On Our Beach

BACKGROUND: Studies have shown how participatory ritual makes space in which we may rehearse other “ways of living and models of action” (Bourriaud, 2002) while instilling “collective emotions such as trust and belonging” (Dissanayake, 2017). My prior research investigated how the use of ritual elements within performance writing and live art can cultivate meaningful narrative spaces promoting resilience among adults (Murray, 2019). This inquiry asks how a dramaturgy and scriptwriting process conceived as enabling of participatory ritual may generate a novel theatrical experience of connectedness in a mainstage theatre work for children. CONTRIBUTION. On Our Beach is an experimental interactive theatre work for children commissioned by Australia’s flagship puppetry company, Spare Parts Puppet Theatre in Fremantle, Western Australia. It was drafted within a creative development process in 2018 and had a professional premiere season in 2019. This project extends my practice as an award-winning writer of children’s theatre (Blueback, Spitting Chips) through its exploration of the ritual energies of containment and release as structural devices, through the revoicing of the playscript document from the point of view of the audience as a communal, central character, and in its experiment with the placement of apertures within a script to admit surprise, spontaneity and play. SIGNIFICANCE: This work had online, radio and editorial coverage and was positively reviewed by ArtsHub and Stage Whispers. 26 performances were given garnering 70% capacity houses including four sell-out sessions. Feedback from teachers and parents confirmed that the expression and experience of collective emotions in On Our Beach enhanced individual perceptions of connection and promoted new insights into notions of fairness and inclusiveness. The work received the prestigious award for Best Mainstage Show at PAWA 2020 and is likely to see return seasons and a tour in 2021.