In the pressure-cooker situation of the emergent encampment on the shores of Botany Bay, the social experiment of staging a play is the beating heart of the play. The officers, notably, William Bradley as Captain Collins and Matthieu Perrin as Captain Tench skilfully played the stichomythic debate at pace and with total authenticity. Orson Matthews delivered a standout performance as Major Ross. Wilf Patten’s portrayal of the central role of Ralph Clark was beautifully done. Aristou Meehan in the flagship role of the radical humanitarian, Governor Arthur Phillip, made us forget we were watching a school production. It is a challenging play with adult themes about the power of art and the resilience of the human spirit. This company showcased exactly what drama in school should be — an education. ◎
and Tristan Harland perfectly pitched the rueful Ketch Freeman charged with the onerous task of carrying out the “hideous office” of hangman. The haunting opening to Act Two’s ‘Visiting Hours’ with Liz Morden suspended from chains in the rig as an ever-present reminder of the convicts’ subjection was shocking and elicited provocative and moving performances from Eliza Irving and Hattie Magoffin. Imogen Pointer and Lily Vincze brought extraordinary sensitivity to Duckling Smith as a foil to the volatile and haunted Harry Brewer, played with real danger by Luca Dormer and Con Kane. Bethal Samson brought a measured dignity and command to the role of the beleaguered symbolic presence of the First Nations character Killara. Steven McQueen in the role of Caesar provided great comic counterpoint as his terror of punishment morphed into stage fright.
We cared deeply about these characters and what their futures would hold
Senior Production 2024 Our Country’s Good
O ur Country’s Good saw our Senior thes- pians from Dulwich and JAGS at the top of their game. Putting the British justice system in the spotlight, the play is layered with themes of social divide, colonialism and the philosophy of punishment, but above all it is a play that celebrates the enduring power and worth of theatre. It is a profoundly humane piece of theatre, steeped in suffering yet charged with hope. A staple of A Level specifications since it was written in the 1980s, this production directed by Kathryn Norton-Smith and Eddie Elliott, and designed by Carol Morris, managed to make the play fresh and urgent. From the downbeat as the feral felons crawled on stage underscored by dissonant otherworldly sounds, we cared deeply about these characters
and what their futures would hold. Norton-Smith and Elliott had exactly the right cast at the right time and they absolutely brought out something special in them as every cast member played their role with total conviction. The roles of the convicts were dual cast to offer more opportunity and add a fresh dynamic to each performance. Frank Gibbons and Joseph Matthews brought a defiant dignity to Robert Sideway – and Nia Keogh Peters and Delyth Trigger were both excellent as Dabby Bryant; that fiery, defiant, cheeky nature was a perfect counterpoint to the quieter, more introspective characters of John Wisehammer (Zachy Fleming and Calum Skinner) and Mary Brenham (Manon Vignalou and Iman Umarbek). Rufus Angel brought a contained violence to John Arscott. Henry Findlay
by Kathryn Norton-Smith, Director of Drama
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