“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 gaps are, to some degree, filled by excellent performances from a cast that doubles up with agility as convicts and officers. Jack Bardoe gives a convincing turn as Harry Brewer, haunted by the dead man whose hanging he ordered, and smothering Duckling (Aliyah Odoffin, just as potent in her smaller part) with his controlling love.
O’Riordan ensures that almost every inflection, every gesture, is over-egged in a production that self-consciously mixes the modern and the traditional. There is certainly no danger of forgetting that we are watching a play within a play when the delivery is so emphatic. At the same time, it’s hard to keep track of the storyline when the cast are switching back and forth between characters.
West End |
West End |
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