Review: The Greater Good Company, The Hope Theatre

Throughout our careers, we may well be drawn into situations where a problem is uncovered, and we’d rather pass it on to others to make the hard decisions. But sometimes that doesn’t sit right, and we feel the need to take more direct action to resolve it. The Greater Good Company explores when such action can be justified and the personal costs of doing so.

The employees of Sigma Solutions are rightly proud of their history of delivering archaeological services, successfully excavating objects across land and sea. Two archaeologists, the rigid Maya (EK Gray) and the enthusiastic Fran (Colette O’Brien) have completed the exciting part of their recent commission to locate and explore shipwrecks, and it is now time to file the reports. They form a project team with the tenacious computer analyst Alisha (Kajal Gadhok), which is overseen by the level-headed manager Graham (Vincent Marquis). Keen to complete the project and move on to new adventures, the team is content to dismiss Alisha’s concerns that an artefact appears to have been misplaced. When a larger issue is uncovered, the team must question how much they are prepared to risk to uncover the truth.

Before the mystery and moral debates commence, writer Emma Wilkinson effectively sets the scene by establishing the corporate world as the team recount their recent discoveries, as well as their personalities and relationships as colleagues or friends. Everyone can relate to the experience of wanting to progress through their tasks and not get sidetracked without good cause, so when the intriguing conundrum arises, the conflicting reluctances and determinations are understandable. 

It is particularly true to life how people can often have selective morality, choosing which rules they obediently follow or are willing to bend when they consider it necessary, sometimes to the disbelief of others. The differing opinions on whether choices and actions are justified are thoughtfully balanced within the show; there is often no clear correct approach. The opinions of both the colleagues and the audience sway back and forth as the arguments are presented. The shifting loyalties and feelings between the characters are conveyed by the changing postures and expressions of the cast, such as whether they greet each other with a warm hug or a formal handshake.

Ella Muir’s set design captures the familiar sight of corporate meeting rooms: a stark white project table, functional black chairs and a plain black wall covered largely in notices and data, but with a few personal photos to make their world feel lived-in. In contrast, Muir’s costume design not only presents pops of colourful blue and burgundy so the cast stand out against the formal setting, but also hints at the different characters’ personalities. The smart-casual outfits also subtly distinguish the field agents from the office staff; Maya and Fran favour short-sleeved shirts and sleeveless jumpers whilst Alisha and Graham adopt standard long-sleeved shirts.

As director, Wilkinson maintains a fast pace as the story progresses. The passage through several days is effectively conveyed by the ensemble rotating their places at the table, whilst the energy of their movements is moderated to distinguish whether they are freshly arrived at work or staying late into the evening. The sense of time is enhanced by the ticking clock of Izzie Sayer’s sound design, and Sayer’s dynamic lighting visually indicating whether meetings are taking place in bright daytime or long after the rest of the office has gone home. 

This polished drama thoughtfully explores the moral dilemma many may face, but the central corporate mystery is not the only one uncovered.

You can read more about this show in our recent interview here.

Written and directed by Emma Wilkinson
Produced by Doubletake Theatre
Costume and set design by Ella Muir
Light and Sound by Izzie Sayer

The Greater Good Company has completed its current run.