Theater Review - Our Country's Good

Our Country's Good

Written by Timberlake Wertenbaker

Directed by Joe Hanreddy

Where: Thompson Theater at the Roselle Center for the Arts

(University of Delaware, Newark, DE)

When: Thursday, March 15, 7:30pm

Photo by Nadine Howatt

I should start out repeating what I say whenever I go see a production of the University of Delaware's Resident Ensemble Players -- this crew, from the actors to the scenic designers to the directors to the costumers, is Broadway-caliber.  I realize you may think that would be unattainable at a university level, but these professional actors and their counterparts behind the scenes are top notch, obviously talented, and tremendously appreciated by this theatergoer.

Which is why it pains me all the more to say that I wasn't the biggest fan of their latest production --  Timberlake Wertenbaker's Our Country's Good.  Once again, there's nothing to complain about when it comes to the production values themselves -- the costumes by Martha Hally are sumptuously designed with no expense spared; the lighting and scenic design by R.H. Graham which included a stage completely covered with forty tons of sand was unique and haunting at times; the acting, as always, is wonderful [more on that later].  Yet, despite the many positives, the play itself just plodded along despite ultimately having some interesting things to say.

Set in an Australian prison colony in the 1790s, the play tells the story of a group of convicts brought together by British naval officers to put on a comedic play in hopes that it will enlighten both the criminals and the troops in the newly colonized Oceanic island.  Admittedly, I'm sure if I saw the play again or analyzed it like I used to do in college, I'd find great meaning in Werternbaker's words, but on the surface, all I "got" was the notion of the importance of theater to showcase humanity.  That's certainly nothing to snuff at, but it's just presented in a manner that fails to grab the audience's attention despite this production's best efforts.

With nearly every actor playing multiple roles with varying accents (many of whom change costume and become different characters right in front of our eyes), much credit needs to be given to the insanely talented REP troupe who continue to showcase why they're so beloved by frequenters to their productions.  Although I guess one could say Michael Gotch's 2nd Lt. Ralph Clark is the fulcrum around which much of the play's initial plot spins (he directs the convicts in the play and must convince his fellow officers that this dramatic production is a worthwhile venture), this is truly an "ensemble" production much like the REP's Noises Off earlier this season.  However, unlike Noises Off which focused on eight characters, the fact that Our Country's Good features twenty-two characters ultimately creates a lack of emotional connection.  Considering the horrible predicaments facing some of the convicts in the new Australian landscape, I couldn't help but think I would have felt a little more empathy and sympathy towards them, but the play never focuses on any one character for a long enough period of time in order to create that sense of engagement between the audience and what we're seeing onstage.

Still, let's shift back to the actors and give credit to a few stand-outs which I always like to do in these mini-reviews of the REP's productions.  This time around, I found Elizabeth Heflin to be the real treat to watch.  Although she essentially plays one character for the most part -- lead actress in the play-within-a-play Mary -- it is her portrayal of "Shitty" Meg Long that won me over initially.  In the play for what is less than five minutes, Meg Long is the one single character that had any sense of distinct personality.  Played for comedic effect, Heflin (with help of some spot-on costuming and wig-work) becomes a hideous, lewd old crone with great gusto.  I kept waiting for the character to make a second appearance (which never happened), but the impact of those short minutes with that foul-mouthed woman still resonate.

We also are treated to some lovely work from Deena Burke whose primary character is Liz Morden, a rather curmudgeonly, rough-around-the-edges woman whose personality, while initially off-putting, proves to be her defense mechanism against what she deems are the unjustifiable circumstances into which she's been placed.  Nice work is also provided by Mic Matarrese as the over-the-top "actor" of the bunch and guest actor John Plumpis as both a captain and a convict who steadfastly believe in the power of theater.

Still, overall, I can't help but think that I should have been moved by the plights of these characters, but I failed to have that happen to me.  Not being familiar with this piece of work, I don't know whether the blame falls onto the playwright or the director for that failure, but it's that lack of connection that harms this piece the most.  As I've said, however, the REP is a stellar theatrical production company that is an absolute treasure to those of us in the tiny state of Delaware...even if Our Country's Good isn't showcasing the REP to its fantastic potential.