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“Events are now Soul size.”
Sir George Trevelyan

Sir George Trevelyan, a good friend of the community sometimes came to visit and took a keen interest in the way things were developing. Sir George was a deeply spiritual man and a visionary, involved all his life in altruistic pursuits, and pioneering adult education; he was a Patron of the Arts and a gifted public speaker. His signature declaration will always stay with me as he used it often in the opening line of the inspiring talks that he gave, alerting us to the drama of our times. Sir George always gave some classes in public speaking whenever he visited, waxing eloquently on the importance of the “pregnant pause” in order to capture the attention of the audience. I regret not finding the time to attend them but there was always something to be missed when balancing the needs of a young family and the activities of a richly creative community.

There was nothing uppity about George, even though he was a ‘Sir’. He had a ready smile and a twinkle in his eyes, fine boned and elegant, just what you’d expect in an English Gentleman of title, always approachable and happy to engage in conversation; like all the other older Members – inspiring. Sir George was delighted with the emerging creative impulses of theatre Arts in the community and a couple of years later he invited us to bring one of our productions to Attingham Park, his centre for adult education, for some kind of local summer celebrations. We performed in a large Marquee in the lovely grounds to a small audience; sadly, there was a bar at the other end selling all the local brews and a lot of drinking and revelry going on and we were seriously heckled by a few drunks. It was awful – but quite funny in retrospect; obviously we had not yet perfected the pregnant pause.

We had our first big public debut with the B.B.C. and Magnus Magnusson; Performing Arts (P.A.) offered some Dance sequences from ideas we were working on – these were used as opening and closing shots in the programme. I must say I never dreamed I would be dancing on T.V. a few years previously.

Peter, our patron and benefactor, struck with the power that ‘theatre’ had to get a message across, asked us to prepare a show to take to the Westminster Theatre in London – promoting the work of the community – all proceeds going to “Amnesty International”, we were even allowed to rehearse during the daytime! As already mentioned, much of the material was pretty light hearted, think Aesop’s Fables meets Monty Python, with a sprinkle of fairy dust, a pinch of satire and some winning nuggets of wisdom derived from the vagaries of human behaviour – this basically constituted the drama aspect.

For this – our first variety show abroad, there was live music from “The New Troubadours”, Lark created some crazy choreography in the style of Broadway nineteen fifties with actual leap frogging over our partners backs! whilst singing our chorus line inspired verses composed by Ed and Michael about being a “working community” – complete with the mimed actions of digging and sweeping and polishing it was really cheesy but it worked. There were of course serious moments, a lovely sequence of colour slides that Crispin had put together. Crispin had been in the Royal Navy, he was one of the people in those first months at Findhorn who had knocked on our door at an unseemly hour asking for reception and we invited him in for a cup of tea, feeling instant warmth and friendship.

Crispin was a gifted photographer and had taken a lot of beautiful close-ups of vegetables, it doesn’t sound thrilling on paper but with sensitive narrative and the giant close ups of cross cuts of purple cabbage, tomato, cauliflower and the rest, the colours vibrant, it was extraordinary and the point being to encourage people to see the world of nature anew so the next time they prepared a salad or the vegetables for supper it wasn’t the “same old same old” attitude that sadly accompanies the tasks we carry out on a daily basis. In the early seventies it was pretty radical. Peter gave an inspiring talk on the Power of Community and there were slides of the gardens. The show was well received by a full house and after Peter’s talk and the question time that we all responded to, sitting around informally on the stage, we were given a standing ovation which was wonderful. I think we used the old R.A.F. bus to get us all there and back and us young ones spent a night in a noisy smelly Y.M.C.A. building.

Jim Glines, Joy Drake, Angus, Lark Batteau, Nevena Silic, Carly Newfeld photo Kathleen Thormod Carr

Every month we had a Community Meeting, a public forum where anyone could get up and have their say. I wondered if this was the way the ancient Greeks developed the idea of democracy. I found these gatherings exciting, challenging and Sir George’s classes were helping people to break through their inhibitions about standing up and speaking out – before so many – about the things that were close to their hearts.

