,
especially "when she comes like a young gallant, and hath the motions and
carriage of a spark the most that ever I saw any man have. It makes me, I
confess, admire her." The acting of Shakesp