Singing Simpkin and other Bawdy Jigs

'The book reinvigorates this lively and little-known form [...] addresses the full range of formal elements of the jig: texts, music, dance, staging, social context, and audience reception, spurring a critical return to formal and aesthetic considerations.
'The wiriting is crisp and jargon-free and avoids political correctness.
'[...] clearly written, with a deep respect and admiration for the material it covers'
Robert M. Black, Theatre Journal Vol 68, No 1 March 2016

'[...] there is no doubting the sound scholarliness of the book'
Andrew C. Rouse Folk Life Vol 53, No 2 October 2015

'Clegg and Skeaping's monograph is the first dedicated study of the early modern jig in nearly a century.'
'The book is more than the sum of its parts: it is a key contribution to the understanding of the diversity of early modern English theatre practice not only in London but also elsewhere in Britain and on the Continent, complementing existing research on the topic.'
Pavel Dr¡bek, Studies in Theatre and Performance 2016

'a thoroughly researched and densely documented volume, represents the most substantial and authoritative study of this elusive and much misunderstood theatrical genre' (Stanley Wells, The Times Literary Supplement, 18 June 2014)

'As a blueprint and guide for the creation or re-creation of the stage jig [...] the book is invaluable'
(Bill Tuck, Historical Dance, Vol. 4, No. 3, 2016)

'This volume assists those wishing to trace precisely the emergence of the European lyric theatre from its early, popular roots.'
'It is exemplary.'
(Russ McDonald, Opera, March 2015)

'Some [readers] will enjoy the historical background and the jig texts themselves; others may want to skip the history and head straight to the rehearsal studio'
(Ken Pierce Dance Chronicle Vol 38:1 March 2015

'Lucie Skeaping's experience as a compiler... and as director of The City Waites ensures appropriate matches when information is missing. Her expertise is matched by Roger Clegg's knowledge of Renaissance popular theatre and comedy generally.' (Jeremy Barlow, Early Music Today, June-August 2014)

Singing Simpkinpresents and appraises textual and musical evidence relating to the stage jig with exemplary thoroughness. The book adds greatly to our picture of stage performance generally, from Shakespeare's time to the Restoration.
Jeremy Barlow, specialist in early English music

'published at an affordable price in a handsome large paperback format, this collection [...] is broadly and deeply informed'
'this book's best feature is usefulness. But it is a usefulness so wide-ranging as to be remarkable. Singing Simpkin will be, or ought to be, valued by musicologists, theatre or performance historians, seeksers after the aesthetics of Shakespearean drama, cultural historians, and many others including (hopefully) current-day theatrical practitioners aiming to re-animate historical modes of playing.' (B.J. Sokol, Shakespeare, Volume 10 No. 3, 2014)

'Interesting and enjoyable'
'A very worthwhile book which may be read by anyone interested in early modern drama, song and popular music, and social history, and by those concerned with