No wonder this is such a popular play to study with students. Timberlake Wertenbaker’s best known work celebrates the transformational power of theatre as a group of 18th century convicts arrive in New South Wales, brutalised by both the voyage and the Marines in charge of them, and – eventually – stage a performance of Thomas Farquhar’s The Recruiting Officer.
This imaginative and inclusive production is special because (director: Fiona Buffini) uses a diverse cast and that makes this timely and timeless play even more moving and relevant.
Garry Robson is yearning, unhappy and totally convincing as Harry Brewer, the midshipman, whose only ray of light is the troubled convict Duckling Smith (Emily Rose Smith) with whom he cohabits.
There’s terrific work from Caroline Parker as Meg. This show is structured to include integral signing and interpretation as well as being captioned and audio-described. Parker is almost continually on stage. Her own role is fairly minor but she voices characters who are signing and signs for characters who are speaking. It’s a masterly performance.
Gbemisola Ikumelo is strong as the truculent Liz Morden who eventually becomes one of the colony’s most adept and committed actors. And Sapphire Joy provides an admirable counter balance as Mary Brenham who seems, from the outset, less coarse than some of the others. Tim Pritchett brings patience and commitment to Ralph Clark, the officer attempting to create art with this motley crew.
Ramps on the Moon is a consortium working with six theatres, including Nottingham Playhouse. One partner produces a show each year with an integrated cast including D/deaf, disabled, hearing and non disabled people. The production then tours to the other theatres in the group. Our Country’s Good follows The Threepenny Opera and Tommy.
This is one of the finest productions of this play I have seen. It’s magnificently different. Catch it on tour if you can.
Review by Susan Elkin