When the lease expired for the original location, the Burbages reassembled the theater on the South Bank of the Thames in 1599. This was considered to be one of the 'seedier' districts of London. As well as play-going (a disreputable practice in and of itself), bearbaiting, bull-baiting, and prostitution, were other popular spectator sports on the South Bank (Cummings 2003). When the first Globe burnt down in 1613 "an auditor whose breaches were on fire" was "doused with ale," given that "liquid refreshments" at the tavern were always nearby at the Globe (Burgess 80). Shakespeare had a financial interest in the theater, as well as acted with and wrote for the Burbage's company called the Lord Chamberlain's Men. Shakespeare and four other investors and actors, including John Heminges, Augustine Phillips, Thomas Pope and Will Kemp, owned the remaining 50% in equal shares and Shakespeare profited as much from owning the theater as from the reputation secured by his plays during his lifetime (Cummings 2003). Thus, unlike today, the 'entertainment industry' of the Elizabethan theater was far more integrated in its roles. The affection and self-referential nature of the players towards the Globe is evident in the comments of many of Shakespeare's characters such as when one character is said to be "spherical" like a "globe" (i.e. fat) (Burgess 67). As well as owning the theater, Richard Burbage was the first actor in history to play Hamlet, Macbeth, Othello, King Lear, Romeo, Henry V and Richard III, and it is reputed that Shakespeare performed the 'ghost' in the first production of "Hamlet" and Will Kemp was a noted clown and likely was the first...
The style was very presentational, rather than subtle, and all of the roles were played by males. There were no microphones, and actors had to project long distances and keep the attention of the often drunk, rowdy groundlings. Artifice and acting was very important -- actors played many kinds of roles very different from their natural physical types. The performers functioned as a unit, the boy actors performing women like Lady Macbeth, Ophelia, and Juliet's nurse would make their way to lead, male roles after proving themselves in these 'minor' parts. The lack of evidence about Shakespeare's life, other than his plays and his financial dealings, has caused much speculation about his true character -- and his relationship with 'real' women said to inspire his plays and poems (Greer, 2008). But of what is known of the Globe, we can assume it was a full-bodied, cut-throat performance space, with actors who really knew from personal experience how to fight with swords -- the very antithesis of what many people think classical theater is like today!
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