Transcript Tally’s Blood - Dunoon Grammar School

Tally’s Blood
Ann Marie Di Mambro
Synopsis
Set in Scotland and Italy before during and after the Second World
War, 'Tally's Blood' follows the growing friendship between a young
Italian girl, living with her Aunt and Uncle in their 'Tally Cafe' in the
West of Scotland, and a young Scottish boy. When World War Two
breaks out, the tensions and prejudices between the two families
heighten as the Italian immigrants in Scotland find their home country
at war with their adopted country. Playwright and television writer, Ann
Marie Di Mambro, uses the experiences of Scotland's Italian
community to tell this touching and funny story about love, prejudice
and understanding.
Heart-wrenching tale of lives and love (Steven
McCombe Review)
The emotional production of Tally's Blood is touring Scotland this
March to provide audiences with a heart-wrenching and enlightening
journey through mid-20th century Scotland.
This powerful story focuses on the lives of an Italian family living in
Scotland from the late 1930's to the early 1950's and takes us from a
small back-street shop to a villa in the hills of Italy.
The family are close-knit but their strong ties to each other are
severely tested as they face war, racism, ill-fated love, greed and
tradition.
This combines an interesting mix of humour, pathos and happiness
to captivate and engross all who see it.
"A funny, touching and well-made piece
that should not be missed"
Joy Watters, The Courier
“Theatre-goers are assured of feeling
uplifted at the end of the evening."
Alison Anderson, Perthshire Advertiser
Italian Family Tree
‘Daddy’ Pedreschi
Luigi Ianelli
Rosinella’s
sister
(deceased)
Rosinella
marries
Massimo
Uncle and aunt of
Lucia Ianelli
Franco
Scottish Family Tree
Mrs Devlin
Bridget Devlin
married
Adam Devlin
Hughie Devlin
Six other children
Rosinella Pedreschi
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Married
Family is everything
Fiercely protective
Pushes people away
No limits to what she will do
Controlling
Becomes cold and bitter
Fiercely nationalistic
Prejudiced
Selfish
Tries to shift the blame
Realises the error of her ways
Does a complete U-turn
“Nobody loves
their families like
the Italians”
“But it’s alright for
me. I’m Italian.”
“It’s one thing to play
around with them, so
long as you marry
your own kind.”
“If you knew what I’ve
been through.”
Massimo Pedreschi
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Shopkeeper
“Everyone likes you”
Married
Born in Italy
Moved to Scotland as a wee boy
“I used to think I had two
Happy in Scotland
countries, now I feel I’ve
Shows compassion and consideration
got nowhere.”
Hard working
Own Business
Not got an easy relationship with father
“Just you have it,
Big hearted
Luigi…”
Kind
Shocked by internment
Loves his wife deeply
Becomes distanced from his wife as she becomes
cold and bitter
 Becomes reconciled to his wife as she changes
Franco Pedreschi
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Born in Scotland
“I won’t go all the
Works in father’s shop
way, I promise,”
2nd generation Italian
In his 20’s at opening of play
Can dance well
Hot-blooded Italian male
“I wouldn’t want you
Loving
to regret it.”
Faithful
Loves Bridget
Signs up to fight for Britain before Italy enters the war
Dies in war fighting for the British
Defies family pressure
“I cannie be expected to
Proud of Italian heritage
spend my whole life
Sees himself as British
working from morning till
night in a wee pokey
shop.”
Bridget Devlin
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Hughie’s sister
“Just a wee Scottish tart
Oldest of 8
for him to practice on.”
Catholic
Late teens at start of play
Head of the family financially
Mother cannot cope
“You should be going
Supportive of others
to the dancing, get
Loves Franco
yourself a girlfriend.”
Gets pregnant
Has abortion
Encourages Hughie to follow his dream
Spinster
Bus conductress
Mid 30’s at end of play
Hughie Devlin
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“I have waited years – Years
– for Lucia. Blending into
the background, knowing
my place- ‘och it’s just you.”
Bridget’s brother
5 years old at start of play
Father killed in mining accident
Seen in the play aged 9
Hard working
Grows fond of Lucia
Falls in love with Lucia
Determined
Tried to become Lucia’s blood brother
Is scared his love is not reciprocated
Follows Lucia to Italy
Declares his love for Lucia
Elopes with Lucia
Luigi Ianelli
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Lucia’s father
Rosinella’s brother-in-law
Farmer
Widow at start of play
Five sons at start of play
One daughter at start of play
Remarries and has a baby
Lazy
Greedy
Sponger
Wants his daughter to marry well
Covets his neighbour’s land
Looking for anything he can get
“When you’ve finished the
clothes, you’ve to come up
to the house. Ma wife’s
going to teach you to clean
a chicken.”
“Giachetta scozzese”
Lucia Ianelli
“Oh, who’s that lovely wee girl.”
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Adopted by Aunt and Uncle
Brought to Scotland aged 2
Spoiled
Manipulative
Learns about prejudice and racism at school
Falls in love with Hughie Devlin
Returns to Italy
“She’s not going to
Elopes with Hughie
Scozzia. She’s not
“Oh, who’s that lovely wee girl.”
marrying any Scozzese.
She’s staying here.”
Setting
 The play covers a 20-year period from
1936 to 1955.
 Scotland (24 scenes) and Italy (7
scenes)
 Settings are specific and are both indoor
and outdoor.
Structure of the play
 31 scenes
 Chronological.
 Twenty years.
 Large gaps in the time-line:
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Act One has scenes set in 1936, 1939, 1943 and
1944.
Act Two is set eleven years later in 1955.
 A cinematic structure which pushes the storyline
on quickly, even when there is a break in the
time sequence. It builds up a sense of tension.
Set
 13 different scenes.
