Our Country’s Good still grips, it would take a very poor production indeed to ruin that, but you can’t help feeling that Anna Girvan hasn’t fully got to grips with this one. Theatre does change lives, but this production is unlikely too.
Ramps On the Moon’s Our Country’s Good delivers a production that seamlessly integrates actors with and without disabilities to produce excellent all-round performances.
As a progressive company, Ramps on the Moon is leading the way by showing what inclusive theatre looks like. It is encouraging that this fundamental innovation is coming from regional UK theatres: London has a lot to learn from them.
So Ramps on the Moon is living up to its wonderfully optimistic name. It really is creating ramps – ways in – to fabulous, moon-like opportunities to talented people of all sorts. Bravo! I’m looking forward to the next show, already.
Nottingham Playhouse is delighted to announce Adam Penford’s first season as Artistic Director, including multi-award winning drama The Madness of George III starring Mark Gatiss.
On this week’s podcast, London theatre bloggers discuss The Oresteia at the Globe (as opposed to the Almeida one previously discussed), Our Country’s Good at the National and Our House at the Union Theatre.
DRAMA AS REDEMPTION From the first moments Nadia Fall’s production sets brutal, bullying humanity against a hot, strange, majestic Australian dawn. A lone aborigine watches, silent on a great dark bare plain , as the land heaves beneath him and … Continue reading →