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}i...and a reply to Steve's other query, about role doubling. The clearest example I know is in the Coventry Shearmen and Tailors' play, where the Shepherds must double the Mothers of the Innocents: both groups are an alto-tenor-bass singing group (yes, really!), and it's unthinkable that the guild would employ two such groups. The shepherds have about 30 minutes, I reckon, to change roles. See my essay in Marianne Briscoe and John Coldewey, eds., Contexts for Early English Drama (Indiana UP, 1989). If you want to know the technical details (I bet you don't, though!), see _Music Analysis_ 3/2 (July 1984), pp. 181-99, and especially 193-4. I've published both pieces with Antico Edition (but lots of other people have published them, too). On the dancing, by the way: you do know that Hugh Gillam was paid as a dancer by the Coventry ,Treasurer for dancing in the mid-1560s, do you? See REED Chester 70, 74. This had nothing to do with his performance in the plays, though. Regards, Richard