ABSTRACT
This chapter explores some of the more obvious implications resulting from an undiscriminating acceptance of David Rogers' description and examines both primary and secondary evidence in relation to it. It attempts to reconstruct, based upon all the existing evidence an alternative and, more plausible method of performance. In his Early English Stages, 1300 to 1660, Glynne Wickham expresses some reservations concerning the feasibility of processional staging in Chester, particularly in relation to the physical requirements of some of the plays. In addition, in tracing the development of medieval stagecraft from the church into the streets, he wonders at the reasons that could have prompted such a radical departure from what had gone before. Many of the Chester plays require huge amounts of space, many large and diverse loca, and large numbers of actors on stage at one tune. E. K. Chambers in The Mediaeval Stage stated that "the normal craft cycles of the greater towns were normally processional in character.".
