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The remains of Elizabethan theatre Curtain, where some of William Shakespeare’s plays were first performed, have been discovered by archaeologists.

The remains of the Curtain Theatre, which opened in 1577, were found behind a pub in Shoreditch, east London, as part of regeneration works.

The venue was immortalized as “this wooden O” in the prologue to Henry V.

It is hoped the site could be opened to the public, with plays staged there in the future.

Archaeologists from the Museum of London Archaeology (MOLA) stumbled across parts of the playhouse’s yard and gallery walls after development began on the site last October.

“This is a fantastic site which gives us unique insight into early Shakespearean theatres,” lead archaeologist Chris Thomas said.

The remains of Elizabethan theatre Curtain, where some of William Shakespeare's plays were first performed, have been discovered by archaeologists

The remains of Elizabethan theatre Curtain, where some of William Shakespeare's plays were first performed, have been discovered by archaeologists

The Curtain Theatre was operated by theatre manager James Burbage and was home to Shakespeare’s Company, the Lord Chamberlain’s Men, from 1597 until The Globe opened two years later.

The theatre disappeared from historical records in 1622 but could have remained in use until the outbreak of the Civil War, 20 years later.

Plays thought to have premiered there include Henry V, Romeo and Juliet and Ben Jonson’s Every Man in His Humour.

“This is one of the most significant Shakespearean discoveries of recent years,” a spokesman for Plough Yard Developments, which owns the site, said.

“Although The Curtain was known to have been in the area, its exact location was a mystery.

“The quality of the remains found is remarkable and we are looking forward to working with MOLA, [the] local community and Shakespearean experts to develop plans that will give the public access to the theatre remains as part of a new development.”

Royal Shakespeare Company artistic director Michael Boyd added: “I look forward to touching the mud and stone, if not wood, and feeling the presence of that space where Shakespeare’s early work, including the histories, made such a lasting impact.”

Further excavations are expected to take place later this year.


William Shakespeare’s All’s Well That Ends Well has a co-author, according to a research from Oxford University academics.

Thomas Middleton has been revealed as the most likely co-author, according to in-depth analysis of the play’s vocabulary, rhyming, style and grammar.

Professor Laurie Maguire says the latest literary research shows groups of writers working together on plays.

“The picture that’s emerging is of much more collaboration,” said Prof. Laurie Maguire.

“We need to think of it more as a film studio with teams of writers.”

This major study of All’s Well That Ends Well says that the most likely and logical explanation for differences in style and inconsistencies in the text is that it is the work of two authors.

Prof. Laurie Maguire says that a majority of plays written in this era had more than one writer – but the iconic status of Shakespeare has meant a reluctance to consider his work in this way.

She says she is “very confident” that there is “a second hand” in the authorship of the play.

The research by Prof. Laurie Maguire and Dr. Emma Smith, from Oxford University’s English faculty, suggests that the playwright Thomas Middleton, a contemporary of Shakespeare’s, appears to be the likely candidate.

Writers have their own distinctive literary “fingerprints” – a kind of stylistic DNA – and a highly-detailed analysis of the language in the play shows “markers” strongly linked to Thomas Middleton.

Thomas Middleton has been revealed as the most likely co-author of Shakespeare’s All’s Well That Ends Well by Oxford University academics

Thomas Middleton has been revealed as the most likely co-author of Shakespeare’s All’s Well That Ends Well by Oxford University academics

The rhyming and rhythms of sections of the play, the phrasing, spelling and even individual words suggest the involvement of Thomas Middleton.

As an example, the word “ruttish” appears in the play, meaning lustful – and its only other usage at that time is in a work by Thomas Middleton.

The distinctive way that stage directions are used in places is much closer to Thomas Middleton’s style than to William Shakespeare, says the study.

There cannot be any definite conclusion to this kind of literary detective work – and the academics say there could be other candidates such as John Fletcher – but Prof. Laurie Maguire says there is an “arresting” stylistic match with Thomas Middleton.

Thomas Middleton, who lived between 1580 and 1627, was a Londoner, younger than William Shakespeare, and Prof. Laurie Maguire says his more modern grammar can be detected in the text.

Thomas Middleton became a celebrated writer – remembered for works such as The Changeling and Women Beware Women.

But Dr. Emma Smith says that his collaboration with William Shakespeare in about 1607 could be likened to an established musician working with a rising star.

The question of the authorship of Shakespeare’s plays has been a continued source of speculation and conspiracy.

Prof. Laurie Maguire says that there is no serious scholarship which challenges the idea that Shakespeare wrote the plays attributed to him.

But she says the latest research suggests a much more collaborative approach to writing plays for the Elizabethan and Jacobean stage.

Plays were written quickly and for a commercial audience – and there were often stables of writers who worked together to produce a play.

Writers within these teams had specialized roles, she says, such as people who were particularly good at writing plots.

Prof. Laurie Maguire says the cultural reverence for Shakespeare – so-called “bardolatry” – has helped to support the idea of the playwright as a creative genius, producing his works in isolation.

While much of Shakespeare’s writing is his work alone, she says that in All’s Well That Ends Well there is another writer – so much so that in places one author seems to be handing over to the other.

The play itself recognizes the mixing and matching of life.

“The web of our life is of a mingled yarn, good and ill together.”

Or else, as it says later: “It is like a barber’s chair that fits all buttocks.”