Review: Our Country's Good (Lyric Hammersmith Theatre)

Review by Rosie Holmes

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A play that examines the British justice system, and its treatment of criminals and their rehabilitation, could not be timelier. In a week where the government have announced a scheme for two thousand prisoners to enjoy an early release, a play surrounding British prisoners, despite being set almost 300 years ago, couldn’t be more potent. Timberlake Wertenbaker’s Our Country’ Good has been updated for a residency at Hammersmith’s Lyric Theatre, and looks to explore the British justice system and the power of the arts.

Its 1788 and a band of deported criminals and their guarding soldiers set up a new life in scorching Australia. Second Lieutenant Ralph Clarke assembles a gang of the convicts and produces a play with them. For Ralph Clarke, theatre is transformative, and he believes that theatre could ‘change the nature of society,’ much to the disgruntlement of some of the other officers. And it does prove transformative, the play allows the convicts and officers to collaborate and humanise each other. For the convicts, their roles in the play are liberating, freeing them of their desperate situations, able to play somebody else.

Of course, there is more to the play than the commentary on the power of theatre. Dark comedy is used throughout to unveil hard truths about human behaviour. Ian Michael acts as a cultural consultant on the play, ensuring the Dhurug and Dharawal people’s stories are factually and accurately told, ensuring genuine presence in the play. This authenticity also comes in the form of Naarah, who plays Killara, often overlooking scenes. She is only the second First Nations person to play the role and ensures the presence and voice of the people whose communities colonisers invaded.

Where Our Country's Good truly excels is in its ensemble scenes, particularly those depicting the prisoners rehearsing their play. These moments are infused with energy and wit, underscoring one of the play's messages about the power of theatre and its ability to build community. Jokes about theatre’s ability to enact social change were definitely a big hit on press night. It does feel, despite being a lengthy play, that some of the scenes featuring less cast members, highlighting relationships between just two people, are not as impactful as they could be, and I found myself looking forward to the bigger ensemble scenes.

The cast are extremely hard working, with them all playing numerous roles. Often transitioning characters in an exaggerated manner which provides laughter, but also highlights the similarities between those who are abused and mistreated and those who mistreat. Ruby Bentall is a standout as the shy Mary Brenham, who gains confidence and is sexually awakened throughout the play, but also as the doddery Reverend Johnson. Nick Fletcher probably gets the most laughs as professional pickpocket Robert Sideway, whilse Finbar Lynch is chilling as the Major Robbie Ross, but also carries a sadness as the reluctant hangman, Ketch Freeman.

The set design is a standout feature, masterfully transporting audiences to the harsh, unforgiving, scorched climes of 18th-century Australia. The visual landscape effectively captures the devastation wrought upon the environment and culture by the colonial enterprise, with Fosters beer cans and crisp packets strewn across the landscape. The production’s set feels not just like a backdrop, but an active participant in the storytelling, embodying the desolation wrought upon the homes of first nation’s people by the colonials. Costume design, again by Gary McCann, adds another layer of depth to the play's historical context, with anachronistic elements grounding the narrative in its contemporary relevance. He playfully mixes contemporary clothing such as adidas tracksuits with historical military uniform which is a stark reminder that the mistreatment and corruption of present in the play, is still evident now.

Our Country’s Good’s message feels extremely potent, despite first premiering 36 years ago. Its wonderful cast shine as a whole ensemble to provide plenty of humour as well as offering chilling depictions of human injustice. Set against an arresting backdrop, the show is just as impressive visually as it is in its exploration of some interesting themes.

Our Country’s Good plays at Lyric Hammersmith until 5th October 2024, tickets and more information can be found here - Our Country's Good - Lyric Hammersmith

Photos by Marc Brenner