The Somerville-based Theatre Cooperative's production of "Our Country's Good" has a tall task in front of itself.
Simultaneously, the show tackles ideas about justice, human nature, love, and human dignity. Surprisingly, despite the somewhat amateur actors, the production addresses these issues admirably.
The script, written by Timberlake Wertenbaker, is truly extraordinary, deftly weaving words together in poignant and often funny ways. Sometimes ironic and usually gritty, the script, which has won the Olivier Award for Play of the Year, certainly deserves its accolades.
The story, about a penal colony in Australia, focuses on the gross mistreatment of the convicts. Arthur Phillip (Austin de Besche), a sympathetic officer, subscribes to the Socratic idea that these convicts are innately good and seeks a way to redeem them. With the help of fellow soldier Ralph Clark (Seth Holbrook), Phillip encourages the inmates and guards to put on a play, and the lines between life and imagination are instantly blurred. Convicts play soldiers, prostitutes play ladies, and the soldiers work with the convicts as equals.
The cast is large and works well together. Each actor plays multiple parts and demonstrates his ability to adopt a variety of characters. The ease with which an actor plays a convict in one scene and a captain in another strengthens the notion that societal distinctions are very fine and easily transcended.
Serah Rose Roth is wonderful as Liz Morden, a dangerous and unpredictable convict whom everyone fears. Roth demonstrates incredible subtlety in the part; her facial expressions flicker delicately, conveying unspoken emotion. Liz Morden's trial is a particularly tense sequence in the play when Roth's abilities truly shine. Here the long silences, rather than the lines in the scene, create a taut and powerful moment.
At the other end of the emotional spectrum is Mary Brenham (Erin Scalon). She, too, demonstrates a remarkable range of emotions and is both convincing and an excellent companion to anyone onstage with her. Her scene with John Arscott (Ian G. Byrd), which deals with the nature of words and their meanings, is both sweet and moving.
A talented crew of supporting actors round out the cast. Mary's loudmouthed friend Dabby Bryant (Nany Hoffman) provides an outstanding foil to Mary's shyness. Hoffman is confident and wholly becomes her part. Zofia Goszczynka plays Duckling Smith, a soldier's (Nate Connors) lover. She is a little over-the-top and doesn't have the same emotional fluidity as her fellow actors. Her intensity is extremely powerful at times, however. As Harry lies dying, her exclamations over the body are particularly moving.
One of the most enjoyable characters to watch is Kevin Ashworth as Sideway. Ashworth. A committed thespian, Ashworth steals many of his scenes, especially the rehearsals of the convicts' play. It is a part that prone to being overdone, but Ashworth manages Sideway skillfully and remains entirely convincing.
Michael Avellar played two opposing parts: Watkin Tench (a belligerent soldier) and Ketch Freeman (a particularly nervous convict). Avellar's ability to deftly switch between extremes bodes well for his future as an actor. With a little refinement to his skill, Avellar has a good deal of potential.
Seth Holbrook, as soldier Ralph Clark, delivers some of the most provocative lines in the play, yet he has difficultly interacting with other actors onstage. Nonetheless, his soliloquies are excellent.
The play itself has the potential for continued success. This particular production conveys the complexity of the issues at hand. For one thing, the theatre seats only 45, and this intimacy adds to the effect.
The overall impression is amateur, but in a comfortable way. Despite the size of the theater it is sometimes difficult to understand the actors' lines. The set is likewise simple and the costumes unremarkable.
It is impossible to walk away from the show without serious thought for the issues it deals with. If someone commits a crime, are they necessarily a criminal? Are humans innately good? Can one be redeemed?
Another significant question addressed by the play is the role of theatre. The story demonstrates how one can flee the direst circumstances in the form of dramatic escapism. It is an experiment in the power of redemption and a remarkable one at that.
The show is well worth seeing for the script alone. The Theatre Cooperative states that its goal is to engage audiences in dialogue about social issues of the time, and this goal is undeniably accomplished. Attend this show with a critical mind and prepare to be challenged.
