When it premiered at the Royal Court back in 1988, Our Country’s Good was soon considered a ground-breaking and important piece of theatre. This was cemented by its inclusion in school set texts and its continued study in universities. Still widely performed internationally, it remains the defining opus of its creator, Timberlake Wertenbaker. It’s somewhat of a thrill, then, that the writer now revisits her work for this anticipated revival at Lyric Hammersmith.
It’s 1787, and the first convict ships have arrived in Australia from Britain. While the prisoners acclimatise to this far-from-home land, the military officers debate the merits of punishment. Captain Tench is all for hanging, whereas Captain Phillip leans towards a restorative approach. He argues their captives should be exposed to culture and suggests a play be put on. This is largely met with criticism by his comrades, but it isn’t long before Lieutenant Ralph Clarke is in the director’s chair. Encouraged to work collaboratively, relations between the convicts are developed, and previously muted voices finally begin to be heard.
We are greeted by an expansive, discoloured Union Jack which gives way to a sloped, sandy terrain. While we are tempted to immerse ourselves in the exotic environment set designer Gary McCann has conjured, there is the constant intrusion of our homeland. We also notice exposed industrial lighting and equipment. While feeding into the play within a play element, this also grounds us, reminding us throughout that we are in fact seated in a theatre – the commentaries of the play taking precedence over its plot.
One of the reasons for the play’s long and fruitful life is the fact that it examines such an array of universal ideas under the guise of humour. Just as it always gets an audience onside, comedy can also unveil and dissect the very darkest aspects of human behaviour in the most impactful of ways.
The cast, who mostly multi-role, capitalise on this with often overblown and exaggerated turns. Simon Manyonda is endearing as the passionate director. Nick Fletcher amuses as aspirant actor and professional pickpocket Robert Sideway. Ruby Bentall has much fun as Reverend Johnson while convincingly capturing the painful shyness of convict Mary Brenham. Jack Bardoe conveys the torment of Midshipman Harry Brewer, who is haunted by the ghosts of those he has had hanged. Finbar Lynch as the reluctant hangman is also of note, while Catrin Aaron’s Liz Morden embarks on the most meaningful and overt journey of transformation.
Timberlake’s main contribution to Rachel O’Riordan’s production is the re-working of ‘the Aboriginal’ – a character who watches the British settlers from afar, their intrigue soon seeping into trepidation. Here the character is gifted a name – Killara. Performer Naarah occasionally speaks Dharug – an Indigenous Australian language, which further allows the play’s amplification of otherwise silenced voices.
A great deal of fun is enjoyed with the meta elements – the various references to the theatre and actors garnering laughs. In many ways, though, this focus feels to the detriment of the play’s more serious side concerning our treatment of society’s most vulnerable as well as punitive vs rehabilitative justice.
Some edits to assist with pacing, without taking anything away from the ultimate message, would also be welcome. While classics arguably shouldn’t be tampered with too much, this play brims with opportunities for more adventurous retellings. Perhaps some braver rewrites would have offered even more powerful insight into just how much, and indeed how little, has changed since the play’s inception.
Our Country’s Good without doubt remains ground-breaking. This production, however, plays it too safe.
