Act I: Page 29-40

p29 - 36 Clarry and Maria

Maria has been mentioned throughout the first act, so the audience is already aware of her. Poppa has told Leila that, 'She grow up so quick - clever too' and describes her as 'Multo Bravo' (p10) as he explains how it was her idea to move to Australia. Gino also describes her as being 'too smart for us...and pretty too.' (p27). The audience also knows that this is Maria's third pregnancy and that the others had been unsuccessful (p10). The tension between Clarry and Maria has been built up through the conversation between Clarry and Gino, where Clarry asks Gino 'what have you been saying to Maria?' (p26) and 'what else did you tell Maria?' (p27). The interaction between Clarry and Maria deepens the audience's knowledge of Clarry's lack of understanding.

The revelation, that Clarry has 'curse[d] my [Marias]....something dago temper' (p29), is dispersed by the antics of Momma and Poppa. This has the effect of giving the audience time to absorb the meaning of the statement as well as to increase the rising tension between Maria and Clarry. When Maria and Clarry return to their conversation, it becomes clear that Clarry does not understand why this has hurt her so much.

The conversation quickly turns to the unborn child but this conversation is soon cut short by the racial insensitivity of Clarry. Clarry does not understand what Maria means by saying that she will be happy for her child 'as long as he's safe and wanted...' (p33). She means this in a broader sense of society rather than just within the family. Clarry presumes the care that Maria takes in Gino as being a family issue whereas her concern is with Gino's place in Australian society.

Maria's attempts to make Clarry understand are thwarted by his ignorance and her own sensitivity. Maria tells Clarry that Gino, 'by your standards, he's[is] a man.' (34) Meaning that by Australian standards he is a man but by her standards he is not. Maria's 'gentle' comments about Clarry's 'little mind' do not refer to his stupidity, as Clarry believes, but to his misunderstanding of the complexity of the problems that Gino faces. It is not a matter of being 'adjusted', as Clarry states on pg 35, but a matter of being 'alone because he is different' (p35). Clarry responds by saying that he is different, and Maria tries to explain that 'all around you you've got minds that think like yours.' (35)

Clarry's reluctance to take Gino into partnership is a sign that he will not support Gino. Maria sees this as the 'only hope he's got' and that Clarry is 'giving in' (p36) to the pressures of the wider society. Significant is the climax of the argument when Clarry demands Maria tell him what is so special about Gino, Maria replies with, 'He's a dago Clarry. A Wop...like me! That's what's so special about Gino.' (36).

This tension is dispersed by the entrance of Momma. The effect of never resolving the argument is that the tension remains to underscore the action.

P37 - 40 the Christmas Tree

The Christmas tree represents three things. It represents the similarity between the Bianchis and mainstream Australia, the eight candles are significant as they represent Gino's pride in being Australian and, as a gesture, it demonstrates that Gino is becoming a 'man'. Consider who, in a family, is most likely to buy a Christmas tree. Most probably this will be the father figure of a household.

This last section of Act I has an air of contentment about it as the Bianchis consider how lucky they are to live in Australia. On page 39 Momma explains that 'in all that time, this; the first Christmas tree.' Certainly for the Bianchis the world is full of opportunities, Maria's baby is due, Gino is developing into a nice young man. It is little wonder that they are in a good mood.

To end Act I in such a way is a typical technique of playwrights writing tragedy. The Bianchis have been set up for a fall. The tension between Maria and Clarry is unresolved, the tension surrounding Gino's dance party is unresolved and as Poppa muses that God 'must be Australian' (40) he plays the stereotypical tune 'Santa Lucia' thus emphasising the ever-present difference between cultures. Either this or, perhaps, his harmonica playing represents the bringing together of two cultures.