Citizenship: United Kingdom
Author: Elena Murzina
Nothing is known about the early life Gunnell and the beginning of his theatrical career. From 1613 to 1622 he performed with the troupe called `Admiral`s Men`. When the January 4, 1613 `Admiral`s Men` changed its name to` Palsgrave`s Men`, Gunnell already was among the shareholders of the theater company. Despite the fact that from `Palsgrave`s Men` there are not too many documents in the available records can be traced to the movement Gunnell upstairs to the administration. The documents from 1613 it is mentioned as a twelfth of the fourteen shareholders. In the records of the lease of the theater troupe Fortune Playhouse owner Edward Alleyn (Edward Alleyn) Gunnell - the fourth of ten. The following document lease already rebuilt theater, dating from the 1622 year, Gunnell listed first.
The fire destroyed the theater December 9, 1621, killing all the costumes and manuscripts troupe plays. This was followed by a difficult period, and apparently that`s when Richard Gunnell left the scene and focused on the management of the troupe, and also took part in the creation of new plays. His comedy `The Hungarian Lion` appeared in 1623, and the following year was written the play` The Way to Content All Women, or How a Man May Please His Wife`. Alas, none of his works have not reached our days.
In 1629, Gunnell started to create theater `Salisbury kort`, glorious fact that before there was the London residence of the Bishops of Salisbury. Gunnell`s partner in this venture was William Blegreyv (William Blagrave), assistant to Sir Henry Herbert (Henry Herbert), responsible for the dispensation of the royal entertainments. Salisbury Court was one of the so-called private theaters of that era, comparable to the theaters` Blekfrayers` (Blackfriars Theatre) and `Kokpit` (Cockpit Theatre). They attended only a select audience, as opposed to `` Fortune` and Globusa` (Globe Theatre), where people come to enjoy the spectacle of a wider audience. Since the private theaters were prestigious and profitable - ticket cost them 5-6 times greater than in public theaters - the transition from a public to a private theater made sense, and Gannel was not the first theater manager to use this feature. Christopher Beeston (Christopher Beeston), manager of a public theater `Red Bull` (Red Bull Theatre), built in 1616-1617 private `Kokpit`.
Along with the device, and the new theater Gunnell Blegreyv conceived to assemble a new acting troupe `Children of the Revels`, which would consist of the boys, whose purpose was to play female roles - in those days, all the actors were male. Years before thirty in London we have acted like two troupes, `Children of the Chapel` and` Children of Paul`s`, and in 1637 a similar attempt, quite successful, has taken and Christopher Beeston with his boyish troupe `Beeston`s Boys`. Alas, Gunnell and Blegreyvu not lucky - the bubonic plague outbreak has forced authorities to close the London theaters in 1630, and the boys, actors were not wanted. However, one of these boys, Hemmertonu Stephen (Stephen Hammerton), managed to get into the company of `King`s Men` glorified.
Difficulties Gunnell forced to think about the sale of its theatrical enterprise, but he was not able to negotiate with the buyer on appropriate conditions. Gunnell stayed in the theater `Salisbury kort` and in 1631 was able to reorganize the troupe vzrosluyu`` `Prince Charles`s Men`, among which the actors had a few of his old friends still on` Palsgrave`s Men`.
Richard Gunnell for a long time lived in the London parish of St. Giles (St. Giles) outside Kripplgeyta (Cripplegate). The parish records from 1613 to 1631 can be found records of christenings and funerals of several of his children. He himself died in late 1634 or 1635, without a will of his widow, Elizabeth (Elizabeth Gunnell), and two daughters, Margaret (Margaret Gunnell) and Anne (Anne Gunnell). Elizabeth later married John Robinson (John Robinson), who probably was an actor; Margaret married actor William Wintershall (William Wintershall).