Authors notes and Characters

 Setting - humpy on riverbank. Clean and homely

o situational irony

Prologue: Aftermath
 Flooding in media res - acts 1 and 2 begin with a humpy that has
been devastated by flood
o Reccuring setting
o ʻin media resʻ - in the midst of chaos
 Que Sera, Sera – Doris Day 1956
o Means - ʻWhat will be, will beʻ
o Upbeat and sweet sounding
o Setting opening direct dichotomy to the song
 “Late afternoon and gloomy outside”
o pathetic fallacy
 Family – clear hierarchy
o Symbolism: covering up reality with representations of white
society
o “Deliberately… upside down” - symbolism of a (Nan-Dear like)
disapproval of white society

Act 1 Scene 1 – The Queens Visit

 Gladys admiration of white culture
o “Gladys listens in rapt silence” - great interest, captivated and
engaged by Queen Elizabeth II
o “Whereʻs my white gloves” - symbolism of white culture;
symbolic of Gladys taking on white culture and norm
 Contrast with nan
o Consistently disapproves of Gladys interest in white society;
“No goodʻll come of it”, “Well, we donʻt”
 Cork trees
o “But keep away from them cork trees.”
 Foreshadowing of the events that will occur later in the
play
 Dolly
o Highly optimistic, she believes truly that everything will be
alright
 “Fit for a queen!” - optimism
 “Yes, Nan.” - repetition, shows obedience
 Gladys denied (127-128)
o Enters the humpy “holding a very wilted bunch of flowers”
 Symbolism of Gladysʻ hope wilting away
 Denied the opportunity to see the Queen
o Nan to Gladys; “Get off your high horse”
 Nan denies Gladys by calling her out for trying to be a
bigger person in this society - Gladys is seen as ʻthe
dreamerʻ
 o “No…” - ellipsis suggests Gladys is upset, and has nothing left
to say
 Conflict from white society behaviour
o Roads were lined with hessian to conceal the Indigenous
people living from the Queen
o “Stop the likes of her seeing our humpies” - Australia would
rather cover up their issues
o “Sheʻs not my queen” – Nan

Act 1 Scene 2 – Oh, Errol

 ‘Oh, Errol’ title
o paradox/allusion to Errol Flynn
o Australian-born American actor known for his flamboyant,
dangerous and romantic personality - seen as the ʻbad boyʻ in
most movies and in real life (drinking to excess, smoking,
frequent partnerships with women)
 Introduced to Pick-A-Box - aware of Gladys’ intellectual ability
 Through the reference to ocular contusion or a black eye on the
program - not uncommon for various characters referred to have a
black eye or sustain some other kind of physical injury
 understanding of the differences in lifestyles and challenges faced
between the white and indigenous population
 meet Errol who manages to sell a set of encyclopedias to the three
women regardless of their poverty.
 Errol and Dolly are mutually attracted to one another
o Errol is obviously oblivious to the socio-economic differences
between the two race groups
 Talk about Papa Dear and the Queen

