Down to Chance

Down to Chance by Ellie Jay Cooper

  Down to Chance presents a madcap take on the incredible true story of a community in crisis following the Great Alaskan Earthquake. Set in 1964 in Anchorage, the play follows a part-time radio reporter, her teenage intern, a General on leave and a local hobbyist who all find themselves at the centre of a remarkable relief effort.

💛 Date: Wednesday 22nd April – Saturday 9th May 2026

💛 Location: The Pleasance Theatre, Carpenters Mews, North Road, London, N7 9EF

💛 Time: 7:30 pm

💛 Tickets: https://www.pleasance.co.uk/event/down-

chance

Deftly staged thriller – ★★★★ The Stage

A Love letter to the golden age of radio – ★★★★ The Scotsman

Interview: Ellie Jay Cooper

Ellie Jay Cooper

Ellie Jay Cooper is a dynamic performer and writer whose work brings history and humanity vividly to the stage. In Down to Chance, she embodies Genie Chance, a courageous part-time journalist and mother, guiding audiences through a remarkable story of community, resilience, and moral responsibility in the aftermath of the 1964 Alaskan earthquake.

Interviewer: Nicole Kent

Your play is set in Anchorage around an avalanche and earthquake - what inspired you to write it?

I came across it during lockdown. It’s the story of the second biggest earthquake to ever hit the world—the biggest earthquake to ever hit America. I discovered it in an online article and then went onto the Alaska National Archives website, where they had uploaded audio recordings from the time.

The story follows a radio journalist in the 1960s who was working part-time for a local radio station while also raising children. When the 9.2 magnitude earthquake hits, she happens to have a mobile radio unit in her car. Because of her bravery and tenacity, she becomes the centre of communications for the entire earthquake relief effort. All the telephone lines are down, so emergency messages and personal messages are passed through the radio station—things like “Hello Mr. and Mrs. Fisher, you’re all okay.”

What drew you to this particular story?

I remember thinking how similar it felt to what we were all going through during lockdown. A world-shattering event happens and suddenly everyone is isolated in their homes, trying to connect through technology and follow the same news.

The more I researched, the more it became a personal story about what it means to be a working mum and having to make really difficult choices—between a job you love and wanting to be home with your children and your family.

Do you have any American heritage that connects you to the story?

No, not at all. But there’s something about the experience of small towns organising together and communities pulling through to help each other. That felt very familiar. Even though it’s completely American, the emotional threads are universal.

What was the writing process like?

I started researching it and then did a first draft sharing at Bloomsbury Festival in Camden in October 2024. It was a rehearsed reading with two actors and scripts. After that we did a lot of development. Our company works very collaboratively. I would write scenes and then we would improvise them together with the director and the other actor. The first version of the play was about 90 minutes long, and then we had to cut it down to around 65 minutes and really focus on what was essential to the story.

What is the staging like?

It’s very fast-paced. Two actors play around twenty characters between them. There are lots of quick changes, hats, props, and physical transformations. The set is mostly static, but it becomes different locations through movement and performance.

What is the main dramatic conflict in the play?

At the climax of the story, the main character Jeannie receives news that there might be a second aftershock that could be even bigger than the original earthquake. She has to decide whether she should share that information with the public. Does she follow her journalistic instinct and tell everyone the truth? Or does she step into a different role—more like a public service broadcaster or politician in a crisis—where maybe some things shouldn’t be shared? So the play is really about the moral responsibility of journalists and politicians during moments of crisis.

Did your own family experiences influence the story?

Yes. I was thinking about the women in my own family, like my grandmother who was a maths teacher in the 1960s. She once told me that when her children were ill she had to bring them to work and leave them in the car while she taught classes, running out to check on them during breaks. There was no way to take a day off to look after your children. Those little sacrifices stayed with me and influenced the emotional core of the play.

How have audiences responded to the show?

It’s been really lovely. At the Fringe we had people of all ages connecting with it. Some older audience members recognised the music from the 60s, while families came together to watch it. The most meaningful conversations were often with mums and daughters. People would come out and say certain moments reminded them of sacrifices their own mothers had made.

Did you spend a lot of time promoting the show at the Edinburgh Fringe?

Yes! The first couple of weeks we were flyering about six hours a day. We preferred having fewer flyers but longer conversations with people.