This week’s debate will discuss whether theatre still stands as a legitimate art form for the public to indulge. We introduce Pastor Peter Day and actor Walter Wright from the Chamberlain’s Men.

Day:

The theatre needs to go. Every week there are fewer supporters of my sermons and I have started to note, and almost expected, a rise in the shift of public morals. The theatre’s surrounding areas are riddled with brothels, gambling houses, and public drinking places. Passers-by flirt dangerously with these immoral habits, even on holy days.

Wright:

Yet, the theatre blesses us all with entertainment, financial gain and explicit education on our country’s history and culture. The stories we share are before our time, and the revival of dead playwrights’ work means that I, as an actor, can express their once lively rhetoric. How are those without the ability to read allowed to learn about their own country’s heritage without a visual retelling of our past? These histories ‘plant understanding in the hearts of the ignorant.’

Day:

I cannot fathom the disrespect towards the church that has become ingrained within the theatre, as our society abides by explicit biblical readings and teaching of these through religious worship. If our society is seeing bad examples of this onstage, then they will abide by this in life itself. The minds of the idle are easily tainted by visual example and spectacle. Misbehaviour could lead to rebellion against our Lord. This will not do. How can religious minds like mine remain unscathed by the bad example that theatre brings? Even I have the potential to be persuaded by their grandeur and noble garments.

Wright:

I know some might refute these statements with idle chatter about the display of immoral behaviour and cause for this to become riotous, however when the public are within the walls of our Globe, they are neither out whoring or gambling, they are being enlightened, educated and entertained.

Day:

At the very least, these plays need to be censored and abandoned. The mass grouping of immoral citizens could easily insight a moral rebellion, leading to idol minds going into promiscuous professions, such as pick-pocketing, conning the vulnerable and, even at some lengths, prostitution. Furthermore, the succeeding unproductivity of those not at work has the potential to lead to social unrest and idleness, especially with the volatile religious climate as Catholicism takes reign.

Wright:

We are supported generously by our sovereign Queen’s opinions of the stage. Surely her opinion should be paramount for our populous. As she is the earth’s representative of God, how can this not be enjoyed by the religious? ‘Since God has provided us of these pastimes, why may we not use them to his glory?’

By Felix, Ross, Joumana, Rebecca and Francesca

I had lately travelled to the city of London, and in my time there did experience going to one of the playhouses that are of such fashion and popularity amongst many in the city. This day that I crossed the river to attend those playhouses is here recounted for any who wish to walk a similar course in their own travels. 

But before I can make descriptions of those busy playhouses, it would be ill of me not to make mention of my troubles in getting to them. I was instructed by a friend before my arrival to travel by carriage where possible but, finding the roads packed with carriages at a standstill, and being told by the proprietor of my lodgings that these were stuffed with others travelling towards the playhouses, I elected to travel by water-taxi to the opposite bank of the river. This is most recommended, for to travel on foot takes one through the stink and bustle of the London Bridge, on which is a great deal of filth, and above which is an indescribable adornment, best avoided.

I first travelled to the Rose amphitheatre, having been told of a performance of Doctor Faustus was occurring that afternoon. It is the oddest building. Like the other open-air playhouses on this south bank, it seems modelled after it’s neighbours, the bearpit and other animal-baiting houses: galleries looking down as if we are to see the actors tear one another to shreds. I have even heard that it was built without a stage so that players could perform one day, and beasts fight one another the next. However, upon my late arrival, I found the actors already retreating under the weight of hisses and heckles from the crowd.

From here I travelled to the Globe Theatre, where the tragedy of King Lear was being enacted. This was a far more agreeable experience, as the placement of my seating ensured that raucous activity in the yard down below could be avoided. My cushioned chair meant my status could be projected, and showcased alongside the acting. However, the ghastly acoustics proved tiresome, as the lengthy play needed my undivided attention. I was not surprised at the vocal responses of the audience, as I too was compelled to comment on the players’ abilities to act so convincingly onstage. Benefit came from the actors delivering their speech up toward my seating and not toward the lowly crowd below. The mere cast of fifteen people proved an intimate performance, and the spectacle of bloodshed at Caesar’s death was a most enthralling yet disturbing experience. I could smell the metallic syrup in the air, as this side of the river was a dark and dangerous place. This proved to be a fanciful twist of fate for the protagonist, as the masses were particularly engrossed in his performance. Prior to this, I saw the very same player in Hamlet, and whilst being completely different in plot, his performance was almost identical. Perhaps the playwright forgot his originality. Yet the tense atmosphere dominated the whole performance, which I see as the best sign of a successful play. All in all a most thrilling evening of theatre.

By Ross, Felix, Francesca and Rebecca.