The Master of the Revels was the holder of a position within the English, and later the British, royal household, heading the "Revels Office" or "Office of the Revels". The Master of the Revels was an executive officer under the Lord Chamberlain. Originally he was responsible for overseeing royal festivities, known as revels, and he later also became responsible for stage censorship, until this function was transferred to the Lord Chamberlain in 1624. However, Henry Herbert, the deputy Master of the Revels and later the Master, continued to perform the function on behalf of the Lord Chamberlain until the English Civil War in 1642, when stage plays were prohibited. The office continued almost until the end of the 18th century, although with rather reduced status. In 1624 the Office of the Revels was put directly in the hands of the Lord Chamberlain, thus leading to the Licensing Act 1737, when the role was taken over by the Examiner of the Stage, an official of the Lord Chamberlain. The function was abolished only in 1968. In addition, by the end of Tylney's tenure, the authority of the Revels Office (rather than the City of London) to license plays for performance within the city was clearly established. Buck was granted the reversion of the mastership in 1597, Sir John Astley followed Buck in the office, but he soon sold his right to license plays to his deputy, Henry Herbert, who became Master in 1641.

For the study of English Renaissance theatre, the accounts of the Revels Office provide one of the two crucial sources of reliable and specific information from the Tudor and Stuart eras (the other being the Register of the Stationers Company). Within the revels accounts scholars find facts, dates, and other data available nowhere else. A catalogue of the Folger Shakespeare Library collection based on the majority of surviving papers of Thomas Cawarden is available on-line. Other papers are available to study at the Public Record Office at Kew, or the Surrey Record Office.

With the outbreak of the English Civil War in 1642, stage plays were prohibited. Stage plays did not return to England until the Restoration in 1660.

The Revels Office

In 1608, Edmund Tylney wrote a memorandum on the office that offers a vivid picture of its operation. He wrote that the office:

Tylney went on the note that the office also provided a house for the master and his family, and other residences for some of the office's personnel, if specified in the patents of their positions.

In the year of the Tylney document, the Revels Office had moved to the Whitefriars district outside the western city wall of London, though throughout its history it was located in several other places about the city, including the Blackfriars district.

According to Thomas Blount in his 1656 dictionary "Glossographia", the origin of the word "Revels" is the French word "reveiller", to wake from sleep. He goes on to define "Revels" as:

Masters of the Revels

  • Walter Halliday (1461–1483)
  • Sir Thomas Cawarden (1544–1559)
  • Sir Thomas Benger (1560–1572)
  • Sir Thomas Blagrave (1573–1579)
  • Sir Edmund Tylney (1579–1610)
  • Sir George Buck (1610–1622)
  • Sir John Astley (1622–1640)
  • Sir Henry Herbert (1640–1673, de facto from 1623)
  • Thomas Killigrew (1673–1677)
  • Charles Killigrew (1677–1725)
  • Francis Henry Fitzroy Lea, Esq. (1726–1730/1)
  • Charles Lee, Esq. (1731-1744)
  • Solomon Dayrolles, Esq. (1744–1786)
  • John Charles Crowle, Esq. (1786-????)

Master of the Revels (Ireland)<!-- Master of the Revels in Ireland redirects here-->

  • John Ogilby (1637–) (first Irish Master of the Revels)
  • Joseph Ashbury (1682–)
  • Thomas Griffith (1721–1729)
  • Edward Hopkins (1722–1736)

See also

  • Artists of the Tudor court
  • Serjeant Painter

Notes

References

Further reading

  • Clare, Janet (1990). Art Made Tongue-Tied by Authority: Elizabethan and Jacobean Dramatic Censorship. Manchester, Manchester University Press
  • Clare, Janet (1990) "The Censorship of the Deposition Scene in Richard II", The Review of English Studies 41
  • Clare, Janet (1987). "'Greater Themes for Insurrection's Arguing': Political Censorship of the Elizabethan and Jacobean Stage." The Review of English Studies 38.150
  • Cunningham, Peter (1842). Extracts from the accounts of revels at court, Malone Society
  • Dutton, Richard (1991). Mastering the Revels: The Regulation and Censorship of English Renaissance Drama. Iowa City, University of Iowa Press
  • Feuillerat, Albert (1914). Documents Relating to the Office of the Revels, Louvain
  • Gurr, Andrew (2009). The Shakespearean Stage 1574–1642. Cambridge University Press
  • Herbert, Henry (1917) The Dramatic Records of Sir Henry Herbert: Master of the Revels, 1623–1673. Vol. 3. Yale University Press
  • Kempe, Alfred John (1836). The Loseley Manuscripts, John Murray, London
  • Metz, G. Harold (1982) "The Master of the Revels and The Brooke of Sir Thomas Moore." Shakespeare Quarterly 33.4
  • Rosenfeld, Sybil (1935) "The Restoration Stage in Newspapers and Journal, 1660–1700." Modern Language Review
  • Historical Manuscripts Commission, 7th Report, Manuscripts of William More Molyneaux at Loseley Park, (1879), 596–681.