Theatre / “Our Country’s Good”, written by Timberlake Wertenbaker, directed by Karen Vickery, Canberra Rep Theatre, until September 24. Reviewed by LEN POWER.

AS a celebration of Canberra Rep’s 90th birthday, the choice of “Our Country’s Good”, a play set in Australia in 1789 in the just founded NSW penal colony, is an apt choice. 

Based on Thomas Keneally’s novel, “The Playmaker”, and first performed in London in 1989, the play takes the true story of the production of the first play staged in the colony as its basis.

Directing the restoration comedy, “The Recruiting Officer”, second lieutenant Ralph Clark has only two copies of the text, a cast of convicts, and one leading lady about to be hanged. 

As rehearsals proceed, the redemptive power of theatre gives the participants a sense of community, a greater understanding of others and an opportunity for personal growth. Despite its tough, primitive setting and uncertain futures of its characters, “Our Country’s Good” is a celebration of theatre itself.

The play, with its many characters, requires most of the ensemble cast to play multiple roles. In this production, the different characters are indicated by costume and vocal changes.

The action takes place mainly in various locations in and around the penal colony as well as initially on board the ship bound for Australia. An abstract set design by Michael Sparks allows for swift changes between scenes. Video projections give a brief description before each scene.

Callum Wilson plays Ralph Clark, the director of “The Recruiting Officer”, throughout the play. He gives a good performance of a frustrated director struggling with the production as well as his own personal demons. 

The acting by other cast members is uneven, possibly affected by the swift character changes they must constantly undertake.

There are fine characterisations by Alexandra Pelvin as Liz Morden, the convict under threat of hanging; Meaghan Stewart as the young, bitter prostitute Duckling Smith and Kate Blackhurst as Dabby Bryant, who dreams of returning to Devon. Paul Sweeney captures the twisted emotions of the jealous midshipman Harry Brewer very well but overdoes the level of shouting the role requires.

Director Karen Vickery has staged this complex work at a good pace but the constant character changes by the cast quickly become confusing. Female actors swap between playing men and women with minimal costume changes. Some curious accents, unclear diction and too fast delivery make it difficult to hear the words at times.

The abstract set is also problematic as it does not give a clear understanding of the locations of the various scenes.

One of the characters in the play says: “People with a lack of imagination should not attend the theatre”. A vivid imagination appears to be needed to fully understand and appreciate this production.