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Thomas Pope was a player with a long and successful career. He played on the Continent in the 1580s, he belonged to Strange's men in the early 1590s, and he joined the Chamberlain's men in 1594. He owned shares in the Curtain and Globe playhouses. In the 1590s he lived in St. Savior's parish, Southwark. His will is dated 22 July 1603. Full of details of his playhouse connections, it shows that he prospered in his profession.
Thomas Pope was a player with a long and successful career. As a member of Leicester's men, he played on the Continent at such locations as Elsinore (1586) and Dresden (1587). Following the earl's death, he joined the newly-forming company of Lord Strange's men probably as early as Christmas 1588/9; in May 1593, he was named among the company players licensed by the Privy Council for touring. He joined the Chamberlain's men at its formation in 1594, and the remainder of his career was spent with that company. In the course of that career, he acquired shares in both the Curtain and Globe playhouses. Legal records show that Pope was involved in some kind of dispute with Oliver Woodliffe, known in theatrical circles as "lessee of the Boar's Head" playhouse (Eccles, p. 301). As did many of his theatrical contemporaries, Pope lived in the parish of St. Saviour's, Southwark.
 
His will, dated 22 July 1603, is evidence of his financial security and personal network. He names his mother and two brothers (John and William); he names one woman, "susan gasqune," whom he raised from birth, and another, Mary Clarke, to whom he left residential property as well as his shares in the Curtain and Globe; and he names apprentices (Robert Gough, John Edmonds) to whom he left all his "wering aparrell" and "armes" (Honigmann and Brock, 70).  
 
The surviving plot of the second part of "[[Second Part of the Seven Deadly Sins, The|The Seven Deadly Sins]]" identifies his part as "Arbactus" in the playlet of "Sloth" (Kathman, p. 32). His parts may have been predominantly comic, if Samuel Rowlands in ''The Letting of Humours Blood in the Head-Vaine'' is accurate in calling him "''Pope'' the Clowne" ("Satire iv" [Nungezer, p. 286]). He is named among the cast of ''Every Man In his Humour'' and ''Every Man Out of his Humour,'' but not in conjunction with a specific part. Eccles cites T. W. Baldwin as having considered Pope the player of such parts as Falstaff and Sir Toby Belch (p. 201).
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====Works Cited====
====Works Cited====


<div style="padding-left: 2em; text-indent: -2em">Manley, Lawrence and Sally-Beth MacLean. ''Lord Strange's Men and Their Plays''. New Haven and London: Yale University Press, 2014.</div>
<div style="padding-left: 2em; text-indent: -2em">Eccles, Mark. "Elizabethan Actors I: K-R," ''Notes and Queries'' 237 (1992): 293-303.</div>
<div style="padding-left: 2em; text-indent: -2em">Honigmann, E. A. J. and Susan Brock. ''Playhouse Wills 1558-1642'''. Manchester: Manchester University Press, 1993.</div>
<div style="padding-left: 2em; text-indent: -2em">Kathman, David. "Reconsidering ''The Seven Deadly Sins'', ''Early Theatre'' 7.1 (2002). 13-44.</div>
<div style="padding-left: 2em; text-indent: -2em">Nungezer, Edwin. ''A Dictionary of Actors''. New York: Greenwood Press, 1968 (orig. Yale University Press, 1929).</div>
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Revision as of 13:18, 8 March 2022

Thomas Pope was a player with a long and successful career. As a member of Leicester's men, he played on the Continent at such locations as Elsinore (1586) and Dresden (1587). Following the earl's death, he joined the newly-forming company of Lord Strange's men probably as early as Christmas 1588/9; in May 1593, he was named among the company players licensed by the Privy Council for touring. He joined the Chamberlain's men at its formation in 1594, and the remainder of his career was spent with that company. In the course of that career, he acquired shares in both the Curtain and Globe playhouses. Legal records show that Pope was involved in some kind of dispute with Oliver Woodliffe, known in theatrical circles as "lessee of the Boar's Head" playhouse (Eccles, p. 301). As did many of his theatrical contemporaries, Pope lived in the parish of St. Saviour's, Southwark.

His will, dated 22 July 1603, is evidence of his financial security and personal network. He names his mother and two brothers (John and William); he names one woman, "susan gasqune," whom he raised from birth, and another, Mary Clarke, to whom he left residential property as well as his shares in the Curtain and Globe; and he names apprentices (Robert Gough, John Edmonds) to whom he left all his "wering aparrell" and "armes" (Honigmann and Brock, 70).

The surviving plot of the second part of "The Seven Deadly Sins" identifies his part as "Arbactus" in the playlet of "Sloth" (Kathman, p. 32). His parts may have been predominantly comic, if Samuel Rowlands in The Letting of Humours Blood in the Head-Vaine is accurate in calling him "Pope the Clowne" ("Satire iv" [Nungezer, p. 286]). He is named among the cast of Every Man In his Humour and Every Man Out of his Humour, but not in conjunction with a specific part. Eccles cites T. W. Baldwin as having considered Pope the player of such parts as Falstaff and Sir Toby Belch (p. 201).


Works Cited

Eccles, Mark. "Elizabethan Actors I: K-R," Notes and Queries 237 (1992): 293-303.
Honigmann, E. A. J. and Susan Brock. Playhouse Wills 1558-1642'. Manchester: Manchester University Press, 1993.
Kathman, David. "Reconsidering The Seven Deadly Sins, Early Theatre 7.1 (2002). 13-44.
Nungezer, Edwin. A Dictionary of Actors. New York: Greenwood Press, 1968 (orig. Yale University Press, 1929).




Subcategories

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Pages in category "Thomas Pope"

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