Our Country's Good

OCG - Act 2, Scene 11 Staging

'Our Country's Good' is a play full of high emotion and tension. Act 2 Scene 11 is an important turning point in the play, as it is the first time the convicts look to the future positively, thanks to the redeeming quality of the theatre. The scene conforms to the epic style of the play and with naturalistic acting, would deliver an emotive and poignant end to the play.

In lines 0 - 20 from the extract, I would want to show clearly the mixed emotions of the individual characters on stage while maintaining the look of a busy and excitable back stage cast. On Ketch's line, 'I couldn't have hanged you' Ketch would put a hand on Liz's shoulder and smile to her. Liz would reply 'No?' teasingly but clear that she was joking and had become friendly with Ketch. This would emphasise changes in their characters, because earlier in the play Liz had hated Ketch and seen him as a traitor. Ralph would then walk past Ketch and Liz and give them a nervous smile, to show that he is not a typical officer and is friendly with the convicts, while also not hiding the fact he is nervous. When Ralph asks, 'Dabby, have you got your chickens' I would have Ralph look at Dabby not just as if he cares where the chickens are, but also because he wants to check if Dabby is ok. This caring quality from Ralph has developed throughout the play, so I would want it emphasised at this point with a reassuring tone. Showing the new-found solidarity of the convicts and Ralph is something I would pay particular attention to throughout the scene, as it is a vital part in delivering Wertenbaker's message: theatre has redeemed convicts and humanised some of the officers.

When Wisehammer recites the prologue he has written to Ralph and the Convicts, their reactions would be important to show their development. Although Ralph does not allow the prologue to be performed, I would want his character to be sympathetic to Wisehammer and even though the two had previously had arguments over the play and Mary, I would want Ralph to console him genuinely. The convicts reactions to the prologue would show how they have intellectually developed throughout the making of the play. I would have all on stage stop their preparation and look at Wisehammer in a coherent manner. . I think this would give the impression they have changed from hardened criminals into more civilized members of society. Although Wisehammer should look disappointed that his prologue will not be used, following Ralph's explanation on line 53 of the extract, I would have Wisehammer give him an approving nod, which would show he does respect Ralph despite their previous differences. I think this would add to the resolution of the play intended by the playwright. I would want Liz to show her appreciation to Ralph on the line, 'we will do our best, Mr Clark.' by standing up at that moment and saying it slowly and genuinely. She should maintain a steady eye contact with Ralph and even attempt a slight smile, whilst very lightly bowing her head to imply a new-found respect for the officer. Liz arguably has the most obvious transformation in the play; the deliverance of this line should be clearly juxtaposed to her earlier behavior, which was aggressive and defensive in the extreme. Seeing the new Liz prepare excitedly for the play should be one of the most heartening moments for the audience in this final scene.

Another of the play's main themes is human relationships and, therefore, I would not want too many props onstage to distract from it. The only props would be the ones needed for 'The Recruiting Officer,' for example Dabby's chickens. These props would give something for the characters to get ready while backstage. These props should be brought back and forth excitedly by the actors - handed around the convicts and checked while the other action is going on in the foreground - in order to replicate that pre-show nervous energy, enhancing the busy and excited stage atmosphere I want the audience to see. Also, by keeping the props simple and the stage mostly bare, the scene would fit the epic style of the play, which I would emphasise throughout according to the principles of Bertold Brecht. Thus the my production would rely less on the emotional response of the audience and more upon their critical opinion; while I want the back-stage atmosphere to be somewhat immersive, I would wish