This essay examines medieval women dramatists, from Hrotsvitha of Gandersheim in tenth-century Germany, through Hildegard of Bingen and her Ordo Virtutum (Play of the Virtues) in the twelfth century, to Katherine Sutton, Abbess of Barking in the late fourteenth century, who composed liturgical dramas for Holy Week. The essay locates these women dramatists within the wider context of medieval convent performances in England and Europe, and shows that religious women were not only authors but also actors, directors, and costume makers; their convents provided the play space, while laywomen sometimes also contributed. Niebrzydowski also explores the often speculative or conjectural evidence for womenߣs participation in drama outside the convents. Although there is only one definitive English example of women as associated with a Corpus Christi production, a lost Chester pageant of ߢour Lady thassumpcionߣ, other fragmentary evidence suggests lay womenߣs involvement in a range of dramatic forms from saintsߣ lives, interludes, and morality plays to processions and pageants.