Please ignore this junk.
This is unfinished writing that I hope to edit sometime in the future.
By 1615 Philip Kingman had gone into partnership with Robert Jones, Ralph Reeve and Philip Rosseter to direct, child musicians and actors, and to build a new theatre.
Robert Jones and Philip Kingman seemed to, most closely, share the "the lady Saunders house or otherwise Porters hall"# which they converted into a Playhouse. It seems that Philip Henslowe got involved in the finances of the building and it is Jones and Kingman that are said to have made the arrangement. When this Playhouse in Blackfriars was pulled down by the City of London it must have meant ruin for Jones and Kingman and it seems to me that their property ended up in the hands of Henslowe's son-in-law Edward Allene by 1618.
Philip Kingman looks to me like a most important person of Jones's life and on this page I done a study on him and talked a little about the Puddle Wharf (Porters' hall) theatre.
The best information I have found on Philip Kingman is in Erik Wikland's Elizabethan Players in Sweden 1591-92 and I quote most of it below.
For a quick read on the Playhouse go to my "Theatre Demolished" letter to Mr. Lillmeyer at the bottom.
As Wikland says we have no known works of Philip Kingman; perhaps the best place to find his hand would be in the anonymous texts to the Ayres of Robert Jones. Philip Kingman may have followed Shakespeare and used the songs of Robert Jones in his dramatic works. It could be that later lost works of Philip Kingman contained many lost songs by Robert Jones.
Patrick T. Connolly, - August 2, 2010.
March. 23, 1988, Scan Fix & Type on May 11 & 12, 2000
Jones' Association' with Philip Kingman and Robert Browne
By Patrick T. Connolly.
Under, Robert Jones name in I, think, 'Groves Musicians Dictionary" Jones is said to have been "permitted to build a theater for (the Children of the Revels of the Queen] on the site of (his) house near Puddle Wharf in Blackfriers ... "Together with Philip Rosseter, Philip Kingham and Ralph Reeve".. 'on 31 May 1615". This piece is written by David Brown and is one of the most up to date writings I have on Robert Jones. In Sir E. K. Chambers' book there was nothing under 'Kingham" but the man was found under the name 'Kingman or Kingsman. Chambers has transcribed the document of this permit? and theorized about the location of "Porters hall". that was Robert Jones' residence.
What is new to me is that D. Brown says "On 4 January 1610 Jones, together with Philip Rosseter, Philip Kingham and Ralph Reeve, was granted a patent to 'practice and ex'cise in the quality of playing (a group of Children) by the name of "Children of the Revells of the Queen within the white ffryers" The line Brown quotes is exactly as Chambers has transcribed of a patent of January 4, 1610, but Robert Jones, Philip Kingham and Ralph Reeve are not mentioned by Chambers, Chambers gives Philip Rosseter and four other different men, Robert Daborne, Iohn Tarbuck , Richard Iones and Robert Brown.
... I don't think Chambers would fail to mention the 3 in his book. It seems to me that the permit of May 31, 1615 and patent of Jan. 4, 1610 may give the most important lead to follow in finding out, who Robert Jones was, where he , was born, and where he came from.
Chambers Indexer (1934) Beatrice White, lists Robert Jones twice, the "player, " Robert Jones and the "musician" Robert Jones. the above mentioned Robert Jones is the player and most write[s] on Jones assume that the same as the musician. so let us assume our self and dig out a fact about Mr. Robert Jones I never heard mention. turn to Chamber's "Elizabethan Stage Vol. II p. 280, (Robert Browne) (the same as given in the January 4, 1610, patent) "is found at Frankfort, with Robert Jones, in September 1602 Philip Kingmam and an actor is probably mentioned as being with Robert Brown on page 277 - in 1596 in Germany.
There is a Robert Kingman in the company of Browne. page 278 - 279 - 280 "the company probably lost Robert Kingman who, ... found business more profitable than strolling." more stuff about him .--- this was at Strasbourg in June & July of 1606?
he is in the company at the end of 1599 at Frankfort By Easter 1601 Robert Brown was on his 4th tour - Robert Kingman was with him
Conclusion - both P. Kingman and Robert Jones, Before? the were? business partners the construction of a theater - Where associates of Robert Browne a leader of English actors touring Germany so Robert Jones was likely also an actor & he would have been doing music in plays.
