The performance venues in London in the 17th century

When in 1660 Charles II returns to England and re-establishes the theatre, he entrusts the monopoly of its development to two men William Davenant and Thomas Killigrew who remained loyal to him during his years of exile and who already have strong theatrical experience.
Davenant creates the company of the Duke of York, the “ The Duke's players ” and Killigrew the King's company, the “ The King's players ”, but they both seek premises to house their troupes and to give public performances. Indeed, performance venues have been closed since 1642 by the régime of Cromwell and the most prestigious places of the Elizabethan theatre, such as the Globe, have been dismantled. They first use enclosed tennis courts that, in their eyes, present some advantages similar to theatre houses, resembling slightly the French rectangular model whose influence is still felt. The tennis courts have a roof, a gallery, adequate dimensions and the court can be divided by the line of the net, offering half of the space for the stage and the other half for the public. It is thus possible to accommodate 400 spectators at a distance close enough to the actors, respecting the English tradition that prefers an intimate theatre. Then, the competition between the two companies compels Killigrew to reuse a former riding school in Bridges Street whereas Davenant ask Christopher Wren to build a new theatre in Dorset Garden. Following a fire, Killigrew establishes himself in Drury Lane and in turn entrusts the construction of his theatre to the same brilliant architect in 1674.
This installation in Drury Lane is decisive in the history of the London theatre, inaugurating a theatrical tradition in this street for centuries to come. These two theatres are built on the baroque model, in the shape of horseshoe, with a deep stage and a gallery reserved for the musicians because England is at this time fond of comedies combined with ballets and interspersed with musical interludes. Thus they blend the continental fashion with the Elizabethan inheritance since proximity between actors and spectators is still respected without the orchestra pit serving as a separation. In fact, the auditorium has never been so close to the stage and this physical intimacy successfully translates the spirit of the Restoration theatre.
The public, unlike that of Shakespeare, is very uniform, composed nearly exclusively of nobles of the Court or the gentry with whom some civil servants such as Samuel Pepys occasionally mingle. Besides, the plays only portray topics that concern them directly and the frankness of tone in the comedies of manners of the time can be explained by the fact that patrons of the same class make up the audience.