Act II scene ii
The stage directions for Act II Scene II are in contrast to the rising action of the previous events in the play. Beynon directs that the yard should be 'quiet', with Momma sitting 'in silence' and that the house be shrouded in darkness with only two light sources. The faded 'irregular yellow' light reminds the audience of any family presence remaining. The Christmas tree 'intrusively' gleaming like a 'crucifix' reminds the audience of Gino and the sacrifice that has been made. The intrusive light represents the intrusive thoughts that the injuries to Gino mean for the family.
65-69 Momma and Clarry
The hectic pace of Scene I is immediately diffused as Clarry enters holding a medicine glass instead of a glass of beer. Clarry's attitude towards the obviously shaken Momma is typical of his character. His answer to all her problems is to give her sleeping pills to make her forget about the situation. Importantly, as he condescends to let Momma talk he pulls down the blind, blocking the light of the Christmas tree. This has two effects, one is to foreshadow the death of Gino and the other is to represent Clarry's attitude of 'out of sight out of mind'. Clarry does not want to face the problems. Significantly he tells Momma that 'It'll still be there.' (p66). This is significant as it represents the fact that Clarry cannot just ignore the problems, they are not going to disappear.
When Momma speaks, on pg 66-67, she discusses the days before the family migrated to Australia. Her speech is a rambling, as befitting a character who is in shock, but she discusses her concept of manhood. To Momma 'Only a good man use tears.' (p66). Interestingly, Clarry uses humour to cover his true emotions. Leila interrupts the moment to offer her support.
On page 68, Clarry once again misinterprets the sentiment. Momma tells Clarry that 'you can't dose the heart.' (p68). This phrase has two important meanings. The literal meaning is that Momma is heartbroken, and the figurative meaning is that the hearts of people cannot be changed so quickly. Clarry's assertion that Momma is being selfish, as there are others who are affected by Gino's hospitalisation are shallow and demonstrate only a limited understanding of the problem. Indeed, Momma is not 'out on a limb.' (pg68).
69 Blood on Clarry's hands.
The stage directions on page 69 are the turning point in the play. It is at this moment that Clarry's heart 'shifts'. Consider how clearly the shift in heart is represented to the audience. The audience is already aware of the mistakes that Clarry is making in terms of acceptance of the Bianchis and in terms of standing up for them, particularly Clarry's reluctance to take Gino into business. It is important that Clarry picks up the fish as this is a poignant symbol of racism in Australia.
69-74 Lukie and Clarry
Detective Lukie plays an important role in the play. As a policeman, he represents authority. He is responsible for protecting the values and rights of people. It is significant that Lukie enters the play just as Clarry has realised the importance of accepting and standing up for the family. This change is indicated on page 69 where Clarry, calls Gino 'the wife's brother'. This indicates that he is beginning to take responsibility in the situation. Clarry immediately feels the frustration of the Bianchis as Lukie first implies that Gino may have been drunk and then applies stereotypes to excuse the discriminatory rules at the nightclub. Lukie asserts that 'New Australians' often 'go all temperamental' (pg71), and that Gino tried to bash his way in with a knife. For once, Clarry finds that he is on the other side of the argument. In an important step, Clarry tells Lukie that 'I lived with your kind of thinking since I was born so don't tell me whose side you're on.' (pg 72)
There are three comments that Lukie makes that will be very useful for you to consider.
- 'I'm on your side.'(pg72) Does Lukie mean the side of the law or the side of Clarry as the 'Australian'?
- 'Sounds like one side of the story, but we don't know the circumstances, do we?' (pg73) Do we know the circumstances?
- 'Sort of blurs your values' (pg73).
74-80 Clarry, Maria and Momma
The tension that has been building between Maria and Clarry comes to a head. Clarry, feeling as though he has come to a realisation and can understand how Maria feels, now that he has confronted Lukie, finds that she is unwilling to listen to him. As an audience it is easy to understand Maria's sentiments and also empathise with Clarry who is now, similarly to Gino, caught between two worlds.
Maria's tirade outlines all the problems with the society. On page 75 she accuses Clarry of treating her family as a joke, as she tells him to make Momma drunk, 'Maybe she'd talk even funnier.' On page 76 she says, sarcastically, 'Italia, that's my home'. Maria then attacks Clarry personally by bring up the fact that Clarry will not call his business Fowler and Bianchi, as it is 'not good for business... gotta keep it local.' (pg77). She calls for action as she tells Momma that she should spit in the face of the butcher who calls her 'Momma Macaroni'. (pg78) She makes an important statement when she says to Clarry that 'we've got to understand you' (pg78). Maria finally touches on the symbol of the blind that Clarry has pulled down to block out the lights of the Christmas tree. She sees this as a symbol of Clarry, trying to hide the cruel facts of the situation. (pg80). This is a lot of information. It is presented at a fast pace with increasing volume and violence. Again, just as the tension reaches its climax, the mood is changed very suddenly as Poppa returns from the hospital.
80 Poppa returns
Poppa's return to the house is contrasted starkly with the argument that precedes his entrance. Beynon expresses the news of Gino's death with limited use of dialogue. The circumstances and tragedy of the death has been expressed through Maria in the previous section of the play. The quiet agony of Poppa and his inability to verbalise his feelings, demonstrate the private pain and agony that racism and prejudice in society has forced upon the family.
It is dramatically effective that Maria begins to give birth as Gino's death is revealed. It is also symbolically important. The audience is acutely aware of why Maria is nervous about bringing up a child in such a society. She wants the child to be accepted in society and to keep in touch with the traditions of the family. She is bringing a child into the society that she sees as having killed Gino.
