THEATRE REVIEW: Our Country's Good

Emily Rose as Duckling Smith and Garry Robson as Midshipman Harry Brewer.

Our Country's Good

Nottingham Playhouse Theatre Company and Ramps on the Moon

Sheffield Crucible

Until Saturday, May 19

THE ORIGINS of Australia are intensely sad, but immensely inspiring.

Our Country's Good tells the tale of the First Fleet, the convicts and soldiers sent to settle there in 1788.

After a hellish eight-month trip, these thieves, prostitutes and killers faced long, hard labour terms.

But to Lt Ralph Clark’s (Tim Pritchett) dismay, most resist reformation, driven by hunger as crops fail.

Desperate to save souls and distract from starvation, he petitions Cpt Arthur Phillip (Kieron Jecchinis) to let him stage a play.

Each player has their own motive — to dodge work detail, avoid a flogging or escape hanging.

But under Clark's gentle guidance, each begins to see art as an escape from themselves, not just punishment.

Can he put on the performance before jealous colleagues crush or kill off his cast?

The idea of theatre for all spills from script to stage, with the involvement of Ramps on the Moon.

They put deaf and disabled people in most of the lead roles, integrating them seamlessly.

What's more, every show is audio-described, signed and captioned, blending audiences as well as actors.

While hearing players speak, their castmates sign. While deaf performers sign, others speak. It sounds like it should confuse, but it doesn't.

And there is no tokenism here — each is a seasoned pro, as evidenced by their bounty of stage and screen credits.

If anything, it's some of the hearing actors who look less accomplished, performing in one language while others do two simultaneously.

That said, every one delights — the pickpocket Robert Sideway (Alex Nowak, deaf) and thief John Wisehammer (Tom Dawze, hearing but signing) stand out for their comic, passionate, lovable characters.

Thief Duckling Smith (Emily Rose Salter, deaf) and Midshipman Harry Brewer (Garry Robson, wheelchair user) cut tragic figures, their performances as loud and dynamic as could be.

It's not one for children — the language is course and the themes dark right from the beginning. That said, there are also plenty of laughs in this touching tale.

But the play's message of acceptance and transformation is as powerful and relevant to its Crucible audience as its colony one.

If you have any doubt, see for yourself.