“Spewed from our country, forgotten, bound to the dark edge of the earth…”
Thomas Barrett, aged 17. Transported seven years for stealing one ewe sheep.
James Freeman, aged 25. Transported 14 years for assault on a sailor.
Dorothy Handland, aged 82. Stole a biscuit.
A ship, sailing 15,000 miles to Australia, is crammed with Britain’s convicts – a punishment for their crimes. After a life-threatening voyage they arrive in 1788. But keeping the colony disciplined is a brutal job, and cruelty is rife. To keep the convicts in line and attempt to ‘civilise’ this often desperate, violent, poverty stricken group, a young ambitious lieutenant, Ralph Clark, decides they should perform a play.
With a mostly illiterate cast, rising mistrust amongst the ranks, and the leading actor facing the gallows, this is a one of a kind theatre production…
In this brand new production, Timberlake Wertenbaker revisits her seminal play examining power and justice in the British justice system. Artistic Director Rachel O’Riordan (A Doll’s House, Iphigenia in Splott) directs this Olivier award winning classic based on the extraordinary true story of Australia’s first penal colony. With deportation as punishment more relevant than ever before, Our Country’s Good takes on new meaning in 2024.
__Accessible Performances__
Thursday 19 September – Open Captioned Performance
Saturday 21 September, 2.30pm – Chilled Performance
Saturday 28 September, 2,30pm – Audio Described Performance
Monday 30 September – BSL Interpreted Performance
The production's strengths lie in its powerful performances and its ability to draw parallels between historical injustices and contemporary issues. However, it occasionally overplays the meta-theme of actors playing actors, risking distraction from the core narrative. While Our Country's Good speaks to a 2024 audience in many ways, it feels like a missed opportunity to more fully engage with the ongoing conversation about colonisation and its impact on First Nations people. The perspective presented feels somewhat limited given the emotional weight attached to these issues in contemporary Australia and the UK.
But a missing human touch is needed to counterbalance the heavy concepts. The tangled romances between the marines and convicts feel underwritten and overwrought through uncalibrated performances. As individuals the characters lack gravity, they are only ever parts to the whole. It’s why the ensemble sequences really fizzle. Squabbles during rehearsals flecked with self-conscious jabs at pretentious theatre culture effortlessly blossom into the wider politics.
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