Act 1 Scene 3 – Lino

 Title metaphor
o Lino or linoleum is a hard wearing flooring product
o became less popular during the 1950s
 why it may have been reduced to rubble at Daish’s.
 Dream sequences
o structural device throughout the play to present opportunities
that allow Aboriginal people to experience becoming equal, to
be accepted; an interesting juxtaposition with the reality
o The need to be accepted negates the need to assimilate -
allows Aboriginals to sustain their own cultural integrity
 The tensions in this scene introduces individuals to new
conundrums that were previously unexpected
o dream sequences allow the characters to explore worlds
beyond their present circumstances
o presents the irony that the experience needs to be embraced
and adapted to as it cannot be reversed
  memories and traditions, culture and values can be
sustained as long as they are enacted within a new
structure
 Adopting of the voice of propriety; needing to adapt but constrained
by financial inequity to shopping at the tip
o one man’s trash is another man’s treasure – the need for
flooring after the flood
 Dolly dares to go beyond the boundaries of Nan’s expectations and
challenges her warnings
o foreshadowing as Nan once more remonstrates with Dolly
about the dangers of the space but also remonstrates about
respect for her people
 Irony - revealing some of the less admirable traits of all
humanity and in particular, the ways in which the moral
codes of a social group are destroyed through alcohol.
 Dolly’s meeting with Errol
o embarrassment at carrying the roll of lino - stage directions to
explore her sense of shame drawn from poverty and need
o The attraction between them is a new experience –
juxtaposition between interaction with the shadows of the
cork trees and with the openness experienced with Errol
o stage directions reveal that his arrival when Dolly’s mother is
not home is not serendipitous - he has intentionally arrived
early to hopefully engage Dolly in conversation
 sense that the attraction is mutual but tenuous - Dolly
is more suspicious of his intention as he is white, a
salesman, stereotypical - insecurities that have become
part of the experience of interaction between cultures.
 Errol’s response to Dolly’s suggestion about a baby being inside the
humpy reinforces stereotypes of the other
o Dramatic irony here as this is what eventually happens
o Errol’s response about the can as a drinking vessel is a back-
handed compliment
o lack of awareness of the ways in which different cultures
value others – text shows that racism is often innate
 Errol’s unintentional insult is provocative

Act 1 scene 4 – House of Biba

 concept of distance - exploring how women survive alone from papa
dear
o idea that men in Aboriginal societies left the home as hunter
gatherers and women were left to look after family
 honour and respect for Papa Dear revealing family
values and connectedness
 ironic as Papa Dear is away from home to support
other indigenous communities.
  Dolly wants to look for a job outside of Nan’s comfort zone - Nan
would prefer Dolly remain within the confines of the structures set
by the white world
o working in the town shop might have greater consequences -
fears of shifting outside of where they are accepted and
becoming subject to rejection and racism
 Gladys is hopeful as suggested by the stage directions
 forward thinking is not matched by Nan
 argument with Gladys highlights the fears Nan has
 Irony in Nan’s reflection of the radio advertisement
o all a fairy story - warning to not go beyond the real - the
imagined world beyond the confines of social expectations is a
dream world that has no permanence – impact of colonisation
in repressing the hopes and dreams of Aboriginal Australia.

Act 1 Scene 5 – The Delivery

 Title metaphor - literal delivery of the encyclopedias
o the delivery suggests acceptance of a foreign history into the
Aboriginal world
o the spiritual nature of history and an understanding of history
in an Aboriginal Australian context - passed on through oral
o entries in the encyclopedias engage with post colonial views
of protectionism, assimilation and self determination
 highlights Errol’s delivering of the first edition of the Encyclopaedia
Britannica to the humpy
o Dolly’s shame is exacerbated by her mother inviting him
inside - Dolly feels exposed
 plain brown paper wrapping
o covering over the colour of the western white European
experience
 Nan’s anger - bringing in to their home of something extant
o Cannot enrich their Aboriginality
 expose Gladys’ embarrassment of not having coffee
o dialogue and stage directions - able to demonstrate the
hospitality that would welcome the newcomer to their home
o Nan’s reaction suggests this is a rare occurrence
o The counting out of money - explaining the ways the money is
earned
 sharp contrast in perspective to what might occur with
the whitefella
 Irony of the radio message - life beyond the expectations is a mere
fairytale in Nan’s eyes
o consequences of what she has experienced in the past.
 foreshadowing of ongoing relationship between Errol and Dolly
o The stage directions are suggestive of love and relationship is
evolving here
Act 1 Scene 6 – The Inspector
 Title metaphor: humpy is being inspected by a health inspector
o Idea that Aboriginal housing had to be inspected
 These families were being judged by white standards –
racism
o Soul destroying and reinforces stereotypes
 inspector represents white Australia, government
policies and the rights and responsibilities of colonisers
 accept or allow First Nations people to enjoy their
autonomy and sovereignty
 nervous tension - appraise the sanitation and living conditions
o amazed by the care given to the house, by the living
standards despite the obvious challenges
o family are protective of Dolly and the fear that children may
be taken away - ongoing consequence of protectionist policies
o wonder at the cleanliness despite the hardships - stereotypical
behaviours used towards Aboriginal people and judging
whether they live in standards suitable for white people
 Knowledge is power but the power is in the encyclopaedia
o white fellas world and whitefella power
o Laws and impositions constructed through fear make people
hide their children away from the authorities
 discomfort of always being watched - always being
nervous and afraid
 reminds audience of the tensions of living under
such fear – Gladys has a determination that
suggests empowerment is an option

