23rd-26th November 2011
‘It doesn’t matter when a play is set. It’s better if it’s set in the past. It’s clearer.’
New South Wales. 1789. The first convict ships arrive in Botany Bay. What is their new civilisation to be founded upon? Fear and punishment? Or a chance at redemption? Second Lieutenant Ralph Clark is directing the colony’s first play. But with most of the officers against him, and a leading lady about to be hanged, will the show go on? Can a little education change the lives of a few forgotten criminals?
Our Country's Good
by Timberlake Wertenbaker
Director's Note:
‘Hectic, frantic, panicky’: one would conventionally describe the rehearsal and development process to be as such but honestly, it hasn’t been. Don’t get me wrong, it has been time consuming, tiring and has eradicated most, if not all, free time in my life this University year thus far and at times the girls have had to prevent me from imploding. But has it been worth it? OH YES! It is the talent both from the production team and cast that has pushed this production away from such labelling; being surrounded by an efficient and head-strong team I have certainly felt like the amateur! For this I am indebted to you all, cast and crew, for making this one of the most beneficial experiences of my life. Your work and efforts certainly show. Huge congratulations to you all.
I would like to thank Catherine Rose first of all for her relentless efforts. She has not just been the best Producer a Director could have (no seriously, she is like a machine), she has also been an Assistant Director. Catherine, you have contributed to the play considerably and for that I am indebted to you. To Cassie, my close friend and rock. Your professionalism never ceases to astonish me; you have kept this play afloat, me grounded (‘No Matt, we cannot have a big blue light on the floor to imitate a river…’) and I know you’ve worked so hard outside the realms of the rehearsal room. And to Caitlin, you have always been there to calm me down, brought me tea & burritos and your ability as DSM is unquestionable. To my three Cs, thank you.
Further, I would like to thank the designers. You have been the mirrors to my brain and put in so much hard work. I would also like to thank Jess Paetz for helping to get the Officers’ Jackets from The Crucible Theatre. I knew I could count on you. To my wonderful cast, you are all so talented and deserve every success in the future. To my housemates, friends and family for their continual support. I haven’t always been around but you’ve been so understanding. And finally to Sean for all his support. Thank you.
‘Our Country’s Good’ is a play of our time that parallels society on numerous levels. With the ever looming presence of arts cuts, it draws out the importance of theatre as an institution which promotes a right to expression and human development. It evokes issues regarding human rights (prisoners’ rights) and race; the act of colonisation and its suppressive, detrimental effects on other cultures and civilisations. The play’s focus on human nature and the political is what drew my attention to it and I hope this is made clear in my interpretation. Thank you for coming and I hope you enjoy it.
Cast and Crew:
CAST
Captain Arthur Phillip – Mike Edwardson
Major Robbie Ross – Dan Turner
Captain David Collins – Jonathan England
Captain Watkin Tench – Waleed Arshad
Captain Jemmy Campbell – James Travers
Reverend Johnson – Ollie Raggett
Lieutenant George Johnston – Dominic Corfield
Lieutenant Will Dawes – Christina Schloegl
Second Lieutenant Ralph Clark – Kevin Matthews
Second Lieutenant William Faddy – Ed Crowther
Midshipman Harry Brewer – Paul Hilliar
Aboriginal Australian – Max Cunningham
John Arscott – Richard Veazey
Ketch Freeman – Tom Lodge
Robert Sideway – Adam Renvoize
John Wisehammer – Andy Beasley
Mary Brenham – Bethan Ratcliffe
Dabby Bryant – Grace Darbyshire
Liz Morden – Kate Butler
Duckling Smith – Aoife Boyle
(Shitty) Meg Long – Rhiannon Spaven
PRODUCTION TEAM
Director – Matt Plant
Production Manager – Cassie Mitchell
Producer – Catherine Rose
Deputy Stage Manager – Caitlin McKiernan
CREW
Assistant Stage Managers – Lucy Price, Emily Weston
Lighting Designer – Emma Reale
Sound Designer – James Bingham
Set Designer – Charlie Steele
Lighting Operator – Oli Godwin
Sound Operator – Jordan Rossi
Costume Team – Helena Bradbury, Elisa Santos, Heather Newson, Jess Paetz, Sarah Rubini, Rachel Wassell, Cathy Sables, Clara Johnson, Rachel Turner
Hair Team – Ellie Winn, Rachel Wassell, Cathy Sables, Mel Harrison, Helena Egan
Make-up team – Elisa Santos, Sarah Rubini, Rachel Turner, Helena Bradbury
Reviews
Judging by the riotous still on the Our Country’s Good flyers littering the floor outside the union this week I was expecting a highly politicized interpretation of Timberlake Wertenbaker’s play as I found my pew in the once sacred Drama Studio.
This made sense to me; Our Country’s Good is a play that exemplifies the positive effects of theatre on community and this, now more than ever in the face of comprehensive arts cuts, seems an appropriate message to circulate. That being said, Director Matthew Plant’s interpretation of the play was less anti-establishment a la Brecht and more of the pure drama you’d find on Hollyoaks -or so I imagine.
Our Country’s Good is a play that explores the very depths of human depravity. Commendably, SutCo present these often bungled dramatic instances in a realistic and chilling way, notably the delightfully awkward sex scene between Harry (Paul Hilliar) and Duckling (Aoife Boyle). No less believable than Harry slipping into Duckling was the veritable who’s who of villains that made up the colony’s officers, in particular the angry Scottish double act of Major Ross (Dan Turner) and Captain Campbell (James Travers) who did well in creating both the play’s most detestable and hilarious moments respectively.
Forced intercourse and bile-filled Scotsmen aside, the large cast played a convincing roster of characters capable of enacting some genuinely moving moments including Mary (Bethan Ratcliffe) and Ralph’s (Kevin Matthews) snubbing of the brilliantly downbeat Wisehammer (Andy Beasley.) Wertenbaker actually specifies that the roles of the convicts and officers are supposed to be executed by the same actors, yet I’m glad this stipulation was ignored as it gave the characters a chance to develop and shine independently.
No less impressive than the acting prowess displayed by the large cast was the effort that went into the aesthetic features of the play including the realistic costumes (some of which were stolen from The Crucible) and a versatile if not slightly oblique set. The show’s programme even credits a dedicated “Hair Team” who succeeded in forever condemning backcombing as a style only fitting for convict prostitutes.
Despite running for nearly 3 hours, SutCo’s Our Country’s Good was entertaining throughout and it is this point I’d like to stress. Whilst the play itself can easily climb it’s way onto a pedestal and tell you how theatre is almighty and relevant and a tool to crush the powers of evil, in the context of the University of Sheffield Drama Studio and to an audience who have already paid for tickets this would seem like preaching to the converted. Sometimes theatre doesn’t have to be riddled with anti-Clegg sentiment and truth be told I found it refreshing to see something that was just a jolly good show.
Tom Childs, Forge Arts, 25th November 2011
