ABSTRACT
Practical interest in the production of medieval English drama begins with revivals of Everyman and some pageants from the Chester Cycle in the early years of this century. Before and after the First World War there were adaptations of the N. Town Passion Plays by Nugent Monck in London and in Norwich, and of various pageants and groups of pageants from York, Chester and Towneley, by E. Martin Browne in various parts of the country. The Poculi Ludique Societas of Toronto made a valiant attempt to reproduce the medieval sound by using a reconstructed fifteenth-century pronunciation for touring performances of the Towneley Mactacio Abel. To all but medievalist-English scholars, however, it was largely incomprehensible. Street performance at twelve stations gives the commonest situation. The division of these twelve among the streets of York appears somewhat uneven: four in Micklegate, four in Coney Street, two in Stonegate, one each in Petergate and on the Pavement.