 Should you be realistic or
representational? Non-naturalistic
 Certain pieces are essential – the ginger
crates, the bin, working areas and the
upstairs window.
Props
 Some props are essentially set dressing
 Others are essential parts of the plot
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the bottles of ginger, the letter and
the kitbag, for example.
Lighting
 Lighting creates mood and atmosphere
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The church, the ginger store and the
‘elopement’ scene, for example.
 Italian setting
 Indoor and outdoor
Sound
 Sound sets the scene – the music, the
off-stage party.
Costume
 Reflects time
 Reflects place – Italian dress would be
different
 Reflects social conditions (wealth) or the
characters
Language
 Realistic working class Glaswegians.
 Italian phrases or speech patterns introduced
 Scenes set in Italy
 Device of having characters speak in the
Glaswegian dialect although they are
supposedly speaking Italian enables the
audience to understand dialogue though Hughie
cannot.
 Children’s vocabulary and sentence structure
Comedy, wit and humour
 This is a predominantly comic play,
though serious issues are dealt with.
 Much comedy arises from the use of
dialect and the sharp Glasgow wit.
 The relationships between characters
are another source of comedy.
Acting style/techniques
 Realistic, naturalistic acting. Ordinary
people in extraordinary situations
 naturalism but non-naturalistic settings
 Monologues (Massimo on Italy; Massimo
on internment) have naturalistic sound/feel
 Dialogue is brisk and witty, like a stage
routine.(Popular Tradition)
Rioting mob is unseen, except
in silhouette, and the whole
drama of the situation must be
created by their off-stage
shouts and by the reactions of
the victims on-stage.
Occasionally two scenes run
simultaneously (for example,
the first part of Act Two, Scene
Twelve).
Actor/audience relationships
 The actors speak directly to the audience.
 The actors speak their thoughts aloud.
 The characters age 20 years in the course of the
play. If the same actor plays Lucia throughout,
she has the problem of persuading the audience
to believe in her as a child.
 The actor playing Hughie has the same problem.
It is easier for the actors who begin as adults to
age 20 years credibly.
Stage directions
 The
actors speak directly to the audience.
 Decisions about staging left to the director
and designer.
 Clear indications of how scenes should be
paced – ‘A beat’, ‘Pause’, ‘Lucia hovers’ and
‘Hughie hovers’.
 Few descriptions of the physical
appearance of the characters.
 Some decisions are left to the director:
‘he starts to batter them (or whatever)’;
‘maybe gets hanky out …’.
 Stage directions are often informal –
‘mildly miffed’, ‘could use “mooch”’, ‘nice
wee hat on’. This helps to indicate to the
actor the mood of the moment.
Relevance to Scottish society
 About Scotland and Scottish society – but seen
through the Italian eyes of Rosinella.
 The poverty of 1930s Scotland.
 A lack of employment.
 War.
 Ambition.
Relevance to Scotland
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The dependence of young people on their
parents.
Integration of foreign nationals.
The difference between the clear moral
standards of the Italian community and the
perceived laxity of the Scots.
Racism – on both sides, as shown by the
mob on the one hand and Rosinella’s
contempt for Scottish men and lack of
respect for Scottish girls on the other.
Target audience
 Scots, especially, perhaps, those of foreign
blood.
 Those concerned about how Scotland has
developed since 1930’s – diversity of past
influences, conflicting pressures of different
ethnic backgrounds, changing relationships
within society.
 Young people, identifying with generation gap
 Those with an interest in history, religion
and/or racial integration
Nationalism
 Two nationalities are involved – Scottish
and Italian.
 Differences in their national
characteristics are important but there
are similarities, too – religion, family ties,
hardships.
Characters
 One important character, Luigi, has only
a very brief appearance at the beginning
of Act One, and is in fewer than half the
scenes in Act Two.
 One influential character – Massimo’s
father – does not appear at all but we
hear a great deal about him and
recognise his influence on his sons and
daughter-in-law.
Character Relationships
 – Franco and Massimo. Strong
brotherly affection which survives even
their bitter fight over enlistment.
Massimo covers for Franco, deceiving
their father. Franco is a little jealous of
Massimo’s break with their father.
 – Franco and Bridget. Although Franco
does enjoy his status as a heroic figure,
he does seem to be genuinely in love
with Bridget, prepared to risk his father’s
wrath and boasting about her to
Rosinella, in spite of her hostility to
Scottish girls.
 – Lucia and Hughie. They begin as
childish sparring partners and they never
quite lose this fun element in their
relationship. This makes it harder for
Hughie to speak up and change the
nature of their friendship.
 – Lucia and Rosinella. Rosinella is devoted to
Lucia, forgetting that she may have to lose her
some day. Her lack of children of her own
makes Lucia all the more important to her. She
spoils Lucia and finds it hard to discipline her.
Lucia, as a youngster, ruthlessly manipulates
her aunt, well aware of Rosinella’s devotion to
her. As she gets older, she finds Rosinella’s
care for her becoming stifling and she hurts
Rosinella with a bitter outburst.
 – Luigi and the others. Luigi is driven
by self-interest and a desire for
possessions. We see some of his sly
ability to control others reflected in his
daughter. He sees Massimo and
Rosinella as legitimate targets, even
offering to let them pay for Lucia’s
wedding to Mario. He uses Lucia as a
slave, presumably having treated his
wives in the same way.
 – ‘Daddy’ and the others. Though sulking
because Massimo has opened his own shop,
Daddy still expects help from him and
Rosinella, demanding that the latter cut his toenails for him. (A task which she willingly
undertakes, recognising her place as a woman
in the family.) In Massimo’s account of the
scene at the camp at Bury, his father becomes
a very different person – a small, frightened,
lost old man.