Specifically, the abbess was required to provide goods and services for royal wars, as well as housing criminals until trial.
Under her progressive authority, Katherine incorporated performing arts into the celebration of Easter, in an effort to stimulate the audience and continue their devotion towards God.
Katherine is thought to have directed three sung Latin liturgical dramas, which were performed in Barking Abbey towards the end of the fourteenth century.
In this play, two priests representing Joseph and Nicodemus take down a sculpture of Christ from the cross above the altar, while singing an antiphon.
This burial attests to a growing interest in the late medieval period to represent Christ's death as vividly, and realistically as possible.
[1] During this performance, the entire convent, the Abbess along with a few priests stand in a side chapel, each holding a palm and an unlit candle.
The officiating priest together with two deacons walk to the door of this chapel and sing the antiphon Tollite portas (tear down your gates).
[7] In the Barking version, the officiating priest enters the 'tomb' and takes out what the text calls 'the Lord's body in a glass', which he holds before the congregation while singing the antiphon Christ is risen.
The theatrical literature of late medieval France, Germany and Britain displays noticeable characteristics, modeled after the plays at Barking Abbey.