v. The Earl of Sussex’s Men

Thomas Radcliffe, s. of Henry, 2nd Earl; nat. c. 1526; m. (1) Elizabeth, d. of Thomas Earl of Southampton, (2) Frances, d. of Sir William Sidney, 26 Apr. 1555; succ. as 3rd Earl, 17 Feb. 1557; Lord Chamberlain, 13 July 1572; ob. 9 June 1583.

Henry Radcliffe, s. of Henry, 2nd Earl; nat. c. 1530; m. Honora, d. of Anthony Pound, before 24 Feb. 1561; succ. as 4th Earl, 1583; ob. 14 Dec. 1593.

Robert Radcliffe, s. of 4th Earl; nat. c. 1569; m. (1) Bridget, d. of Sir Charles Morison, who ob. Dec. 1623, (2) Frances Shute; succ. as 5th Earl, 1593; acting Earl Marshal, 1597, 1601; ob. 22 Sept. 1629.

The third Earl of Sussex had a company, which proved one of the most long-lived of the theatrical organizations of Elizabeth’s time and held together, now in London and now in the provinces, under no less than three earls. It first makes its appearance at Nottingham on 16 March 1569, at Maldon in 1570, on 28 January 1571, and on 20 August 1572, at Ipswich in 1571–2, at Canterbury and Dover in 1569 and 1570, and in 1569–70 at Bristol, Gloucester, and Ludlow, where it was of six men. Sussex became Chamberlain in July 1572 and in the following winter his company came to the Court, whose Christmases it helped to enliven pretty regularly until the death of its first patron in 1583. As I have shown elsewhere (ch. vi), Sussex seems to have had occasional deputies in Lord Howard of Effingham and Lord Hunsdon during his term of office, but it is probably justifiable to assume that, when the Chamberlain’s men are referred to at any time during 1572–83, Sussex’s men are meant, and in 1577 and 1581 there is clear evidence that the names are used synonymously. Oddly enough, Howard’s men are also referred to in one record of 1577 (cf. p. 134) as the Chamberlain’s, but that is probably a slip. The detailed history of the company during this period is as follows. In 1572–3 they were at Bath, in July 1573 at Leicester, on 14 September at Nottingham, in 1573–4 at Coventry, in 1574, on some date before 29 September, at Leicester again, on 13 July at Maldon, and in September at Wollaton (Francis Willoughby’s). They rehearsed two Court plays for Christmas on 14 December, Phedrastus and Phigon and Lucia, but in the end did not give a performance. In 1574–5 they were at Gloucester, in 1575 at Maldon, and before 29 September at Leicester. They played at Court on 2 February 1576. Their payee was John Adams, the only actor whose name is recorded in connexion with the company. In 1575–6 they were at Ipswich, on 27 July 1576 at Cambridge, and between 29 July and 5 August at Bristol, where they played The Red Knight. On 2 February 1577 they played The Cynocephali at Court. In 1576–7 they were at Coventry and Bath, on 30 May 1577 at Ipswich, and on 31 August at Nottingham. On 2 February 1578 they played at Court. In 1577–8 they were at Bath, on 15 July 1578 at Maldon, in the same year at Bristol, and in 1578–9 at Bath. Thereafter their activities seem to have been mainly confined to London. They were named by the Privy Council to the Lord Mayor among the Court companies for the Christmas of 1578–9 (App. D, No. xl), and played The Cruelty of a Stepmother on 28 December 1578, The Rape of the Second Helen on 6 January, and Murderous Michael on 3 March 1579. In the following winter their pieces were The Duke of Milan and the Marquess of Mantua on 26 December, Portio and Demorantes on 2 February, and Sarpedon on 16 February 1580. The names of their Court plays on 27 December 1580 and 2 February 1581 are unfortunately not recorded. On 14 September they recur in the provinces, at Nottingham. They missed the next winter at Court, and made their last appearance there for a decade in Ferrar on 6 January 1583.

Either the death of their patron in June 1583, or possibly the formation of the Queen’s men in the previous March, eclipsed them, but in 1585 they reappear as a provincial company, visiting Dover on 15 May, Bath on 22 July and in May 1586, Coventry twice in 1585–6, Ipswich in 1586–7, York in 1587, Leicester before Michaelmas of the same year, and Coventry in September. Here they were playing under the name of the Countess of Sussex. In 1587–8 they were at Coventry and Bath, on 18 April 1588 at Ipswich, on 17 February 1589 at Leicester, on 1 March at Ipswich, on 19 November at Leicester again, in the course of 1589 at Faversham, and in 1588–9 at Aldeburgh. On 17 February 1590 they were at Ipswich. In the spring of 1591 they appear to have made a temporary amalgamation with a group of the Queen’s men (q.v.) and appeared with them on 14 February at Southampton, on 24 March at Coventry, and during 1590–1 at Gloucester. This arrangement probably terminated in May, and on 11 August Sussex’s were alone at Leicester.