Two more Englishmen joined the company at Nykoping in the spring of 1592. From the wardrobe accounts*l it is clear that Philip Kingman, 'Timlare',*2 and Philip Gibson served with the company at Nykoping at the latest from May 1, 1592, onwards. These two most probably accompanied the English and Dutch mercenaries engaged by Duke Charles for the Swedish-Russian war,*3 in which case they would have traveled from Emden via Lubeck to Nykoping. That their names do not appear on the Lord Admiral's a passport dated February 10, 1592, for Robert Browne and his companions*4 may mean that they had already accepted another engagement and that Henry Francklin, during his mission to England when the rest of tile Nykoping company was engaged, came to an agreement with these two that they should join the other Players in Nykoping at a later date.
1 Vo1. 48, 2, fo1. 65 v, SA. Cf. App. II. ;
2 Timlare, an old Swedish word also used of a player, SAOB arkiv.
3 Cf. App. V.
4 Cf. Chapter 9.
Among those listed as being quartered at Nykoping Castle at the time of Duke Charles's Wedding there is a section headed 'Players' which includes the following:*2
S. Philip }
... Most probably, S. (Store = Big) Philip and L. (Lille = Little) Philip were Philip Kingman and Philip Gibson respectively ...
... It would thus seem that only those whose presence was vital to the success of the celebrations were lodged at the castle itself. If this was so, One would be justified in according William Cooper, Richard Hovill, Philip Kingman and Philip Gibson a special position among the members of the English company.
Philip Kingman was a well-know figure in Shakespeare's London, and it seems that he came from Herefordshire.*5 He may have been in Cassel in 1594-95 with Robert Browne, i.e. not long after the present
I Cf. Chapter 2.
2 Kumg1. Hovfortaringen 93, SA.
3 Cf. App. V.
4 Aegypt. Serv., 626.
5 Coryal's Crudities, II, 183.
... According to two undated warrants*l both Browne and Kingman entered the service of Maurice the Learned, Landgrave of Hesse-Casse1. A bill,*2 dated December 1594 from Ludwig Brockman, a German Shoemaker in Cassel, to the Landgrvae, contains a demand for the expense of providing lodging for two English lutenists for fifteen weeks; from this it would seem that a sizeable English company had arrived at Cassel sometime around the beginning of August and that some of its members had had to be lodged out in the town. At all events Robert Browne was the Landgrave's man by April 16, 1595, when an order was issued permitting the export of a consignment of bows and arrows from England to Cassel and Browne was in England to collect them.*3 This entry in the Hatfield MSS is confirmed by the settlement between John Wroth, a London banker, and Landgrave Mauriee according to which Wroth, among other items, paid 20 pounds to one Roberto Braun in London in 1595.*4
Browne's and Kingman's warrants are not alike. Kingman,s has the following Paragraph :
Neben diBen 8Oll er jeder Zeitt, wan wir ihme ein Argument oder lnhalt einer.neuen Comcedien oder lisLorien 8agen werden 8Chuldig sein, dieselbig in seine Sprach zu transponieren und zu einer comcedien oder Spill zu zul rlChten.
This clause does not appear on Robert Browne's warrant. Instead he is engaged specifically as a
.. Comcediant und Musicus ...
whose duty it was to entertain the Landgrave not only with comedies and tragedies but
.... sowohl in Musica Vocali als Instrumentali... to train a boys' choir made up of Hessian or foreign pupils and to remain in Cassel unless he had permission to leave. No mention of either music or a choir is made in Philip Kingman's warrant.
From these discrepancies it would seem that Kingman's most important task was to be the Landgrave's Playwright, while Robert Browne was to be responsible for the music and Singing. A parallel to this arrangement is to be found in connection with the permit to build the Porter's Hall in 1615. Here Philip Kingman, in order to erect a new theatre, went into partnership with Philip Rosseter, who was perhaps the foremost lutenist of his day.*1 Nearly four years after the Nykoping venture, Philip Kingman became the leader of an English company of strolling players in August 1596; in the same month he obtained permission to give performances in Strasburg. ...
Thus Kingman and his men performed both comedies and tragedies in Strasburg.
We also know that Philip Henslowe, the well-known London theatre manager, used 'Mr. Kyngman the elder' to witness a bond on April 16, 1599*4 and thus we can be certain that there were two actors named Kingman at this time, Philip and Robert, probably brothers to judge from a similar case.*5
Philipp Rosseter, Philipp Kingman, Robert Iones and Raphe Reeve are mentioned by name in a building permit dated June 3, 1615, for a ...
Robert Browne himself appears for the first time in 1583 as one of Worcester's Men in the company of Edward Alleyn. During 1589 the two of them - now probably as Admiral's Men still shared a wardrobe with John Alleyn and Richard Jones.*3 Browne's tours abroad began with a visit to Leyden in October 1590.
