A profoundly humane piece of theatre, steeped in suffering yet charged with hope, Timberlake Wertenbaker’s Our Country’s Good (based on a true story) celebrates the redemptive power of art.
Timberlake Wertenbaker is herself an eminent playwright. In 1985 The Royal Court staged her 'The Grace of Mary Traverse' which won her the Plays and Players Most Promising Playwright Award. She also received the 1988 Olivier Award for Play of the Year for 'Our Country's Good'.
Wertenbaker has searched history and found in it a humanistic
lesson for hard modern times: rough, sombre, undogmatic and
warm.
*Sunday Times*
Rarely has the redemptive, transcendental power of theatre been
argued with such eloquence and passion
*Independent*
Highly theatrical, often funny and at times dark and disturbing, it
sets an infant civilization on the stage with clarity, economy and
insight
*Daily Telegraph*
infinitely resonant . . . a beautiful play.
*Daily Express*
Timberlake Wertenbaker's play is a modern classic. . . . a
remarkable celebration of theatre's potential to regenerate lost
souls.
*Evening Standard*
Wertenbaker's play . . . shows the regenerative power of drama . .
. the heart of Wertenbaker's play lies in its endlessly topical
debate about crime and punishment, and in its moving portrait of
drama as a means of giving voice, purpose and a sense of
communality to a group of social outcasts. . . . a landmark
play.
*Guardian*
Timberlake Wertenbaker's play remains an important piece of work, a
love letter to the theatre laced with an anger against those who
try to curb its transformative powers. . . . a rhetorically
pugnacious play.
*Daily Telegraph*
Wertenbaker's play has become a humanist classic
*Observer*
an optimistic ode to the redemptive power of theatre
*Financial Times*
Our Country's Good is at once a vivid portrait of conditions in the
new colony . . . and a richly comic repository of 18th century
performance styles. Above all, it is a glorious testament to the
healing power of art.
*Sunday Express*
Timberlake Wertenbaker's rich, remarkable 1988 drama about the
redemptive power of theatre . . . a play that leaves the audience,
like the characters, transported . . . unashamedly idealistic
*Mail on Sunday*
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