Richard Brome remains an enigmatic figure in the annals of English drama, both due to limited personal records and a vibrant career in the theater. Although his birth and death details are murky, his legacy as a playwright is well-documented, particularly through his association with Ben Jonson. Despite the scant information about his life, Brome's work was influential and his collaborations with other playwrights place him as a significant figure in the Renaissance theater scene.

Early Life and Uncertain Origins

The specifics of Richard Brome's early life, such as his birth date and family background, are largely speculative. While 1590 is commonly cited as his birth year, this is based on tenuous evidence. For instance, a Richard Brome appears in the St. James Clerkenwell parish register in 1591 as the son of Henry Brome, and court records from 1639 and 1640 describe a Richard Brome as being "about 50 years old." However, the prevalence of the name during that period makes it difficult to confirm if these records pertain to the playwright. Similarly, Brome's familial ties are largely unknown, though documents suggest he had a family. His 1640 grievance about unpaid dues from the Salisbury Court Theatre indicates he had dependents. His death, like much of his life, is only approximately dated to the years 1652-1653.

A Servant Turned Playwright

Richard Brome's career trajectory from servant to celebrated playwright is more vivid and documented. Initially, he served under Ben Jonson, a towering figure in English Renaissance drama. This relationship is humorously highlighted in the introduction to Jonson's play Bartholomew Fair where Jonson mentions “his man, Master Broome, behind the arras.” Jonson also penned a poem praising Brome's play The Northern Lass, acknowledging Brome's evolution from servant to fellow playwright with lines such as, “I had you for a servant, once, Dick Brome; And you performed a servant’s faithful parts.” Brome was evidently proud to be associated with Jonson and to be counted among the "Sons of Ben," a group of playwrights influenced by Jonson.

Rising Success and Professional Rivalries

Brome demonstrated his dramatic skill and independence in 1629, a year marked by his mentor's theatrical failure. When Jonson's play The New Inn flopped at the Blackfriars Theatre, Brome's The Love-sick Maid triumphed at the same venue shortly thereafter. Jonson's frustration with the audience's preferences was palpable; in his poem "Ben Jonson’s Ode to Himself," he lamented, "Broom’s sweepings do as well/ There as his master’s meal.” Although initially strained, Brome and Jonson's relationship recovered, evidenced by Jonson removing the disparaging remark when he published the ode in 1631 and later writing affirming verses for Brome's The Northern Lass in 1632.

Collaborations and Influences

Brome's 1629 success signaled his openness to influence beyond Jonson, as he collaborated with other prominent playwrights like Thomas Heywood and possibly George Chapman. Esteemed contemporaries such as James Shirley and John Ford composed laudatory verses for Brome's works. His interactions with dramatists like John Fletcher, Francis Beaumont, and Philip Massinger enriched Brome's plays, reflecting a blend of styles and theatrical trends. Such collaborations underscore Brome’s integration into the vibrant tapestry of Renaissance theater, expanding his networks and enhancing his craft.

Associations with Theatre Companies

Throughout his career, Brome's work was tied to various theater troupes, showcasing his adaptability and appeal. He initially collaborated with "Young Johnson" on A Fault in Friendship , produced by the Prince’s Company at the Red Bull Theatre, although the play itself is now lost. The Queen of Bohemia’s Players, with whom he was associated in 1628, performed in provincial tours and occasionally at the Red Bull Theatre. Between 1629 and...