Review: OUR COUNTRY’S GOOD, Lyric Hammersmith Theatre

Photo credit: Marc Brenner

In an era where debates about justice, rehabilitation, and the power of art are more pertinent than ever, the Lyric Hammersmith Theatre's production of Timberlake Wertenbaker's Our Country's Good arrives with a potent and timely resonance. Directed by Rachel O'Riordan, this revival of the Olivier award-winning classic takes audiences on a harrowing journey to the edge of the world, where the dregs of British society grapple with identity, purpose, and the transformative power of theatre.

Set in 1788 Australia, the play follows a group of convicts as they attempt to stage a play under the direction of Lieutenant Ralph Clark. Grappling with the harsh realities of colonial life, the production becomes a means of exploring themes of punishment, redemption, and the civilising power of art. O'Riordan's direction brings fresh relevance to Wertenbaker's classic, particularly in light of contemporary debates surrounding deportation and justice.

Gary McCann's set and costume design makes a bold choice to mix period costume with modern-day attire, featuring branded rags that effectively connect historic events to modern-day unjust punishment and exile. This artistic decision underscores the play's enduring relevance, creating a visual bridge between past and present that enhances the production's thematic resonance.

Paul Keogan's lighting, Gregory Clarke's sound design work and composition from Holly Khan work in tandem to create an earthy, burnt, dusty environment to transport the audience to the Australian outback. However, the music, primarily percussive and mystical, aids transitions effectively but doesn't quite capture the unique soundscape and vast expanse of the Australian landscape.

The ensemble cast largely delivers strong performances, with several standouts. Simon Manyonda finds the sensitive and passionate core of Lieutenant Ralph Clark, while Catrin Aaron as Liz Morden brilliantly portrays the transformation of a woman hardened by her circumstances into one who can find hope and trust. Ruby Bentall's portrayal of the shy Mary Brenham is engaging, sweet, and eccentric. Finbar Lynch as both the Irish sentimental hangman Ketch Freeman and contrasting cynical Major Robbie Ross owns the stage every time he speaks, as does Nick Fletcher who steals scenes as Robert Sideway, the unfortunate pickpocket who revels in the theatre, delivering a performance that is funny, embodied, and empathetic. Joel Trill's dialect coaching shines through in the actors' nuanced and authentic portrayals, adding depth to their characterisations.

Thematically, the production explores the tragic phenomenon of how people treat people, while also demonstrating the empathy we can show. The transformative power of art is a central focus, illustrating how an imaginative act can shift perspectives and unlock expression and connection. The play's exploration of colonial legacy takes on new resonance in 2024, particularly in the amusing scenes where soldiers debate the importance (or lack thereof) of the proposed play.

The representation of First Nations people, an important inclusion that would have been problematic without, is handled with care. Cultural Consultant Ian Michael worked closely with Wertenbaker to connect First Nations lived experiences to the existing text, even collaborating to develop an additional character, Killara (a name that means 'permanent, always there'), played tenderly by Naarah. This character offers a perspective of the Dharug and Dharawal people, including their traditional language. While these moments give the play significant resonance and provide poignant context, the integration feels somewhat minimal, as if it were an addition rather than an integral part of the narrative. Whether or not the original text had an intention to include this perspective, the inclusion of it now, shows that it has more significance than what was allowed.

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.

Despite these shortcomings, O'Riordan's revival of Our Country's Good is a thought-provoking and often moving production. It challenges audiences to consider the nature of justice, the power of art to transform lives, and the long-lasting impacts of colonialism. While it may not fully realise its potential to address contemporary issues, it is nonetheless a resonant experience.

*** Three stars

Reviewed by: Stephanie Osztreicher

Our Country’s Good plays at Lyric Hammersmith Theatre until 5 October, with further info here.