Shakespeare Wrote His Best Works During a PlagueRoundup
tags: theater, Broadway, Shakespeare, plague, Arts, coronavirus, Elizabethan
Daniel Pollack-Peltzner is a professor of English at Linfield College.
As with everything that the coronavirus leaves in its wake, the suspension of operations by most major theaters around the country feels surreal—though surely both inevitable and necessary—and follows yesterday’s announcement that Broadway will turn off its lights for at least the next month. Only two days prior, the producer Scott Rudin had offered $50 discount tickets to his Broadway shows, including West Side Story and The Book of Mormon. “I can’t pretend that great theater is the panacea we’ve been waiting for, but in the meantime we could all use a few hours away from the evening news,” Rudin said in a press release, implying that his shows might, in some form, offer at least emotional inoculation from a pandemic.
Whether theater provides an entertaining diversion from “the evening news” or might be the cause of further suffering, however, is a debate that goes back at least to Shakespeare’s day. Elizabethan theaters were frequently shuttered in London during outbreaks of the bubonic plague, which claimed nearly a third of the city’s population. The official rule was that once the death rate exceeded thirty per week, performances would be canceled. (As an infant, Shakespeare himself barely survived an outbreak that killed his older siblings.) Like New York’s governor Andrew Cuomo, who has banned gatherings of more than 500 people, London officials in the 16th century worried that people flocking to town to “see certayne stage plays” would be “close pestered together in small romes,” creating the means “whereby great infeccion with the plague, or some other infeccious diseases, may rise and growe, to the great hynderaunce of the common wealth of this citty.”
In the first decade of King James I’s reign, the plague meant that London theaters were likely closed more often than they were open, and Shakespeare’s troupe, The King’s Men, had to rely on royal gifts and provincial tours to replace their lost box office. (No such luck for Broadway shows on tour; my family’s tickets to Frozen were canceled—regrettably? mercifully?—this weekend in Oregon, where the governor has banned gatherings of more than 250 people.) In The Year of Lear, the scholar James Shapiro notes that nascent epidemiologists weren’t the only ones who blamed the spread of disease on tourists breathing the same foul air in enclosed entertainment venues; religious zealots also came after the theater’s purported immorality: blasphemy, lewdness, cross-dressing. One Elizabethan preacher proclaimed that because “the cause of plagues is sin” and “the cause of sin are plays,” then “the cause of plagues are plays.”
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