With all the publicity, people were arriving in droves. I loved the fact that Peter and Eileen never turned anyone away and only in the event of severe anti-social behaviour and/or psychotic tendencies were people asked to leave. There was a loose framework for visitors who wanted a short taste of community life, but that had to change into something more structured as numbers increased and a schedule was worked out and the beginning of a ‘guest programme’ and “experience week” were put in place. In those early days the performing arts group provided some of the fun and games for the guests, using theatre games and improvisational exercises. Also ‘group dynamics’ arrived, techniques of bodywork based on trust and letting go in a group context, they were brilliant, and I seem to remember that some of the people who were pioneering this work came to visit from America and taught the original innovators of “the guest programme” many of the exercises and their more expanded philosophy.

Ian David (Fun Night)

Around this time something wonderful happened for the P.A. Group and it may have been Peter’s idea, as it was he who facilitated it. We acquired the use of a small shop with a very large windowless store room; it was ideal to convert into a cosy theatre and situated on the lower caravan site. Coincidentally, the Cinema in Forres closed its doors forever, that same week and for a minimal payment we bought eighty orange crushed velvet swing seats. With the aid of our trusty carpenters the space was fitted with a good-sized stage that adjoined an adequate dressing room and side exit. The floor of the new auditorium was made into three different levels for the seats to be fitted into place. It was perfect. For the next three years until 1976, we had summer seasons of shows in what was called the Lollypop Theatre, sweets and beach paraphernalia were sold in the adjoining shop. Audiences came from all over, holiday makers, visitors to the community, locals and community members it was a great mix and we were well received.

Much of our material came out of the winter workshops, some was written as a complete play – usually multi media – or a theme was presented for that fortnight’s production. People would work in isolated units and then we would run them through to see how to combine them into a variety show. We had to work hard in order to produce a show lasting for five or six performances every other weekend, the run through and the technical and dress rehearsals, were at last recognised as a ‘work’ department; we were given some afternoon time for our preparations.

That first season we had a lot of advice and practical help from a lovely man who taught Drama at Glasgow University. It may have been him who gifted us with a couple of super troopers, the big square stage lights that can be used with coloured gels, and some small spots; that was all the lighting we needed for such a small space.

There was a recess at the back of the space that was converted into a lighting booth, big enough for two people and a projector etcetera, so we were well on our way to creating professional high quality work, especially as Melinda, a lighting expert joined our team and we had Crispin with his lovely slides of nature and landscape and he and I worked closely over the following three years, combining Music, Dance and Imagery in some atmospheric pieces.

That first summer season saw us becoming quite skilled in the construction of the Variety Show, Michael and Alexis doing much of the writing and M.C.ing. Later, Ike and Maggie arrived to stay, from Northern England, they had a significant background in repertory theatre. Ike was terrific at licking a show into shape and Maggie, a gifted ‘all round’ performer. Mary Hilton and a number of other lovely ladies had gifted us with thick golden drapes for the stage, all hand sewn on their sewing machines and behind these there was also gifted a screen for the slides, and a weekly film, as a film club emerged for everyone’s entertainment.

I remember only full houses and standing room only. We could pack in about eighty-nine at a pinch, health and safety regulations not so intrusive in those days. It was of course – no smoking. Our shows were very popular and many people gave generous donations over the next three years to have a real theatre built. This in turn helped generate ideas and enthusiasm for the eventual building of the Universal Hall, especially when George Ripley, a highly esteemed and radical architect, later joined the community.

Peter and Eileen’s aspiration was to see the community hosting conferences where many people could gather to hear about inspiring and relevant matters concerning issues of the emerging times: evolutionary, environmental, the metaphysical and healing Arts. A centre of education in the highest sense; cutting edge knowledge and wisdom shared with the many by the seers, prophets, experts, writers, artists, educationalists, healers, researchers, gurus, scientists, tribal elders, celebrities, peace workers, social activists, environmentalists, philosophers, radical clowns, eco warriors, psychologists, Buddhist monks and ordinary people who would all appear and who were helping to make a difference, shedding their light and love on these crucial times. This was to come about over the following years and the arts would play an important role in this.

