In a recent interview, Heather Knight, who led the excavations for the Museum of London Archaeology, shared her insights on the remarkable discoveries uncovered beneath a newly developed square in Shoreditch, East London. Located three meters underground, archaeologists unearthed short brick foundations measuring 14 by 5 meters—an extraordinary find that significantly alters our understanding of theater history.
These ruins are part of the Curtain Theatre, where William Shakespeare’s company performed between 1597 and 1599. This stage is believed to be the original venue for iconic productions of “Romeo and Juliet” and “Henry V.” With the Museum of Shakespeare set to open next year, visitors will have the unique chance to stand—and perhaps even perform—on the very site where these legendary plays were once staged, all thanks to a glass floor over this historic area.
Shakespeare had connections with various playhouses throughout his career, including the Theatre in Shoreditch and the Globe on Bankside. While remnants of these Tudor theaters have been excavated, Knight emphasized that the Curtain Theatre offers something truly special: the authentic footprint of Shakespeare’s stage, in contrast to the modern reconstruction of the Globe.
Reflecting on the discovery of the Curtain, Knight noted how it challenged existing narratives about theater architecture. “Initially, we all assumed the Curtain was circular, like the Globe,” she explained. “But as we conducted further research, it became clear that it was rectangular.” This revelation contradicts the notion that playhouses evolved from round to more complex shapes, highlighting a distinct architectural trajectory for the Curtain Theatre. “This discovery has transformed our understanding of theater development entirely,” she asserted.
The archaeological findings prompted a significant redesign of the development plans for the area, which had originally been envisioned as a collection of Victorian warehouses transformed into residential and office spaces. Project manager Adam Yang of the design firm Perkins & Will indicated that as excavations progressed, the site’s historical significance became increasingly apparent. “The archaeological footprint grew larger, making the museum design all the more crucial,” he remarked.
The resulting museum will feature a low steel-and-glass structure that guides guests down into a unique subterranean space showcasing the stage ruins. Scheduled to open at the end of 2025, the museum’s theme, according to director Sam Bompas, will center around a day in the life of Shakespeare. “We want to create an exhilarating experience for visitors—invoking the excitement of being in such a significant space,” he said.
While details regarding entrance fees for the attraction are still being finalized, visitors will have the opportunity to view the stage ruins through a designated window at street level. Knight raises an intriguing question about the stage’s design: “How might the Curtain’s shape and entrances have influenced the performances held there? We observe a tendency for more combat-oriented plays in rectangular theaters.”
She also reflected on the nature of “Romeo and Juliet,” describing it as more than just a love story. “At its core, it’s a series of fight scenes linked by dialogue.” Knight even discovered post holes within the foundations that would have supported an onstage balcony. Standing in the very spot where Shakespeare and his actors once performed is, she believes, an extraordinary experience.