They enter the charmed London circle again with a Court performance on 2 January 1592. It is possible that they had attracted the services of Marlowe, for Kyd in a letter, probably to be dated in 1593, speaks of himself as having been in the service of a lord for whose players Marlowe was writing, and there are some traces of connexion between Kyd and the house of Radcliffe. During the plague of 1593 the company were obliged to travel again, and on 29 April the Privy Council Register records the issue of

‘an open warrant for the plaiers, servantes to the Erle of Sussex, authorysinge them to exercyse theire qualitie of playinge comedies and tragedies in any county, cittie, towne or corporacion not being within vijen miles of London, where the infection is not, and in places convenient and tymes fitt.’

The company were at Ipswich, Newcastle, and York in 1592–3. They were at Winchester on 7 December 1593; then came to London under the patronage of the fifth Earl, and, although not at Court, had a season of about six weeks, beginning on 26 December and ending on 6 February, with Henslowe, probably at the Rose. The names and dates of their plays and sums received at each, probably by himself as owner of the theatre, are noted by Henslowe in his diary. The company performed on thirty nights, in twelve plays. Henslowe’s receipts averaged £1 13s., amounting to £3 1s. on the first night and £3 10s. on each of the next two, and thereafter fluctuating greatly, from a minimum of 5s. to a maximum of £3 8s. This last was at the production of the one ‘new’ play of the season, Titus Andronicus, on 24 January. The enterprise was brought to an abrupt termination by a renewed alarm of plague, and a consequent inhibition of plays by the Privy Council on 3 February. Titus Andronicus was played for the third and last time on 6 February, and on the same day the book was entered for copyright purposes in the Stationers’ Register. The edition published in the same year professes to give the play as it was played by ‘the Earle of Darbie, Earle of Pembrooke, and Earle of Sussex their Servants’. I suppose it to have passed, probably in a pre-Shakespearian version, from Pembroke’s to Sussex’s, when the former were bankrupt in the summer of 1593 (cf. infra), and to have been revised for Sussex’s by the hand of Shakespeare. If so, it is a plausible conjecture that certain other plays, which were once Pembroke’s and ultimately came to the Chamberlain’s men, also passed through the hands of Sussex’s. Such were The Taming of A Shrew, The Contention of York and Lancaster, and perhaps the Ur-Hamlet, 1 Henry VI, and Richard III. There is no basis for determining whether any of Shakespeare’s work on the York tetralogy was done for Sussex’s; but it is worth noting that one of their productions was Buckingham, a title which might fit either Richard III or that early version of Henry VIII, the existence of which, on internal grounds, I suspect. Of Sussex’s other plays in this season, one, George a Greene, the Pinner of Wakefield, was published as theirs in 1599; another, Marlowe’s Jew of Malta, probably belonged to Henslowe, as it was acted in turn by nearly every company which he financed; and of the rest, God Speed the Plough, Huon of Bordeaux, Richard the Confessor, William the Conqueror, Friar Francis, Abraham and Lot, The Fair Maid of Italy, and King Lud, nothing is known, except for the entry of God Speed the Plough in 1601 and an edifying tale related about 1608 by Thomas Heywood in connexion with an undated performance of Friar Francis by the company at King’s Lynn.

At Easter 1594 Henslowe records another very brief season of eight nights between 1 and 9 April, during which the Queen’s and Sussex’s men played ‘together’. This suggests to Dr. Greg that the companies appeared on different nights, but to me rather that they combined their forces, as they seem to have already done at Coventry in 1591. Henslowe’s receipts averaged £1 17s. The repertory included, besides The Fair Maid of Italy and The Jew of Malta, King Leare, doubtless to be identified with King Leire and his Three Daughters (1605), The Ranger’s Comedy, and Friar Bacon and Friar Bungay. The latter was published in 1594 as a Queen’s play. Both it and The Ranger’s Comedy were played at a later date by the Admiral’s, and may have belonged to Henslowe. Strange’s had played Friar Bacon in 1592–3.

Thereafter Sussex’s men vanish from the annals; they may have been absorbed in the Queen’s men for travelling purposes. Later players under the same name are recorded at Coventry in 1602–3, Dover in 1606–7, Canterbury in 1607–8, Bristol, Norwich, and Dunwich in 1608–9, Leicester on 31 August 1615, and Leominster in 1618, and it may be these to whom Heywood alludes as visiting King’s Lynn. If so, their possession of Friar Francis suggests some affiliation to the earlier company.