Review: Down to Chance, Pleasance Theatre ★★★★

Review: Down to Chance, Pleasance Theatre

It is a rare thing for a piece of theatre to make the audience imagine the ground shifting beneath their feet, but Down to Chance by Maybe You Like It, currently playing at the Pleasance Theatre, achieves exactly that. Produced by the Maybe You Like It company, this production brings to life the terrifying and awe-inspiring story of Genie Chance, the radio broadcaster who became the voice of Anchorage during the Great Alaskan Earthquake of 1964.

The production arrives in London following a sell out run at the Edinburgh Festival Fringe, supported by the Edinburgh National Partnerships Programme. This initiative is vital for helping exceptional work find a life beyond the festival, and it is a treat to see it presented here as a double bill alongside Sorry (I Broke Your Arms and Legs).

As someone who grew up in an earthquake-prone region, I found the portrayal of the disaster particularly poignant. My own family history is marked by the 1931 Hawke’s Bay earthquake, where a relative was tragically killed by a falling veranda. I grew up with the reality of earthquake drills and the necessity of family reunification plans as standard. We were taught exactly where to meet if the world fell apart: if our house is down, go to granny’s; if hers is down, go to the church. Knowing that an emergency kit must always contain a battery-powered radio is a lesson ingrained from childhood, and this play is a vivid, heart-stopping reminder of why that remains the case today.

Current Alaskan earthquake kit guidance
Source: Alaska Department of Health, Ready Now Toolkit. — Current Alaskan earthquake kit guidance

Ellie Jay Cooper in Down to Chance, Pleasance Theatre

The production employs a classic Edinburgh Fringe style, with Ellie Jay Cooper and Robert Merriam displaying a deft, brilliant talent for characterisation. The two actors whirl through a carousel of different roles with a rotating array of headgear and distinct vocal shifts. It is a masterclass in “on the fly” storytelling. One moment we are with a mother waiting for her son at a basketball tournament, reminding us of the agonising vulnerability of being separated from loved ones; the next, we are in the high-stakes environment of the KENI radio station.

The central dilemma of the play is fascinating, exploring the idea that information has consequences. Genie Chance understood that if people felt informed, they would make safer choices. Hearing the simple broadcasted messages, such as “Tell my wife I am safe” or “I am waiting at the neighbours,” reminds us that in the wake of a 200-foot drop in the coastline, the smallest piece of news is a lifeline.

The technical elements are equally effective, particularly the immersive sound (Nathan May) and lighting (Jessica Parritt). One survivor described the actual sound of the 1964 quake as a “rumble and a slithery sound all mixed up and it has got some crackle to it, too.” The production manages to capture that visceral, unsettling atmosphere perfectly. The use of small radios amongst the audience creates a lovely sense of immersion, making us feel like part of the anxious Anchorage public.

There are, however, a few small areas where the narrative felt slightly less sure-footed. The roles of the intern, Dom, and his girlfriend provide levity, but they occasionally felt at odds with the gravity of the situation. Of course, non-fiction theatre often requires a degree of dramatic license to transform a historical archive into a living story. While here we have a more light-hearted assistant, in real-life, Bob Fleming, the young staffer who assisted Genie, was engaged in much more technical and urgent work. Far from singing or hosting quizzes, he was crucial in maintaining the physical connection to the cracked transmitter and helping set up the temporary studio in the Public Safety Building to keep the broadcast alive.

Furthermore, while the tension was high, I would have liked a clearer sense of the staggering endurance required for this feat. Genie Chance remained on air for a miraculous 59 consecutive hours, a Herculean effort that the play’s timeline does not quite manage to convey.

However, these are minor quibbles in what is otherwise a deeply researched and measured piece of theatre. It captures the vulnerability of waiting and the immense responsibility of those who hold the microphone during a crisis. Down to Chance is a beautiful tribute to human resilience and a reminder that, even when the world is literally falling apart, a calm voice in the dark can soothe hearts and save lives.

A bolshy, bold hero in control when it counts

This production is currently being presented as a double bill alongside another short play, the hilarious Sorry (I Broke Your Arms and Legs). This pairing offers a full evening of storytelling, though the two pieces are very different in tone and subject matter. There is a discount for seeing both shows. You can read my review of Sorry (I Broke your Arms and Legs) here.

Running Time: 70 minutes

Age Guidance: 12+ (Contains themes of natural disaster and grief)

Tour Dates: Following the London run, the production will be touring to the Yvonne Arnaud Theatre, Guildford (8 October) and the Chelmsford Theatre (13 October).

How to save at the Pleasance:

The Pleasance offers a variety of ticket deals, including concessions for students and seniors. It is always worth checking their website for “Early Bird” offers or local community discounts if you live in the N7 area.

[Thank you to Chloe Nelkin Consulting who provided gifted tickets in exchange for an honest review.]

The 1964 Great Alaska Earthquake: The Facts

1964_alaska_earthquake_destructions_at_kodiak
Date & Time: Good Friday, 27 March 1964 | 5:36 pm (local)
Magnitude: 9.2 — The second-largest earthquake ever recorded.
Duration: Shaking lasted nearly 4.5 minutes.
Context: Alaska had only been the 49th US state for 5 years.
The Aftermath: Within 24 hours, 11 aftershocks struck with a magnitude greater than 6.0.
The Human Cost: 131 fatalities, primarily caused by the resulting tsunamis.

LISTEN TO The REAL Voices from 1964

Archival audio from the Genie Chance papers (UAA/APU Archives) captures the actual 1964 broadcast, including the real voices of Genie Chance and Bob Fleming.

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