A gripping tale of community, protest, love, and powerful female leaders, The Commotion Time brings the historically suppressed story of the South West into the spotlight.
Sat 19 Oct, Northcott Theatre
by Millie Hughes
On the evening of Sat 19 Oct, I had the privilege of attending Exeter Northcott’s trailblazing production of The Commotion Time, penned by Sarah Dickenson. Aptly described as a community play in both theme and practice, the performance brought together an impressively large cast and crew, each with direct ties to the South West. This made the experience not only theatrical but a true celebration of local talent and South West history. With live music, laughter, tears, and profound warmth, this performance brought forgotten stories of ordinary people’s extraordinary feats directly to the forefront.
In 1547, after Henry VIII’s death, the people of Poundstock on the Cornwall/Devon border are on the brink of completing their prized Gildhouse. But looming reforms from Exeter threaten to tear their parish apart. As famine and division take hold, the villagers rally in a bold march, fighting to restore Catholicism and resist the Protestant Reformation during the Western Rising of 1549.
Upon entering the theatre, I was transported to the 16th century, greeted by a charming pre-set of actors embodying bustling village life and a violinist playing folk melodies. The all-wooden set invited select audience members to sit onstage, immersing them in the action and blurring the line between performer and spectator. Although initially worried that this design choice may overcrowd the Northcott’s stage, I soon recognized that the audience presence beautifully reinforced the theme of community at the heart of Dickenson’s play. Notably, the ensemble of community actors and choir members were instrumental in creating this effect. Boasting a sizeable 43 people, each performer skilfully conveyed an individualised story, ensuring that none went unnoticed.
Rightfully, The Commotion Time places female leaders at the centre of this pivotal historic moment, weaving the narrative around three village women. Very few works discover this time period through such a multi-faceted and complex female lens, making this story profoundly resonant for me as a woman. The male leads impressively supported this telling, equally providing nuanced and vividly drawn characterisation.
Crucially, the whole company portrayed the importance of honouring neglected South West voices in the broader tapestry of history, making this performance particularly special for residents across Devon and Cornwall. Credit must be given to musical director, Ben Sutcliffe, whose original score and onstage playing provided an inspired backdrop for the heart-warming story of togetherness. Lizzy Watts’ portrayal of Anne Orchard was mesmerising, making me both laugh and cry whilst she shattered misogyny with fierce conviction.
Even in the 475th anniversary year, themes in The Commotion Time remain highly relevant to modern times, making this extraordinary interpretation an unmissable watch.
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