Chapter Five brings tragedy and comedy together to explore the links between female solo dance and madness in Euripides and Aristophanes. I begin by considering two instances of female dance that are described – but not performed – on the Athenian stage: Agave’s movement surrounding the murder of Pentheus in Euripides’ Bacchae and the dance of Demostratus’ wife in Aristophanes’ Lysistrata. I argue that the projection of these dances outside the theatrical space itself exposes anxieties about the unruliness of female bodies engaged in ritual performance – especially the singular dancer separated from the chorus. I conclude with a contrasting example, exploring how Cassandra’s performance in Euripides’ Trojan Women brings mad female dancing onstage, and, like Io’s dance in Prometheus Bound (Ch. 2), tests the bounds of tragic theatricality.