As already mentioned, Roc was a keen ‘theatre buff’ and on his visits he would often have informal chats with our group. He spoke to us once about the power theatre has to ‘uplift’ and he stressed the need to keep things simple and not fall into the traps of glamour and egocentricity. He spoke passionately about doing things for the love of it and that, in itself, warms the heart of any audience, no matter how sophisticated they may be. It was Roc, I think, who said that the word amateur, comes from the French language, meaning “for the love of”. Roc’s words inspired Ed and Michael to write a play – a comedy – about a rather bumbling amateur dramatics enthusiast trying to get a show off the ground against all the odds, with a bunch of difficult players, a lack of funds and waning enthusiasms; Michael played the lead role, a sort of kindly ‘Basil Fawlty’; extolling the virtues of co-operation, positive thinking and love of the work; it was irreverently entitled ‘the G.O.N.A.D.S’ – as in “Greater Outer Norton Amateur Dramatics Society”. We had hoped that Roc would be in the audience on our opening night, but sadly he had been taken ill and didn’t linger for long. Over the few days of its performance the show was dedicated to Roc and we all felt his presence really strongly as a kind of receding cosmic chuckle a warm acknowledgement as well as a blessing on our future work. Thank you, Roc, for all that you gave.

It must have been around this time but probably earlier in the early development of P.A. that we lost some of our gifted Artists and most valuable assets. The New Troubadours and David and Myrtle left for their homeland in the U.S.A. to establish a centre there, along with Dorothy Maclean. I always remember Myrtle with her skills in counselling, giving me this simple piece of advice that has always worked. “When in thrall to any kind of sadness or depression, do something nice for somebody, it’s guaranteed to lift you out of yourself”. This wonderful group of people later became “The Lorians” and went on to do amazing things in the States.

As more people gathered, to live in a spirit of love and co-operation ‘intentional community’, a fountain opened up of shared inspiration, talents, enthusiasm and skills that gave the sense that almost anything was possible. One of the great things, was that everyone’s needs could be met and the children were included in that. Along with everything else, our children were growing at a terrific pace, we had the playgroup for the under-fives and there was the school nearby at Kinloss which was a good place with a forward-looking kindly Headmaster. Of course, we dreamed of having a school of our own and education that truly nurtured our kids sensibilities but this didn’t happen till quite a bit later.

Ruby and Amber enjoyed helping out and joining in the life of the community. They often came to rehearsals and performances, sometimes featuring in material written for children. Their lives were rich and varied and what we didn’t have in material things, the warmth, friendship and variety of living in the community, made up for. By now, Peter and Eileen’s rules around ‘children’s dining etiquette’ had softened, though children of every age were expected to behave well and not run about or make lots of noise at meal times in the C.C. Children’s programmes were developed during the long holidays and parents and friends with transport would offer their time to ferry them around for trips out and creative projects. There were also classes in Dance, and Music, Arts crafts and theatre play that they could get involved in after school and at weekends and they did. These opportunities gradually extended to children outside of the community. In those days, all was given freely without any expectation of payment or donations.

Not all our material was written or conceived in community. Ed produced and directed an ambitious work, a play by George Bernard Shaw about Joan of Arc, with elaborate costumes and the make up in Hollywood tradition; it not only played in community but in the Village of Findhorn, the nearby town of Forres and the City of Elgin – in their Town Halls. P.A. was excellent as a tool for bridge building, demonstrating to the locals that we were a normal bunch of people and not “away with the fairies” after all.

Ed, Kathi, Michael in Handsome Prince (an early show)

On one or two occasions we were asked to imagine/create a psychic dome of protection around the community. There were a number of ‘psychics’ in the community and it seemed we were under attack by the dark forces. Roc had once said that when a centre of light gained in strength and recognition it attracted the attention of the forces of entropy, that which opposes humankind’s awakening. Peter and Eileen, speaking on the subject of fear stressed how laughter and light could dissipate the powers of darkness to some extent, the importance too, of asking the Devic realm and beyond, for protection. Those who felt inclined, walked the parameters of the community visualising barriers of light; every so often these non-visible barriers would be fortified. I paid it little heed, my life too full and engrossing to have energy left over for the nebulous, plus, small children and their relentless needs chase away such shadows, not that I disregarded it and on several occasions, – at those times – I had some very disturbing encounters of an occult nature during sleep states.

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About the photos: Many individuals were involved in the performing arts during the 1970s at Findhorn. Much of the work was well documented by seriously talented photographers. As I only have access to my own album of the ’70s, many of the images above are of a more personal nature, and sadly I don’t know whom to credit for the photos.

A big Thank You to my grandson Ziggy for enhancing the appearance of many of my somewhat battered and ancient photos from the ’70s.

Anniese Worth Giuntini

I live very simply in this land I love. On returning to the area with my daughter Jade, I found joy in volunteering in the life of the Community; until Covid, then everything changed.