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18-21 November 2009
Shortly after the First Fleet containing British convicts arrives in Australia in 1788, 2nd Lieutenant Clark is persuaded by Governor Philip that the prisoners would be usefully occupied by putting on their own production of the popular play The Returning Officer. Despite the governor’s support, he encounters stern opposition from officers who think the prisoners are there to be punished, not rehabilitated. The prisoners meanwhile turn from cynicism to enthusiasm for the project. Our Country’s Good is considered a classic play celebrating the redemptive power of art. Cast and crew
Captain Arthur Phillip – Keith Wishart 2nd Lieutenant Ralph Clark – Michael Wortley Major Robbie Ross/Lt Harry Brewer – Patrick Neylan Captain Jemmy Campbell – Jo East John Arscott/Lt Dawes – Lewis Beckwith John Wisehammer/Capt Collins– Bernard West Sideway – Phil Lane Dabby Bryant – Philippa Rooke Robbie Ross/Harry Brewer – Patrick Neylan Duckling – Cynthia Hearing Mary Brenham – Jo Clent Liz Morden – Judy Ives Meg Ryan – Lestrine Wishart James ‘Ketch’ Freeman/Capt Tench – Andrew Haggerty Backstage Lana Beckwith (director), Madeline McCubbin, Gary Beckwith, Anne Kindley, Jayne Lane, Norman Bailey, Ann Blatcher
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Review in Chelsfield Village Voice
The Chelsfield Players like a challenge and Our Country’s Good, directed by novice director Lana Beckwith, certainly fell into this category. A story of convicts and Royal Marines sent to Australia in the late 1780s as part of the first penal colony there. Based on a true story, it follows Second Lieutenant Ralph Clark's attempts to put on a production of George Farquhar's restoration comedy The Recruiting Officer with a cast of male and female convicts. The play shows the class system in the convict camp and employs themes such as sexuality, punishment, sadistic officers, cruelty, suffering, compassion, love and death and the idea that art can act as an ennobling force.
You could be transported to Australia for stealing a sheep but when you got there you might be forced to take on the unwelcome role of hangman and be expected to perform with an amateur dramatic group with your prospective victims.
Not a well known play, but an interesting diversion, and a challenge to stage with its 20 scene changes and story covering the whole gamut of emotions. Considering the content we were surprised to find it quite funny at times. It was easy to engage with the convicts in particular and gratifying to have news of the outcome of their lives at the end of the play.
A difficult play was helped by a strong cast of over a dozen actors with about half of these taking two roles, usually an officer as well as a convict. This generally worked well, but some confusion was created by the dual casting of a female convict in the role of a marine officer in dress and red uniform jacket. Did we miss something? Philip Lane obviously relished playing a convict whose enthusiasm resulted in hilarious overacting in the “play within a play” and Philippa Rooke’s Devonshire accent was a joy.
The emotional nature of many of the scenes had the audience rapt with attention. Good use was made of the minimal scenery with scene changes taking place quickly on a dark stage in front of the audience.
Some scenes stood out – where the officers discuss the merits of staging a play, where the meaning of plays is discussed, deciding on the fate of the leading lady (sentenced to be hanged) and the final staging of the play viewed from backstage.
The art of the prompter is always to be admired. Having to decide whether the actor is in need of assistance or pausing for dramatic effect is a very fine edge. As usual, very little prompting was needed but when required it was virtually unnoticeable.
A good production, with many of the audience finding it quite an emotional experience.
We welcomed the introduction of tickets and a colour program with more information on the play and its participants. Who needs the West End when we have entertainment like this on our doorstep?
View from the Stalls
The Chelsfield Players like a challenge and Our Country’s Good, directed by novice director Lana Beckwith, certainly fell into this category. A story of convicts and Royal Marines sent to Australia in the late 1780s as part of the first penal colony there. Based on a true story, it follows Second Lieutenant Ralph Clark's attempts to put on a production of George Farquhar's restoration comedy The Recruiting Officer with a cast of male and female convicts. The play shows the class system in the convict camp and employs themes such as sexuality, punishment, sadistic officers, cruelty, suffering, compassion, love and death and the idea that art can act as an ennobling force.
You could be transported to Australia for stealing a sheep but when you got there you might be forced to take on the unwelcome role of hangman and be expected to perform with an amateur dramatic group with your prospective victims.
Not a well known play, but an interesting diversion, and a challenge to stage with its 20 scene changes and story covering the whole gamut of emotions. Considering the content we were surprised to find it quite funny at times. It was easy to engage with the convicts in particular and gratifying to have news of the outcome of their lives at the end of the play.
A difficult play was helped by a strong cast of over a dozen actors with about half of these taking two roles, usually an officer as well as a convict. This generally worked well, but some confusion was created by the dual casting of a female convict in the role of a marine officer in dress and red uniform jacket. Did we miss something? Philip Lane obviously relished playing a convict whose enthusiasm resulted in hilarious overacting in the “play within a play” and Philippa Rooke’s Devonshire accent was a joy.
The emotional nature of many of the scenes had the audience rapt with attention. Good use was made of the minimal scenery with scene changes taking place quickly on a dark stage in front of the audience.
Some scenes stood out – where the officers discuss the merits of staging a play, where the meaning of plays is discussed, deciding on the fate of the leading lady (sentenced to be hanged) and the final staging of the play viewed from backstage.
The art of the prompter is always to be admired. Having to decide whether the actor is in need of assistance or pausing for dramatic effect is a very fine edge. As usual, very little prompting was needed but when required it was virtually unnoticeable.
A good production, with many of the audience finding it quite an emotional experience.
We welcomed the introduction of tickets and a colour program with more information on the play and its participants. Who needs the West End when we have entertainment like this on our doorstep?
View from the Stalls