Rural community plays bring a sense of unity

Press, 27 December 1980, Page 11

Rural community plays bring a sense of unity

Plays, based on local history, that not only draw townsfolk on to the stage as actors but also bring the audience into the action are creating a new interest in the theatre in rtiral Britain. The idea - has been poineered by the playwright, Ann Jellicoe; a scene from her play, “The Tide,” is illustrated. Story by ALLEN SADDLER, drama correspondent of the “Guardian,” London.

History is coining alive In., some small ‘ towns in south-west England. A new .idea in community theatre is causing local people to delve into the put and to recreate life as it was two or three hundred years ago. The idea belongs to the British playwright, Ann Jellicoe, well known as the author of “The < Knack,” ‘The Sport of My mad Mother.” and other plays that are performed allover the world. • - A few years ago Ann Jellicoe settled in Lyme Regis, a resort on the . English south coast where she began to take an interest in the area, investigating tales and legends. She tried to see life as it was lived,'for example,' at the time of the Monmouth rebellion in 1685. Lyme Regis was the headquarters of the Duke of Monmouth who led a failed rebellion against " King ’ ‘James IL- ■ — The result was a new play, "The Reckoning” — • and * new formula in theatre tailored to the : community, •Th* . Reckoning myolved 200 local people. There were 70 speaking parts. Professional actors were engaged to stiffen up. the ranks of amateur performers. By the end or the ; run r-iLytne, ,Regis- had. become a-warmer, more. ; fategrated.community.-Ey-costumes, g scene «hiftmg, at just making coffee at

the rehearsals. A four-year-old boy acted a small part, along with many people over 60. Some local people almost played themselves. The local vicar portrayed the vicar of the time; the town clerk was cast as a town clerk; a retired sea captain was an ancient mariner; and the current town crier played the town crier, an official who walked the streets announcing the news of the ■ day. / During the research and rehearsals local people learned-a good deal about their own history. Acting ..out violent scenes brought home the truth about the role of the Dissenters. A young boy, Sam Dassin, rode a series of sweaty horses from Lyme Regis to London to warn the King. The play told the story, but also presented dramatic scenes of how the events affected the ordinary folk, with families split asunder and Dissenters bung, drawn and'quartered. •' -v r “The Reckoning* isnot only a new idea in community involvement; the form' of the play is' ex-

ceptionally involving for the audience. The action in the Lyme Regis produc- - tion proceeded on three separate stages. . The audience, herded into the middle of the hall, found itself acting in crowd scenes. Soldiers burst in looking for Dissenters on the run; brawls broke out; bands paraded deafeningly near. The audience found itself caught up in bloodthirsty events, physically and emotionally transported into a dramatic period of its own history. ■' j. “The Reckoning,*’ an ; obvious, success .with the local people, was also an artistic ’ ahievement ' Community theatre had come vigorously to life with the help of a handful of professionals. Another manifestation of the idea has Just taken place at nearby Seaton. “The Tide," also written by’ Ann jellicoe, is set in 1805, at the time when England was at war with France. Seaton, a small town on the Devon coast, was caught, up. in the'/ depression " that' affected the whole of the area at that tune. —

Weavers and lacemakers were out of work; the only trade and employment available was smuggling — which was not restricted to bringing in casks of brandy; there was also a reverse traffic in smuggling French prisoners back to France. Ann Jeilicoe’s research discovered some colourful characters: Jack Rattenbury, the • chief smuggler; Nancy' Dawson, a dancer, who came from the town . of Axminster and who was a success in London ' in John Gay’s “The Beggars’ Opera”; and Thomas Witty, a local carpet manufacturer* He was very soon to discover the secret of carpet weaving that was to make Axminster carpets a world known trade name and put the Axe Valley on the road to prosperity. "The Tide" has speaking parts for. more than 100 people.Tt has an orchestra of 17, plus folk fiddlers who wander in and out of the audience. There is the same aprinkliagof professional . actors and musicians. In some scenes the 'audience gets involved in —

passing a smuggled cask along a chain of people, or dancing a jig with Nancy Dawson. The poverty of the times is illustrated by beggars and cripples, and the drudgery and long hours at the new carpet looms produce a song from about 50 women working a loom right across the auditorium. Au* dience and cast join in mass dancing, or even mass acting. The dividing line between audience and cast is distinctly blurred. It has been estimated that to mount an all-pro-fessional production would cost $lBO,OOO. No doubt trained actors would improve some of the performances, but it is doubtful whether they would generate as much enthusiasm as the local people. In any case the actual productions, although not exactly secondary, are only a part of th* idea. After the Lyme- Regis play the whole community came together in a sense of unity, feeling pride in its collective efforts. J Now Ann Jellicoe’s experiment has a Trust behind it. More towns will be investigated. It takes about a year to research and write each play and get it on stage. Towns elsewhere in Britain are inquiring about the new form and method that can not only inspire local interest. but create dramatic occasions that are artistically satisying.