Camp Albion review

In 1996, plans progressed to build the Newbury Bypass, which involved the felling of 120 acres of ancient woodland. The protest against this level of destruction became known as the Third Battle of Newbury – after two notable Civil War skirmishes – and introduced the UK to a new style of protester known as the eco-warrior.  

More than 7,000 people protested, undertaking everything from placard waving to tree squatting. It is on this episode of Newbury’s history that Danielle Pearson bases her play, focusing on the personal stories of those involved. 

Cassie has finished term at university and is looking for a project as part of her journalism degree. As a Newbury resident, she is fascinated by the protest and attempts to document interviews from locals and protesters. It is here she meets Dylan, a resident of Camp Albion who offers an articulate response to the disruption. Keen for Dylan’s voice to be heard, Cassie joins the protest at its most violent period.  

Pearson’s ambitious exploration of the protest focuses as much on the characters as it does on the politics. In several ways, Camp Albion could be described as a love story, not simply between Cassie and Dylan, but for a way of life that is all but disappeared – a time before social media and online outrage, when people and actions made a difference. 

There may be a rose tint to Pearson’s story, exaggerated by acoustic renditions of songs from Nirvana, Bob Dylan and the Spice Girls, but there’s grit too. The sense of oppression and futility is an undercurrent, despite the heroic gestures and bold manoeuvres adopted to protect their space. Paranoia is rife too, as the press observe every move, it is no wonder people’s mental health was affected.  

Director Georgie Staight manages to deliver the bigger picture while focusing on these personal stories. Isobel Nicolson’s effective set helps, featuring a makeshift canopy, but it is the campfire confidentials that give this tale its heart. Hannah Brown is utterly convincing as the awkward, but ultimately determined Cassie. Her journey gives the play its shape and her gentle rebellion is emotionally rewarding. 

As well as arranging all the musical numbers Joe Swift is a pensive, vulnerable Dylan. It’s difficult to decide if he’s enigmatic or simply underwritten, but his departure paints a much bigger picture of life in these camps and the people who make them their way of life. This is exemplified by Kate Russell-Smith’s wonderful turn as the outspoken camp mother Foxglove Sue.  

Camp Albion has been a labour of love for Pearson for the last few years and it shows. She does not wallow in nostalgia, but instead intelligently and sensitively tackles the previously unexplored aspects of a life spent in protest.