A Seventh Community Play for Dorchester!
The Dorchester Community Plays Association is thrilled and excited to announce that Playwright Stephanie Dale www.stephaniedale.org has delivered the first draft of the 7th Community Play for Dorchester "Spinning the Moon". We look forward to engaging Peter Cann to direct.
We are applying for grants and fundraising like fury to raise the money needed to start the production phase of the play. This is not simply about putting on an existing play or musical, but about creating a piece of challenging and original work that is embedded in our community’s past and perpetuated by our community’s present.
The play is inclusive in all its aspects, anyone and everyone can participate in all areas of the production, including management, design, making, research, acting, both front of house and behind the scenes. Thousands of people have shared the experience of past plays as participants and audience and have enjoyed the consequent benefits of community well-being.
We are determined to produce Spinning the Moon, so please, do get involved, follow us on facebook and twitter by clicking on the links to the left and check out the website regularly. If you feel inclined you are most welcome to become a member of the association (see DCPA information page).
2016 Carnival entry - Huge thanks to Lucy Allen and team!
GALA EVENING October 3rd 2015
“Thirty Years on seems a good moment to mark an innovation,and so it proved at Sunninghill Community Hall on Saturday 3rd October. In the late 80s, playwright and director AnnJellicoe invented a new theatrical form, the community play, in which a whole town might participate in the creation of a work of theatrical art. Starting in Ann’s home town of Lyme Regis, the seventh play was to be the largest. The Dorchester play involved well over 100 performers, an orchestra, and dozens more people involved in researching, building, making, selling, funding, driving, baby-sitting, ushering and indeed attending. I was privileged to be asked to write the play, Entertaining Strangers, which covered over 50 years of Dorchester’s 19th century history, and involved a race meeting, many dinners, a sermon or two, a grand equestrian parade and a major outbreak of cholera. It was directed by Ann, co-directed by Jon Oram, composed by Andrew Dixon and professionally designed and stage managed.
Since then, five more plays have been made, giving the lie to the idea that the model of community play-making doesn’t leave a legacy. Many, many of the Entertaining Strangers company went on to perform in subsequent plays, some of them in all six. By the same token, the professional team kept coming back. There was a more than representative sample of both groups at the celebratory dinner. For those of us who’ve been involved for most or all of the thirty-year span, it was a chance to meet old friends, to hear news of others, and to marvel at how well we were all looking.
Introduced by the new chair of the Dorchester Community Play Association, Sonia Morris, speakers during the evening included the first chair, Trevor Jones, Jon Oram (co-director of Entertaining Strangers and later director of the 2007 play A Time to Keep), Rupert Creed who wrote Fire from Heaven and the most recent play, Drummer Hodge, and composer Andrew Dixon, who also wrote and directed the third play, Running Still. The last speaker was Stephanie Dale, with whom I wrote the fifth play, A Time to Keep, and who is already beginning work on the seventh.
All of the speakers spoke of the unique emotional but also the artistic impact and value of the community play.
Music is always a vital part of the plays and one of the high-spots of the evening was the performance (and indeed singing) of music from the plays, by a hand which included play composer Tim Laycock.
There were two other highlights for me. One was a filmed interview with Ann Jellicoe, now 88 and too frail to attend the evening. Community play actors Sue Wylie and Maggie Ansell gently coaxed Ann to talk about how the form was conceived and developed. Most moving was when they told Ann how being involved with community plays had inspired and changed them. Suddenly, Ann said “then I haven’t wasted my life”, and her eyes filled with tears.
Another extraordinary moment for me was when Maggie, her daughter, her son-in-law and her grand-daughter performed an extract from Entertaining Strangers. Maggie had never acted or been involved in theatre when she was recruited to the organising committee, and then cast in one of the lead roles. Her daughter Fran, then 18, was in the orchestra, and also played a major part in Fire from Heaven, two shows on. Her daughters Kitty and Maisie (then three years old) first appeared in A Time to Keep.
The Ansell family are living proof of the transformative power of this remarkable form.”