Act II scene i

P41-43

Act II Sene I is set amongst the joviality of Poppa and Clarry as they celebrate Christmas with heavy drinking. The scene is particularly successful because serious issues are raised and discussed as Poppa and Clarry gradually lose control. The effect of this is to juxtapose the jubilation of Christmas with the serious matters that the Bianchis are forced to endure and the tragedy that ends the scene. This Scene is constructed around some of the more important discussions and connotations throughout the scene.

Blocked drains

Act II Scene I, begins with physical humour as Momma 'gropes on her hands and knees through the fence with a broom' (41). It is also humourous that Momma's attempt to block the drains has resulted in their own drains being blocked - 'how'm I supposed to know her drains's our drains as well, uh?' (42). While this serves as humour, there is a serious connotation. This connotation is that, much like the drains, the lives of the two families are interconnected. Acts of sabotage sabotage them all.

P43 - 45

Drinking

Momma chides Poppa for drinking too much. The talk of excess and drinking is significant as it adds to a sense of celebration and of things getting out of control. This mirrors the madness of the outside world.

P45

Clarry's mother

It is revealed that, despite Clarry's mother being alone during Christmas, she consistently declines the Bianchi's offer of hospitality - 'Not one Christmas does she come' (45). The implication is that she does not come because of the Bianchi's cultural background. Maria and Clarry discuss this in further detail later in the play.

p45 - 46

Gino - "New world - same people"

Poppa and Maria discuss Gino. Poppa laments that Gino has moved from the family 'to the other side' (46) meaning that he is becoming Australian. Poppa is particularly concerned that about 'what happens if…when he get to the other side, they don't want him' (46). This concern is mirrored by stage directions that 'Maria's arms encircle her swollen stomach' (46) implying that this is the same fear that she has for her unborn child.

This is followed by the cheer and increasing carefree celebration that threatens to get out of control.

P48

Clarry's mother

Maria tells Clarry that his mother should meet her parents even just once and Clarry responds by saying that she is 'not worth worrying about' (48). There is a sense here that Clarry does not respect his mother's hatred towards the Bianchis. Do you think that he should speak up? What impact could he have on changing his mother's prejudiced opinions?

P52-54

Gino returns

Poppa has previously lamented Gino's absence from Christmas, when he explains to Momma that 'One day…for the family all together and Gino don't stay' (43) and Momma and Maria pondered on whether Gino was going to the dance for a girl to the extent that Maria muses that 'It's hard somehow to think of Gino - married' (48). Gino re-enters the stage as Momma and Poppa reach the height of humour as Poppa tries to lift Momma on to his shoulders. His mood is in vast contrast to the rest of the characters. In this way Beynon has positioned the reader to see Gino as an outsider and different. If the audience is to take the celebrations at the Bianchi's house as the norm for mainstream Australia, then Gino is most certainly excluded. Gino avoids discussions about what has happened at the dance. He is most open with Clarry, but Clarry does not understand the situation well enough to help Gino.

Clarry sees Gino's assertion that 'from now on nobody pushes me around no more' (53) as being aggressive and inflammatory. He does not see the importance of Gino sticking up for himself. Gino tells Clarry that 'I rather you hit me; I rather you do anything, Clarry, but lie to me' (54). This is an indication that Gino is trying to stand up for his principles. How do you think Clarry could have better dealt with the situation? What would you have said or done if you were Clarry? If Clarry had gone into partnership with Gino, do you think Gino could have been any more patient? Without this kind of incentive what choice does Gino have? These are questions that you need to answer for yourself. Try to empathise with the characters.

P55 - 62

Leila and Donny

Gino's mood is diffused as Leila enters the scene and the nature of her marriage is revealed to the audience. Leila's communication that a 'nice smack on the jaw…if I don't watch out' (57) is the Christmas present that she will receive, and the subsequent disruptive fight that she and her husband have, serves a number of purposes.

Structurally, it acts as a cover for Gino leaving and distracts the characters, as well as the audience, from the peril that Gino is facing. This is effective because it mirrors some of he attitudes towards Gino's problems, in particular Clarry's attitude.

Thematically it is significant as it demonstrates that the people in Collingwood also have their own battles to face. Life is not easy, full stop. It also demonstrates the care that the Bianchis take in their neighbours.

Another important issue, thematically, is the way in which Donny reacts to the help of Poppa. Having been helped to his feet by Poppa he pushes the older man away and says 'You don't shove me. 'Cos I was born here, and no rotten dago's gonna shove me.' (62) This is of particular poignancy as the audience has been positioned to see the neighbours on the left-hand side of the stage as friendly. In a similar way to which Clarry does not stand up for Gino, Donny also hides his own true feelings towards the Bianchis.

Also significant is that this attitude has been exposed through the excessive use of alcohol. The audience can imagine that the 'dance joint' that Gino attends is full of people acting in a similar fashion.

P63

Poppa retaliates against the neighbours.

So much has happened in this scene at such a hectic place that the final moments of recklessness occur as Poppa, who has previously commented that he 'don't want no trouble' (9) exclaims 'whadda the hell' and tips his garbage over the fence on the right. Poppa is fed up.

P64

Gino returns fatally injured

The final seconds before Gino returns fatally injured, are marked by a sense of disjointed confusion. Clarry cannot find Maria and Poppa is too caught up in 'today' to hear footsteps coming down the side of the house.

Gino's entrance is all the more powerful for the energy and hectic pace of the preceding action. His sorrowful and lone voice is in stark contrast to the wild dialogue and action into which he comes. It is interesting to note that although he has made it home, Beynon insists that he falls over by himself before anybody can reach him.

The sudden end to this chaotic act is shocking and serves to elucidate to the characters and to the audience the reality of the world the Bianchis inhabit.