reviewed at the New Wolsey Theatre, Ipswich on 30 March
Ramps on the Moon is a collaboration between six national producing theatres and the Graeae Theatre Company, which is a pioneering company for disabled artists. Both Graeae and the New Wolsey Theatre have been forerunners in this movement for a number of years.
The latest touring production is of Our Country’s Good, the play by Timberlake Wertenbaker which she based on Thomas Keneally’s novel about the 18th century convict deportation settlement in Australia The Playmaker. It concerns a young officer’s staging of Farquhar’s The Recruiting Officer with a cast made up from the pickpockets, thieves and drabs.
If the convicts at first seem without hope, the Marines and soldiers who guard them have also found themselves beached up in an inhospitable terrain. Animosities on both sides flare as we watch Lieutenant Clark (Tim Pritchett) try to weld his cast into cohesion, and fall in love while doing so.
Director Fiona Buffini has integrated sign language and surtitles with the action to mirror the dialogue. It makes for a busy production, rather too much so when one is aware of three screens with the dialogue as well as constant signing by nearly all the cast and, of course, the actual spoken words and naturalistic action.
This multi-tasking on the part of the audience as well as the cast makes concentration difficult at times. There are some excellent performances, notably as guilt-haunted Harry Brewer by Garry Robson and Fergus Rattigan as the hangman Freeman, nicknamed “Ketch”.
Kieron Jecchinis is Arthur Phillip, the Governor whose vision includes redemption as well as punishment, an attitude which Colin Connor’s Major Ross finds both alien and misguided. Fifi Garfield plays Dabby, the oldest of the convict women while Emily Rose Salter’s Duckling, the girl acquired by Brewer, is also effective.
Mary Brenham is the young woman Clark casts as the play-within-a-play’s heroine Silvia and to whom he becomes attracted and Sapphire Joy suggests all her fragility as well as willingness to learn. Gbemisola Ikumelo’s Liz Morden is loud-mouthed and pugnacious, always ready to make a point with actions rather than words.
The set by Neil Murray, largely decking planks backed by the bushes and shrubs which those early settlers must have found so strange, works well and allows for quick scene changes. Jon Nicholls’ soundtrack suggests the eerie noises of the outback and the sea so barrenly licking at the sandy shoreline.
Three and a half-star rating.
Our Country’s Good runs at the New Wolsey Theatre, Ipswich until 7 April with matinées on 4 and 7 April.