This chapter takes the model of humour developed earlier and applies it to aspects of literature or theatre that are connected to the performance of humour. The first of these is an example of bathos in prose fiction (in Stella Gibbons’ Cold Comfort Farm), related to comic timing. The second is the effect on humour recognition and appreciation of the reading aloud of a poem, one of Hilaire Belloc’s Cautionary Tales for Children. The third is the construction of humour and its effects in pantomime, addressing a production of Cinderella. One broad feature of these works is that they involve aspects of communication that are not obviously part of the silent reading of texts examined in the previous chapters. In spoken communication, a receiver has access to a relay’s facial expressions, tone of voice and speech rhythm, to give just a few examples. These can be used as cues for the receiver to interpret a relay’s proposition as humorous in intention.