Act 1 Scene 7 – The Turn

 Title Metaphor: Nan takes a ‘turn’ (literally)
o old fashioned way of saying she has a little collapse or has
suddenly fallen ill
o implies that Nan puts on the sudden illness in an attempt to
manipulate Dolly
o dramatic irony: the sudden ‘turn’ in terms of feeling better
once Dolly agrees to stay home
o the turn is about a sickness borne of fear and experience
 Nan is afraid of the implications for Dolly of going to a
dance away from her people, safety and security
 Nan is projecting the fears of generations of Aboriginal
women who have been taken advantage of
 Introduction of the concept of housing - the Rumbalara project
o hope and possibility that there can be a reality
o irony that the name means end of the rainbow: a pot of gold
where dreams can come true - presented in dream sequence
Act 1 Scene 8 – Washing-day blues
 Title - literally the scene takes place on washing day, presenting the
order and structure of their lives
o ‘blues’ refers to the negativity Nan’s demeanour
o engages with the racial cleansing Aboriginal people were
subjected to, the whiteness of the whites never being good
enough to substantiate their position in a white society
o characterisation of Nan and her dialogue reflects the concept
of breeding the blackness out of Aboriginal people
o questions the necessity for whiteness in a world
 Nan, in temper, reveals something about the past
o perspective is that it is better to live by the banks of the river
where they have control over their lives than to live on a
mission where they are under the control of managers
 We can explore the innateness of connections, the power and need
to connect with land and family
o Symbolism/irony - reference and obsessions with ‘Whites’
o irony of white washing and the statements of the inspector
coming back out
 motif of the Ajax ads – always about white
o Nan brings up the ball in Shepparton
 fear of the ‘gubba’ boy, Errol
 resonates with her own fears of the past

Act 1 Scene 9 – Home Sweet Home

 setting in the humpy
o ironic - presence of mice reinforces difficulties
o dramatic irony as the mood between Nan and Gladys is tense
and uncomfortable
o presents the changing dynamics of home and the power
relationships that are experiencing cultural shifts
 scene of extreme contrasts of Gladys emptying dead mice out of
traps compared to Dolly enjoying encyclopaedias
o Dolly expanding her knowledge and her world
 reflects Gladys’ hopes and dreams for her daughter
 Power tension between Gladys and Nan in terms of Dolly’s future
o Traditional roles and relationships being challenged.
 Dolly misses her meeting with Errol
o Gladys’ need to protect Dolly and her relationship with Errol
from Nan suggests a new responsibility
 sense of autonomy developing in Gladys
 Argument between Dolly and Gladys - generational challenges
o just as Gladys has challenged Nan
 demonstrating a shift in dynamics that needs to happen
 The assertive tone of the dialogue as Gladys’ actions
reinforce the shifting power dynamics
Act 1 Scene 10 – The Bank vs Mrs Banks
 Title - challenges between Gladys and the bank manager
o highlights the constant battles between the establishment and
Aboriginal people
o economic deficits are second to the social deficits of not being
able to work in the bank
o text challenges us to question the status quo of authority and
patriarchal impositions on Aboriginal people
 The shift in empathy provided by the bank manager,
suggests possibilities do exist for a transition
 Bank manager’s office – propriety
o instant rejection when the manager sees the photograph of
Dolly’s face and hears the purpose of the visit
o bank manager’s defensive dialogue expresses concern about
how Dolly would fit in
 dismissive nature expose the rejection felt more broadly
by Aboriginal peoples
o voice over from Dolly is a reminder for Gladys to be assertive
 not let the shame of the past be a hindrance to the
future - to stand firm in belief
 realise that Gladys cannot write - redeeming generosity
in the bank manager
 suggesting change can happen through small
exploratory moves

