Sarah Dickenson’s debut play The Commotion Time makes is set to make its world premiere on 18 October in a run at The Northcott Theatre Exeter.
The play by the Royal Shakespeare Company and Globe Theatre dramaturg tells the story of what has become known as The Prayer Book Rebellion or Western Rising of 1549, rooted in the area where the play is making its debut.
Ahead of opening we caught up with Dickenson to find out more about the play.
What can you tell us about your play, The Commotion Time?
The Commotion Time is set in the parish of Poundstock in North Cornwall between the years of 1547 and 1549. As the play opens the villagers are joyfully digging of the foundations of their long-planned church house – known as the Gildhouse – a community building designed for feasting, brewing and baking in order to fundraise for the church which is at the centre of every aspect of their lives. It is a dearly-held project and one that every family has had a hand in – an expression of both faith and community. But in a few short months the death of Henry VIII and the ascension of his son, Edward, brings with it a series of swift reforms that threaten every aspect of their lives – and the church house itself. The play follows them as they meet these changes and eventually protest against them as part of one of the most significant Tudor rebellions – the 1549 Western Uprising or Prayer Book Rebellion. Told principally through the perspective of three women at the heart of the community, the play explores what led these people to risk everything for their way of life, and how they found their way back to one another in the uprising’s devastating aftermath.
What was it about The Prayer Book Rebellion that attracted you to write a play about the events?
I didn’t set out to write a play about the Prayer Book Rebellion in the first place but it came to feature because of the history of Poundstock Gildhouse, which was my starting point. Around two decades ago, the Parish of Poundstock were fundraising for what was to become an award-winning renovation of their church-house – one of the only buildings of its kind still in continuous community use in the country. They approached me about doing plays and it was then that I started to research its history. I discovered that the building was being erected at the same time as the church ales it was built for were being repressed by Edward VI’s government. I then discovered that the Priest of Poundstock at that time had been one of the protest’s leaders – the story emerged from there. I was fascinated by the resilience of a community that had built the building and drew parallels between them and the community still caring for it today. The more I researched, the more surprised I became that the Western Rising (I prefer the term rising rather than rebellion) had faded from popular memory – it had such a significant impact on Devon and Cornwall both at the time and for centuries to come.
How does feel to have the play make its world premiere Exeter Northcott Theatre, in the South West?
I am from North Cornwall and saw many shows at the Northcott in my youth. I think that themes at the heart of the story are universal and the play could speak to an audience wherever it was performed. But first and foremost, it is a play about a shared moment in the history of the people of Devon and Cornwall and it is fitting that it is in this 475th anniversary year of the rebellion that we are bringing this story home. The play musters itself in Poundstock on the edge of the Devon border and marches to Exeter to join with Devonian fellows, to tell a story that has been forgotten, but has shaped the history of Devon and Cornwall none the less. Poundstock is one of many villages across both counties which sent men directly to St Davy’s down, to ask to be heard. In 1549, the protestor’s voices, and with them the identity of the people they represented, were kept outside the city walls. In this anniversary year, those voices will be heard within.
How important was it to have a cast with links to the community and area where the play is set and is being performed in?
At its heart, this is a play about community resilience. It was commissioned by a community in North Cornwall who asked me to think of it all of those years ago and I’ve developed it alongside them. It’s now being made in conversation with another community of theatremakers, historians and local people in Exeter – and it will meet another community again when an audience joins us for it in a few week’s time. This play is a great collaborative act of storymaking on every level – these links are in its very DNA…. it could be realised in no other way. It’s a play that has never belonged to me. I’ve always felt as though I am channelling a story that has long needed to be heard. I feel so grateful that people have come together in this way and used their own skills and creativity to bring it all alive.
Is there anything you hope audiences take away from the play?
Firstly, a wonderful night in the theatre: some laughter, tears, meaning and collective joy. I also hope they’ll leave knowing more about our shared history; understanding themselves and their country a little more and perhaps reflecting on the challenge of our togetherness at times of polarising change when many of us will make different choices which threaten our communion with one another. How we meet these challenges and find our way back to one another is a life’s practice, but it’s one our foremothers met again and again to keep our community spaces – physical and emotional – alive. ‘Faith, Hope and Love, these three, but the greatest of these is Love.’
The Commotion Time is at Exeter Northcott Theatre from 18 to 23 October
