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Letters: A quickening of the heart

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Our Country’s Good

Threatening theory in the small republic of the theatre

Sean McEvoy puts the case for an 80s play that shows what the theatre can be and can do

Man on stage jumping high, with other cast members behind.
‘The Aborigine’ in a National Theatre production of the play in 2015
© Donald Cooper/Photostage

AQA (A): Paper 2 Modern times

The first European inhabitants of Australia were mostly sent there in chains. In the eighteenth century, Britain sent many of its convicts into exile in its far-flung colonies. Our Country’s Good shows what happened when the governor of the first Australian penal colony decided that the best thing to do with his charges was to enlist them to put on a play. The playwright Timberlake Wertenbaker wrote this dramatisation of Thomas Kenneally’s novel The Playmaker in time for the Australian Bicentenary celebrations in 1988. The original production toured there, having won awards in London and New York. It stands out as a high point of English theatre in a decade when public support for the arts was being cut by the British government.

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Previous

Letters: A quickening of the heart

Next

The Murder of Roger Ackroyd at 100

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