The city accounts run as follows: ...
1 '...; and as soon as th . 1
and music: op. cit I 10eOSu had set, there commenced comedies, dancing, play
2 Chamber;, Eliz. Stage, ,I, 273 ff., wd A,,uns., Dice../ Act., 6. ,I
3 Henslowe s Diary, II, 239.
98 -------- page 98 - ends ---------
... Presumably the entire company of Lord Admiral's Men.*1 Its date, 1591, was intended to cover 1591-92, which, translated into modem terms, gives February 10, 1592,*2 as the date it was signed. This agrees well with other historical data, since nothing is known about Browne's travels abroad in 1591, whereas we still possess records from 1592 concerning this company.
The Lord Admiral's passport was thus issued six months after another English company had left for Nykoping in August 1591 and only about Two months before Philip Kingman and Philip Gibson left in April 1592 to reinforce the players there.*3
In 1592 Robert Browne and his company were in Arnhem with the permission of Count Maurice of Orange-Nassau. The XIIth account (1592) of the treasurer, Caerl van Gelders has the following entry referring to this Visit:
On August 30, 1592, Robert Browne applied for permission to perform theatricals at the autumn fair at Frankfort,*2 and we are fortunate in possessing an eye-witness account of the resultant performance.*3 Balthasar Paumgartner the younger, a native of Nuremberg, was at the fair on September 13, 1592, and described what he saw there in a letter to his wife. Concerning the theatricals he writes:
Die englischen Kom6dianten haben eine herrliche gute Musika und sind so perfekt nit Springen, Tanzen, dergleichen ieh noch nie geh6rt, noch gesehen hab.
This observation is of interest in connection with the doings of the English company at Nykoping at this time. The accounts from both places show that a much greater impression was made by the music and the acrobatics than by the drama itself. Paumgartner also mentions that the company, which consisted of ten to twelve persons, was
... k6stlich herrlieh und wohl gekleidet,
and he adds that he hopes that these players will shortly visit Nuremberg, as in fact they did.
At the time when the company was engaged in the summer of 1591 to journey to Nykoping, and even more so when Philip Kingman and Philip Gibson joined this company about May 1, 1592, the English travelling companies were fully organised for performances on the Continent with theatricals, music and acrobatics.
Unquestionably they leave the impression that the emphasis in the Nykoping performance, at least as von Bretten saw it, was more upon the music and the tumbling than upon the drama. Nevertheless, von Bretten does not use the expression 'Musiker und Springer' but rather 'ComQedianten und Springer', and this can scarcely refer to a company consisting entirely of musicians.
I cf. Chambers, Eliz. Stage, II, 287.
Another factor that seems to indicate that instrumentalists were not simply musicians is that William Kempe is entered in the Danish House-hold Accounts as an Intrumentist. We know that Kempe was in fact an actor, a clown and a dancer who sometimes, it is true, played a small wind instrument while he danced.
An engagement that lasted thirteen months, moreover, was too long to have been entirely concerned with music and tumbling. Furthermore, it is known that at this time musicians and players in England had not yet become segregated into two distinct professions. Contemporary English documents distinguish between 'minstrels' and 'players'. Minstrels, or troubadours, at the end of the 16th century appeared singly as a rule, moving from castle to castle, and relied on singing and instrumental music to gain them an entry. Players at that time usually appeared in companies of six or multiples of six, and could perform music, comedies, histories, tragedies and aerobatics.
It is interesting to note that Kingman's Company of players from 1596 also consisted of twelve persons to begin with. His travelling company, which, for instance, visited Strasburg in l596, seems however to have comprised twelve players, whereas the Nykoping company had six Instrumentister or players and six Trommetter. The latter company were prepared to entertain Duke Charles at dinner with music and tumbling, as well as to perform theatricals of some kind. There is also no doubt that they did so, albeit to a somewhat limited extent; the Duke was in fact only in Nykoping for seven of the thirteen months of the company's engagement.
The company that left England for Nykoping in August 1591 was ln
page 103 - 103
many respects similar to the English company that performed in Denmark in August and September 1586, before proceeding to Saxony for an engagement there from October until July 1587. This latter company consisted of only five or, if William Kempe is included, six lnstrumentister. The Nykoplng company consisted of six Inslrumentister and Trommetter and thus in a way represented a transition to the company that performed at Strasbourg in 1596 under Philip Kingman and that, as has already been mentioned, consisted of twelve players. ...
