rganization of the
Globe. It seems clear that Kirkham, Rastell, and Kendall held their
moiety in joint tenancy.]

About a month later, however, Lord Hunsdon, the Lord Chamberlain,
whose house adjoined Blackfriars, seems to have inquired into the
affairs of the new organization.[336] What Kirkham told him led him to
order Evans off the premises. Evans informs us that he was "commanded
by his Lordship to avoid and leave the same; for fear of whose
displeasure, the complainant [Evans] was forced to leave the
country."[337] He felt it prudent to remain away from London "for a
long space and time"; yet he "lost nothing," for "he left the said
Alexander Hawkins to deal for him and to take such benefit of the said
house as should belong unto him in his absence."[338]

[Footnote 336: Fleay, _op. cit._, pp. 211-13; 216; 220.]

[Footnote 337: _Ibid._, p. 220.]

[Footnote 338: _Ibid._, p. 217.]

If we may judge from the enthusiastic account given by the Duke of
Stettin-Pomerania, who visited Blackfriars in the September
following, the Children were just as effective under Kirkham's
management as they had been under the management of Giles and Evans.
It is to be noted, however, that Elizabeth did not again invite the
Blackfriars troupe to the Court.

The death of the Queen in 1603 led to the closing of all playhouses.
This was followed by a long attack of the plague, so that for many
months Blackfriars was closed, and "by reason thereof no such profit
and commodity was raised and made of and by the said playhouse as was
hoped for."[339] Evans actually "treated" with Richard Burbage "about
the surrendering and giving up the said lease," but Burbage declined
to consider the matter.

[Footnote 339: Fleay, _op. cit._, p. 235.]

Shortly after this the plague ceased, and acting, stimulated by King
James's patronage, was resumed with fervor. The Blackfriars Company
was reorganized under Edward Kirkham, Alexander Hawkins (acting for
Evans), Thomas Kendall, and Robert Payne: and on February 4, 1604, it
secured a royal patent to play under the title "The Children of the
Queen's Revels."[340] According to this patent, the poet Samuel
Daniel was specially appointed to license their plays: "Provided
always that no such plays or shows shall be presented before the said
Queen our wife by the said Children, or by them anywhere publicly
acted, but by the approbation and allowance of Samuel Daniel, whom her
pleasure is to appoint for that