Summarize the events surrounding the attack on London's theatre known as The Cockpit as found in the article below.

In 1616, an innovative theatre impresario named Christopher Beeston (formerly of Henslowe's comany, The Queen's Men) bought and refurbished* an old cock-fighting pit in Drury Lane, turning it into a new theatre called the Cockpit*. Beeston saw the new theatre as a means to upward social mobility for his company, much as Shakespeare's company had gained a middle-class audience through their use of the Blackfriars.
Beeston and the Queen's Men abandoned their old theatre, the Red Bull, as well as their audience, composed mainly of artisans, apprentices, and their wives. An indoor theatre for Beeston's company at the Cockpit meant higher prices -- too high for the Red Bull audience, who could no longer afford to attend their favorite plays.
The Red Bull was taken over by another company* with different plays. While the Queen's Men had moved up in the theatre world, their longtime audience from the Red Bull was left out in the cold.
An audience gets revenge
On the Shrove Tuesday holiday in 1617 an angry mob of Red Bull playgoers stormed the Cockpit theatre. They attacked Beeston's company by destroying the players' wardrobe, props, and playbooks*. Beeston rebuilt his theatre and called it by its now-appropriate alternate name: The Phoenix.
A year to the day later, the mob tried again to exact their revenge. They planned to assemble at the Fortune Theatre and hit both the Cockpit and the Red Bull. However, this time the Privy Council was forewarned of the apprentices' plans and intervened before any damage could be done.


system
Summarize the events surrounding the attack on London's theatre known as The Cockpit as found in the article below.

In 1616, an innovative theatre impresario named Christopher Beeston (formerly of Henslowe's comany, The Queen's Men) bought and refurbished* an old cock-fighting pit in Drury Lane, turning it into a new theatre called the Cockpit*. Beeston saw the new theatre as a means to upward social mobility for his company, much as Shakespeare's company had gained a middle-class audience through their use of the Blackfriars.
Beeston and the Queen's Men abandoned their old theatre, the Red Bull, as well as their audience, composed mainly of artisans, apprentices, and their wives. An indoor theatre for Beeston's company at the Cockpit meant higher prices -- too high for the Red Bull audience, who could no longer afford to attend their favorite plays.
The Red Bull was taken over by another company* with different plays. While the Queen's Men had moved up in the theatre world, their longtime audience from the Red Bull was left out in the cold.
An audience gets revenge
On the Shrove Tuesday holiday in 1617 an angry mob of Red Bull playgoers stormed the Cockpit theatre. They attacked Beeston's company by destroying the players' wardrobe, props, and playbooks*. Beeston rebuilt his theatre and called it by its now-appropriate alternate name: The Phoenix.
A year to the day later, the mob tried again to exact their revenge. They planned to assemble at the Fortune Theatre and hit both the Cockpit and the Red Bull. However, this time the Privy Council was forewarned of the apprentices' plans and intervened before any damage could be done.


user
In 1616, a London theatre promotor, Christopher Beeston, purchased and rebuilt a cock-fighting pit turning it into a theater and naming it The Cockpit. However, this means as Beeston abandoned his old theatre, the Red Bull, in search of a more profitable audience, he had slighted his old, lower-class audience of artisans, apprentices, and their wives. The old audience who could no longer afford tickets to The Cockpit, took umbrage and on the Shrove Tuesday holiday in 1617 attacked The Cockpit theatre destroying costumes, props, and scripts. Beeston rebuilt and renamed the theatre appropriately as The Phoenix. The mob planned to sack the theatre again the next year but was thwarted by the Privy Council. 
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<|user|>
Summarize the events surrounding the attack on London's theatre known as The Cockpit as found in the article below.

In 1616, an innovative theatre impresario named Christopher Beeston (formerly of Henslowe's comany, The Queen's Men) bought and refurbished* an old cock-fighting pit in Drury Lane, turning it into a new theatre called the Cockpit*. Beeston saw the new theatre as a means to upward social mobility for his company, much as Shakespeare's company had gained a middle-class audience through their use of the Blackfriars.
Beeston and the Queen's Men abandoned their old theatre, the Red Bull, as well as their audience, composed mainly of artisans, apprentices, and their wives. An indoor theatre for Beeston's company at the Cockpit meant higher prices -- too high for the Red Bull audience, who could no longer afford to attend their favorite plays.
The Red Bull was taken over by another company* with different plays. While the Queen's Men had moved up in the theatre world, their longtime audience from the Red Bull was left out in the cold.
An audience gets revenge
On the Shrove Tuesday holiday in 1617 an angry mob of Red Bull playgoers stormed the Cockpit theatre. They attacked Beeston's company by destroying the players' wardrobe, props, and playbooks*. Beeston rebuilt his theatre and called it by its now-appropriate alternate name: The Phoenix.
A year to the day later, the mob tried again to exact their revenge. They planned to assemble at the Fortune Theatre and hit both the Cockpit and the Red Bull. However, this time the Privy Council was forewarned of the apprentices' plans and intervened before any damage could be done.

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<|assistant|>
In 1616, a London theatre promotor, Christopher Beeston, purchased and rebuilt a cock-fighting pit turning it into a theater and naming it The Cockpit. However, this means as Beeston abandoned his old theatre, the Red Bull, in search of a more profitable audience, he had slighted his old, lower-class audience of artisans, apprentices, and their wives. The old audience who could no longer afford tickets to The Cockpit, took umbrage and on the Shrove Tuesday holiday in 1617 attacked The Cockpit theatre destroying costumes, props, and scripts. Beeston rebuilt and renamed the theatre appropriately as The Phoenix. The mob planned to sack the theatre again the next year but was thwarted by the Privy Council. </s>
