Would you ruin someone's life, separate them from their soulmate and their only son, all the time telling yourself you are doing the right thing? Leaping back and forth between the 1920s and the 1980s, Good Works follows the lives of two women and their two sons as they struggle to cram their complex lives within the narrow confines of Catholic morality. By turns angry, incisive, tender and tragic, Good Works is Nick Enright's most complex and most personal play. (3 male, 3 female).
Nick Enright (19502003) trained for the theatre at New York University School of Arts after early experience in Australia including with Nimrod and MTC. He was an actor, director and teacher as well as a writer. His plays include On the Wallaby, Daylight Saving, St James Infirmary, Mongrels, A Property of the Clan, The Quartet from Rigoletto, Blackrock, Good Works, Spurboard and A Man with Five Children. With Justin Monjo he adapted Tim Winton's Cloudstreet for the stage. He has also written for film and television, including co-writing with George Miller the screenplay for Lorenzo's Oil which was nominated for an Oscar. He has written a number of musicals including The Venetian Twins and Summer Rain with composer Terence Clarke. He wrote the book for the Australian production of The Boy From Oz. Among many awards were two Green Room Awards for Best Play, and four Gold AWGIE Awards, the 1998 Sidney Myer Performing Arts Award and the NSW Premiers' Special Award. As well as being a prolific writer, Nick was a noted acting teacher, particularly at NIDA and WAAPA.
'Enright has fashioned an extremely complex, difficult and powerful play, emotionally charged, intellectually challenging. It is without doubt destined to become a major work in the Australian theatre.' -- Angela Bennie, Sydney Morning Herald, 1994
'Nick Enright's Good Works is one of the most moving, absorbing and powerful new plays produced in Sydney in a long time. It is an exciting work by an experienced writer who has finally found his personal voice.' -- John McCallum, The Australian, 1994
'It seems to me to be a play we have been waiting for for years now. Passionate, argumentative, yet thoroughly dramatic, realist in its concerns, yet dexterous in its use of symbolism... it is a stunning achievement. ' -- Guy Rundle, The Age, 1995
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