Our Country’s Good explores the transformative power of theatre in the convict colony of early Australia. The narrative follows a group of convicts who, under the guidance of a dedicated officer, come together to mount a production of a play—a process that not only aims to educate and reform but also reveals the redemptive possibilities of art and human connection.

In this Oxford Playhouse Young Company Production, the ambition of Wertenbaker’s text was met with a performance that, despite some initial hesitations, evolved into a compelling and emotionally satisfying presentation. Overall, the production was competent, capturing both the gravity and the nuanced humor of the original play, and it is clear that considerable care was invested in bringing out the play’s layered themes.

The performance, after a mixed start, ultimately found its rhythm. The early multi-officer scene, in particular, appeared to struggle with pacing. Happily, this was just a transient issue - by the time the play reached its second half, the ensemble had clearly found its stride.

A key factor in this resurgence was the strength of some of the individual performances. Acting, by and large, was a strong suit for this production. For instance, Bryant, portrayed by Martha Paxton, was fantastic. Paxton’s performance was both consistently strong and versatile. She navigated the complex layers of Bryant’s character, shifting between moments of delicious annoyance, moody sullen glowering, and ultimately, bitter earnestness.

Equally commendable was Tom Chapman in the role of Brewer. Chapman’s ability to imbue his performance with both high emotion and a subtle, underlying uncertainty lent a rich complexity to Brewer. His portrayal captured the delicate balance of vulnerability and strength required by the role, particularly during those emotionally charged scenes that demand both explosive intensity and restrained introspection.

Perhaps the most impressive for its contrast was the fantastic performance of Adam Slater, who played the dual roles of Ketch and, in a delightful twist, the comedy-laden Captain Campbell. Slater’s portrayal of Ketch was spot on, bringing a pitiable, relatable, and deeply human quality to the character. His soft, nuanced accent added authenticity, emphasizing Ketch’s vulnerability and anguish. In amazing contrast, Slater then transformed into the comedic henchman Captain Campbell, channeling an almost Disney-like humour despite the dark backdrop. Slater’s ability to toggle between such opposed characters with ease showcased his versatility and added a much-needed levity to the production.

Stage direction was executed in a straightforward manner throughout the performance. While the direction was clear and effective, allowing the actors to maintain focus on their character arcs and emotional journeys, there was a sense that the production could have taken a few more risks. In particular, a bolder embrace of the play’s darker comedic elements might have elevated the overall impact. Nonetheless, the conservative approach ensured that the play’s inherent tensions were preserved, even if it occasionally left some potential unexplored.

In conclusion, this production of Our Country’s Good was an enjoyable and competent rendition of a very challenging play. With standout performances, the production managed to overcome its early pacing issues to deliver a performance that was both heartfelt and engaging. While there is room to experiment further with the play’s dark comedic undertones, the overall execution remains a testament to the cast’s dedication and talent.