How Did The Globe Theater Burn Down? | The Cannon’s Spark

Understanding historical events like the Globe Theater’s destruction offers valuable insights into the practical realities of theatrical production in Shakespeare’s era and the inherent risks of early stagecraft. This incident serves as a poignant reminder of how a single, unforeseen technical malfunction can alter the course of cultural history.

The Unforeseen Spark: June 29, 1613

The original Globe Theater, a cornerstone of English Renaissance drama, met its fiery end during a matinee performance on a Wednesday afternoon. The specific play being staged was William Shakespeare and John Fletcher’s historical drama, Henry VIII, also known by its alternative title, All Is True. The fire began approximately at 3:00 PM, a time when the theater would have been bustling with spectators.

The direct cause was a theatrical cannon, intended to create a dramatic sound effect during a significant moment in the play. This cannon, rather than firing blankly into the air, discharged burning wadding that landed directly onto the theater’s thatched roof. The dry, highly flammable material of the roof ignited almost instantly, setting off a rapid conflagration that consumed the wooden structure.

The Play: Henry VIII (All Is True)

Shakespeare’s Henry VIII depicts the life and reign of the English monarch, focusing on key events such as his marriage to Anne Boleyn and the establishment of the Church of England. The play is notable for its grand spectacle and historical sweep, requiring elaborate costumes and stage effects to convey the pomp and ceremony of the Tudor court. The particular scene in question, Act I, Scene 4, describes a banquet at Cardinal Wolsey’s house, where King Henry VIII first encounters Anne Boleyn.

During this scene, the stage direction explicitly calls for “Chambers discharged,” referring to small cannons or artillery pieces used to produce loud bangs, simulating fanfares or celebratory salutes. These effects were common in Elizabethan and Jacobean theater, adding to the immersive experience for the audience. The Globe’s design incorporated these elements, making such pyrotechnics a regular, if risky, feature of performances.

A Prop Gone Wrong: The Theatrical Cannon

The cannons used in 17th-century theaters were typically small, muzzle-loading devices, often referred to as “chambers.” They were loaded with gunpowder and wadding, a material like paper, cloth, or straw, packed on top of the powder to contain the explosion and direct the sound. The wadding itself was not meant to be flammable, but the intense heat and sparks generated by the gunpowder discharge could easily ignite it.

On this fateful day, the wadding, still smoldering from the gunpowder’s flash, was propelled upwards. Instead of dissipating harmlessly, it drifted onto the dry straw thatch of the Globe’s roof. The theater’s construction, primarily of timber and wattle-and-daub, made it exceptionally susceptible to fire. The thatched roof, a common and cost-effective roofing material of the era, acted as a ready fuel source, ensuring the fire’s swift progression.

This incident highlights the inherent dangers of early theatrical special effects, where safety protocols were rudimentary compared to modern standards. The reliance on open flames and gunpowder in close proximity to highly combustible building materials created an ever-present risk for theaters of the period. For additional historical context on the Globe and its operations, the British Library provides extensive resources.

Key Events Leading to the Fire

Date	Event	Significance
June 29, 1613	Performance of Henry VIII	The play during which the fire occurred.
Approx. 3:00 PM	Cannon Discharge	Misfire of the theatrical cannon.
Minutes Later	Thatch Ignites	Burning wadding lands on the roof.

The Rapid Spread of Fire

Once the thatch caught fire, the flames spread with alarming speed. Eyewitness accounts from the time describe the rapid escalation of the blaze. Sir Henry Wotton, a contemporary diplomat and writer, noted in a letter that the fire “did begin with a peal of ordnance,” referring to the cannon, and that “the fire took hold of the thatch, and within less than an hour, consumed the whole house to the very ground.” This vivid description underscores the ferocity and swiftness of the destruction.

Another account, from John Chamberlain, a letter-writer, stated that “it was a great marvaile and faire escape that no more harme was don, having so many people in the house.” This observation points to the crowded conditions within the theater and the potential for a far greater tragedy. The open-air design of the Globe, while allowing for natural light, also meant that any fire could be fanned by winds, accelerating its spread.

The Aftermath: Loss and Rebuilding

Despite the complete destruction of the building, a remarkable aspect of the incident was the minimal loss of life or serious injury. Contemporary reports confirm that no one died in the fire, and only one person sustained a minor injury—a man whose breeches caught fire, which was quickly extinguished with a bottle of ale. This outcome is often attributed to the quick thinking of the audience and staff, as well as the open structure of the theater which allowed for relatively easy evacuation.

The company that owned the Globe, the King’s Men (formerly the Lord Chamberlain’s Men), faced a significant financial setback. However, the immediate decision was to rebuild. The company members, including Shakespeare, invested in the reconstruction, demonstrating their commitment to their theatrical enterprise. This resilience reflects the strong demand for theater in London and the importance of the Globe as a venue.

Original vs. Second Globe Theater

Feature	Original Globe (1599-1613)	Second Globe (1614-1642)
Roof Material	Thatch	Tiles
Construction Time	~6 months	~1 year
Fire Resistance	Low	Improved

The Second Globe Theater (1614-1642)

The second Globe Theater was constructed on the same site, opening its doors in 1614, just over a year after the fire. The rebuild incorporated a crucial safety improvement: a tiled roof instead of the highly flammable thatch. This change significantly reduced the risk of a similar fire incident, a clear lesson learned from the previous disaster. The new Globe was reportedly grander and more ornate than its predecessor, reflecting the company’s success and financial stability.

This second iteration of the Globe enjoyed a longer life, serving as a prominent playhouse for nearly three decades. It continued to host performances of Shakespeare’s plays and works by other prominent playwrights of the era. The theater remained active until 1642, when all playhouses in England were closed by an ordinance of the Puritan Parliament, marking a temporary end to public theatrical performances in London. The Globe was subsequently demolished around 1644 to make way for tenements.

The story of the Globe’s destruction and rebuilding offers a tangible connection to the practicalities of historical performance spaces. It helps us understand the challenges and innovations of the period, from stagecraft to building materials. For further academic insights into Shakespeare’s theaters, the Folger Shakespeare Library offers scholarly articles and collections.