Scene 11 – The Ball

 Miss Mooroopna-Shepparton Ball; antithesis
o Initially everything about Dolly is white - dress (later to be
found as Nancyʻs curtains), corsage - epitome of assimilation,
everything Gladys wants her to be, everything Nan doesnʻt
o Aboriginal girl dancing with a white girl
 Dream sequences a dramatic device
o Constantly show us a sequence of what they desire
o Nan never has a dream sequence - reality > possibility
 Symbolically Dolly runs out to nature
 Dark, weak light shines on her - pathetic fallacy
 Foreshadows what is to come
 Violence is suggested but not scene - sound effects, vitriolic and
derogatory language, dress slightly ripped
 Dolly is segregated from both societies - between two worlds
 Contrast between how Errol and Leon treats her - dichotomy
between the reality of both realities
 Ripping of dress; symbolic of a tear in her relationships, in her
dreams, in her life
Act 1 Scene 12 – Storm Brewing
 Techniques: tone; sound effects; foreshadowing; dramatic irony;
dialogue; staging; stage directions; characterisation; pathetic
fallacy; flash forward
 Title - literal storm references, sound effects and impending floods
as river rises
o sense of foreboding and tension established
 suggests the play is leading to its climax
o spiritual connection between the land and Aboriginal people
 pathetic fallacy resonates with the tensions and pain
associated with fear
o tense staging is provocative and confronting
 audience realise the play’s climactic moment has come
and can only result in one outcome
 Stage tensions are heightened with the sound effects of a storm
and the anxiousness Nan is experiencing
o foreboding tone and clipped nature of the dialogue is leading
the audience to the climax of the play
 obvious discomfort of the actors and the stage presence
dominate - audience are confronted by the fact that
their own judgment of stereotypes is simultaneously
being both confirmed and challenged
o concept of nature mirroring the concern, anger and frustration
of the humans – pathetic fallacy - dominates the scene
 Human experience is subject to the nature of society
and judgments or expectations placed on individuals

Act 1 Scene 13 – Waters Rising

 Title: reference to the Goulburn river rising as a result of the storm
o the instability of the river and the rising river leading to a
flood both literally and metaphorically, of emotions
o the rising of waters is the rising of tensions between Errol and
Dolly - realisation that Errol is equally patriarchal for no other
reason than he knows nothing else
o leads the audience to realise the tensions that led to catalysts
in the experiences of Aboriginal peoples
 Dolly and Errol meet up again and Dolly deals with his black eye
referring back cleverly to earlier scenes in the play
o realities of the experiences of Aboriginal people are not lost
on either of them but Errol has hope - Dolly is more realistic
o Dolly shares with Errol the concept of extended family
 a contrast is made between blackfella notions of family
and whitefella notions
 dialogue explores the contrast between traditions
 Errol admires the inner strength of the women
o clumsily proposes to Dolly offering to take her away from her
family to have what he would describe as ‘a better life’
 o Dolly suggests he does not understand the deeply held beliefs
she has of belonging to family, of being near her people
 Dolly begins to believe he is the same as all white men,
wanting to make things right and better but not
realising that he is doing the same thing as those in
leadership that deprive Aboriginal people
 Dolly’s rejection of his offer - symbolic expression of the rejection of
everything that has already happened to Aboriginal people
o Her insight goes beyond Errol - He only knows what he thinks
will be good for her

Act 1 Scene 14 – The Flood

 Techniques: tone; irony; symbolism; motif; voice; pathetic fallacy;
dialogue
 Title - overwhelmed and trapped
o nature dominating man
 Nan and Gladys - unaware of what has happened to Dolly
o preparing for the floods that seem inevitable in their mind,
both literally and symbolically
o The arrival of a policeman to assist them in moving to higher
ground - policemen represent something to be feared
 to have them offer to help might expose their poverty
 The need to save the encyclopaedias is an imperative as
they have become symbols of knowledge and growth
 Way to be accepted in the world they must live in
 sudden and dramatic arrival of Dolly - the screaming of her terror
and the storm combine - confronting for the audience
 reminder of experiences that can be destructive both for the
individual and for those who share the fear, pain and suffering that
extends from such horror