1. Legal Restrictions: The City of London, governed by the Lord Mayor and Aldermen, had strict regulations and restrictions on public performances, including plays. The authorities often viewed theaters as dens of vice and immorality and sought to control or prohibit them within the city limits.
2. Space and Accessibility: The theaters outside London had more space and were more accessible to a larger audience. The city was densely populated and congested, making it challenging to find suitable locations for large theatrical performances. Building theaters in the suburbs or nearby areas allowed for more space for stages, seating, and other facilities.
3. Social and Moral Concerns: The city authorities and some religious groups held negative views about theaters and their moral influence on society. They believed that plays could corrupt public morals, spread subversive ideas, and encourage unruly behavior. By building theaters outside the city's boundaries, these concerns could be mitigated.
4. Licensing and Patronage: Theaters outside London often operated under the patronage and licenses granted by noblemen, aristocrats, and powerful individuals who resided in the surrounding areas. These patrons provided financial support and protection, allowing theaters to function with less interference from the city authorities.
5. Artistic Freedom: Theaters outside London had greater artistic freedom and were less subject to the censorship of the city's authorities. This allowed playwrights and theater companies to experiment with new ideas, themes, and styles without the fear of persecution or legal repercussions.
Some notable theaters built outside London during this period included The Theatre, The Curtain, and The Globe, all located in the suburbs of Shoreditch and Bankside. These theaters became important centers for dramatic performance and played a crucial role in the development of English Renaissance drama.