The circumstance that Philip Kingman was in Cassel in 1594-95, where he was engaged by Landgrave Maurice of Hesse as a player and playwright and that he was subsequently leader of a Company of players in Strasburg in 1596, when comedies and tragedies were performed, would seem to indicate that he was called to Nykoping in Apri1 1592 in order to stimulate the theatrical life there with a view especially to the wedding celebrations to be held at the end of August. The entry in the wardrobe account for May 1, 1592, implies a new departure; Kingman is described neither as a player nor as an instrumentalist but as a Timlare, this was a less common title that on at least one occasion in the Swedish literature of the period can be connected with the idea of an actor.
Once the ensemble had been reinforced by the arrival of Kingman and Gibson, the preparation for the performances in connection with the wedding celebrations on August 27-29 were started in earnest. The addition of these two probably also meant a reorganization of the company, with more emphasis being placed upon tile drama. Nevertheless, reading between the lines, it would seem that the theatrical efforts of the company were either not appreciated or else, on account of language difficulties, not understood by Duke Charles and his court in the same way as were the trumpeters and drummers, and the music and acrobatics. This would at least seem to be the reason behind the fact that all the English trumpeters stayed behind in the Duke's service after October 5 1592, when all the players except one left Nykoping. This may of course, have been a matter of expense, since the players received the higher pay but it does not seem likely, that such an arrangement was dictated entirely by financial considerations.
104 - - - - - - - - - - page 104 - -
It is not known which plays were performed by the English company. We know from the warrant, by which he was engaged at Hesse that Philip Kingman wrote several dramas there, and it is probable that he did the same at Nykoping. No such dramas by him are extant, presumably because they never appeared in print. In this connection it is worth noting, however, that the earliest German play with which English players on the Continent can be associated is Elisa, otherwise called Edward III, by Philip Waimer, with a plot rather similar that of
--------------------page 105 ---------
Dear Mr. Lillmeyer, December 4, 2003
Thank you for your links to my site. I am very happy. Why I "have to ... clean it up" is because of my old software. Why I "have to download the text" may be because of the computer war between Microsoft and the consumer. My Netscape browser seems to have problems but maybe my Explore will be OK.
Yes, "the fact, that this theatre [on the site of Robert Iones' house] was demolished by civic authorities" is fairly well documented (the struggle anyway). Where the New Grove is wrong is (repeating the old mistake) saying Philip Kingham & Ralph Reeve, Iones and Rosseter got a license to train kids in 1610. That was the Robert Brown, Richard Iones and Rosseter license.
Philip Kingham & Ralph Reeve, Robert Brown, and Richard Iones are involved with your your part of the world. They are important leaders of English players [modern people like to call them actors] traveling over Europe and especially Germany. At that time people did not distinguish an actor from a musician. All were called 'players'.
Actor Richard Iones (perhaps one of the top 20 English actors in a group that would include William Shakespeare) with that 1610 license to train children said he could not make a living in England and returned to Germany. [this is just off the top of my head but see the quote below]
"JONES, RICHARD, - By 1611 Jones was a "musician" in the service of Philip Julius, Duke of Wolgast. Two petitions from him are preserved (Meyer, Jahrbuch, xxxviii. 209-10) On August 30, 1623, he asked permission, with his fellows Johan Kostressen and Robert Dulant [son of John Dowland?], to leave Wolgast and return to England on July 10, 1614, he wrote to the Duke that he had failed to get profitable employment in England, and asked to be taken again under his patronage."
John Dowland himself seems to to not find any patronage in England from about 1608? to 1612?
Perhaps Richard Iones was related to Robert Jones. We know very little about Robert Jones and have to carefully place the clues together.
Wandering actors Philip Kingham & Ralph Reeve, Robert Brown, and Richard Iones wanted a home theatre and they had enemies (one being an aging William Shakespeare who lived around the corner from Robert Jones) who did not want another London theatre beside Shakespeare's Blackfriers.
No one seems to ever suggest that having this theatre demolished may have caused some financial problems for those involved.
No one says that the reason Campion had only 20 pounds to leave his friend ('wishing it were more') is that he and his friend lost a lot of money in a theatre. Rosseter had to get out of London and tour the country, leading a troupe that included a young player named James Jones. I had thought, as people do, that Campion's 'wishing it were more' line was funny, but now I think it is a sad line about hard times. Rosseter had a lot of kids. Rosseter's family fled England and went to Holland. We hear of little more about Robert Iones.
All the best, Patrick
Elizabethan Players in Sweden 1591-92 - by Erik Wikland - PN 2590 .E5 W513 1962
# Malone Society Collections IV 1956
The Boy Companies - Sir E. K. Chambers