The performances were apt to give rise to overcrowding and tumults

Control of dramatic performances in 16th century England

In the 16th century companies of players were attached to the court and to households of the nobility. Some of these companies travelled about the country giving performances at private houses and to the public. In addition, there were wandering troupes of miscellaneous players under no patronage. In the larger towns the guilds continued to present Corpus Christi plays, and similar performances were given sporadically in smaller places, but the performers of these probably remained amateurs. Some measure of control over stage performances was exercised in the interests of public order from about the middle of the century. The licensing of individual plays, in one form or another, began in 1549 if not earlier; and the subjection of players, unless 'protected', to the laws relating to vagabonds dates at least from 1554, and was probably enforced in practice even earlier. These measures were re-enacted in the reign of Elizabeth. By the Injunctions of 1559 [...] she directed that no interlude should be played unless previously licensed by the mayor of the town, or in the country by the lord lieutenant or two justices of the peace; and no plays were to be so licensed which treated of matters of religion or of the governance of the country. By an Act of 1572 all players were to be deemed rogues and vagabonds unless they belonged to a baron of the realm or person of higher degree, or were licensed by two justices. The mayor and corporation of London, who under the Injunctions of 1559 had jurisdiction over stage plays in the city of London, the chief centre of theatrical activity, were in general hostile to dramatic performances, partly from Puritan sentiment, partly because the performances were apt to give rise to overcrowding and tumults, and moreover tended to spread infection in the frequently recurring periods of plague. The court on the other hand, and Elizabeth herself, favoured the players, and the grant in 1574 of a patent to the Earl of Leicester's company, authorising them to play in all towns without hindrance by the local authorities, conflicted with the powers previously conferred on the corporation. The latter retorted with an act of Common Council requiring all players to be licensed by the corporation and all plays allowed by it. The conflict between court and city was keen and prolonged, and during certain periods the corporation prohibited all performances within the city boundaries. In consequence, the first permanent playhouse in London was erected in Finsbury fields, outside the Lord Mayor's jurisdiction.

- Margaret Drabble, 'Censorship & the law of the press', The Oxford Companion to English Literature, Oxford, 1985, p.1105-6.