When William Shakespeare wrote Hamlet around 1600, the power of London’s theater lived almost entirely in language. The stage was mostly bare and the scenery imagined. To mark a shift in setting, an actor might simply declare, “This is the Forest of Arden.”

But by the mid-17th century, this mode of performance began to change.

Following decades of civil war and Puritan rule, King Charles II’s 1660 restoration of the monarchy reopened public theaters that had been closed for nearly two decades. It marked the beginning of the Restoration era, when movable scenery debuted — massive painted flats slid along wooden grooves, transforming the stage in seconds — and women, immigrants, servants and enslaved people first moved across it as performers and stagehands. The English stage became a space of motion, a vivid counterpart to a London rebuilt after the 1665 plague and the Great Fire of 1666.

In this Berkeley Talks episode, UC Berkeley Professor Julia Fawcett discusses her 2025 book Moveable Londons: Performance and the Modern City, which traces how this mechanical innovation echoed a deeper cultural one. It was, she says, a “revolution in English performance” that redefined movement, agency and belonging in a rapidly changing city.

And that revolution, she contends, provided the template not only for modern theater’s moving sets, star actresses and illusionistic stages, but also for ways of moving through — and belonging in — the modern city.

Fawcett’s talk, which took place on Feb. 11, 2025, was part of a Berkeley Book Chats event hosted by the Townsend Center for the Humanities. She was in conversation with Joshua Gang, an associate professor of English at Berkeley.

Listen to the episode and read the transcript on UC Berkeley News (news.berkeley.edu/podcasts/berkeley-talks).

Music by HoliznaCC0.

Image from Moveable Londons book cover.

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