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one person, a woman born in 1920, who grows

up on the common during its pre-war days of

innocence, and then lives through the war, the

arrivals of the Ugandan Asian refugees and the

arrival of nuclear weapons.

“I didn’t want to be seen as taking sides in

the debate about the peace camp, because

everyone I have ever met here has a different

take on it.”

And so the story evolved.

Writing for a large-scale production is very

different from anything Beth has done before,

but she relishes the challenge.

“For a large-scale show like this, you can’t

really have any dialogue like in a normal play.

This was new to me. I had to think of ways of

telling the story across a massive open space

with potentially thousands of people watching.

“The hardest thing has been leaving so much

out: there are important stories that I haven’t

been able to include because there isn’t time

or resources… or because we can’t actually

do a plane crash… but there is a whole series

of talks and discussions going on around the

main event and I hope very much that they will

fill the gaps that I have had to leave.”

So far the production is going well, but is

Beth enjoying the process? She realises the

magnitude of the event: “It’s terrifying! Please

ask me afterwards when we have all got

through it intact.”

So what should we, the audience, expect

when we come along to the performances on

September 8 and 9?

“I hope that it will feel like a mass coming

together, a celebration of what exists today

on the common, and the enormous courage

shown on this piece of land over the years.

I hope also that everyone taking part and

everyone watching will simply have a brilliant

night.

“Something they will remember for years to

come.”

28

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