PECKER DUNNE – last of the travellers…contd.

A campfire. Singing and dancing. Pecker, wearing a hat is seated, drinking and enjoying himself. A red-haired girl, throws herself down beside Pecker. Soon they are laughing and cuddling.. 

PD:     What’s your name?

       MARY:   Me name’s Mary. What’s yours?

PD:     Arra, you can call me anything, so long as it’s not too early in the morning.

       MARY:   I like your hat. Where did you get it?

PD:     Well, I’ll tell you now; I was buskin’ over in Dingle a few days ago and this fella said to me ‘I’ll give you two euros if you play a good tune for me’, so I said ‘give me four and I’ll play a better one’. I did, and he was so happy he said ‘play me another one now and I’ll give you me hat’. I did, and now I’m wearing it. ‘That’s a good hat now, look after it’, he said, ‘I paid 140 dollars for that hat in Australia’

        MARY:  Are you goin’ to wear it to Puck Fair?

PD:     Begod I am. They might crown me King of The Fair tomorrow with that hat on me head. (the girl laughs, and Pecker says in an aside) I think I’m alright here.

      MARY:    Will you give me a dance at the fair?

PD:     I surely will. I’ll even give you two for good measure. (he drags her to her feet)  We’ll have a practice one now.

They dance close together for a moment. Suddenly there is a roar and a man jumps between them and shoves them apart.

MAN: That’s my wife, stranger. What do you say to that?

PD:     A careless man and his wife are soon parted, that’s what I say.  She needs controlling, man.

MAN:  Well, if she does itself, I’m the one to do it. 

He drags the girl away and shoves her to one side, then kicks out at Pecker and knocks him to the ground. Then he takes off his shirt and stands in the pose of a fighter, his bare fists raised. Someone shouts ‘clear a space’ as Pecker rises and takes off his shirt. He, too, raises his fists.  They circle each other for a while, throwing punches and missing. Then Pecker connects with a wild swing to the head. His opponent goes down, pole-axed.  He lays there not moving; someone comes up and tests for a pulse at the side of his neck.

MAN: There’s no pulse. I think he’s dead.

Pandemonium on the site for a few minutes. Screams and shouting. Then a police whistle is heard. A Guard Sergeant marches on and drags Pecker off.

Lights dim, then we see Pecker singing PORTLAOISE GAOL (c Pecker Dunne)

PD:                 For thirty years I’ve been a tinker,                                                                      I’ve tramped the mountain and the glen  I’ve courted girls in every county,        and I’ve fought the very best of men                                                                      I drank an awful lot of porter, I slept in sunshine, snow and gale                                   But the life I loved was taken from me, when I spent two years in Portlaoise    gaol.             

Portlaoise gaol it was tamed the tiger – try, me boys, to get bail                                T’was many a heart was stopped inside – inside the walls of Portlaoise gaol.                              

I joined a camp outside Kilorglin, the night before they crowned the king There was song and dance and plenty porter,                                                         with our wagons formed around the ring                                                           Then a foxy lass sat down beside me, bedad says I, I’m alright here                       But her husband rose and leapt between us,                                                     and knocked me down with a kick in the ear                                                                I hit him hard below the navel,, he hit the ground with a might wail                   His neck was broke, he died in seconds,                                                              and I spent Puck Fair in Portlaoise gaol.                                   

 Portlaoise gaol it was tamed the tiger – try, me boys, to get bail                               T’was many a heart was stopped inside – inside the walls of Portlaoise gaol.

End of scene

The campsite. A man, a local farmer comes into view, in a temper.

MAN: Hey, ya pikey bastard, did you steal that bit of lead off the roof of my cowhouse the other day?

PD:     I’ve been passing this way the last twenty years and the devil a bit of lead I ever saw on that roof. A few galvanised sheets, and they fallin down with the rust, but no lead.

MAN: I’ll call the Guards. I’ll get you moved on.

PD:     They won’t find any lead here.

MAN: Well, if it wasn’t you it was them friends of your in that transit van.

PD:     They weren’t friends of mine, whoever they were.

MAN: Well they were over from Rathkeale way then. That town is full of pikeys and knackers. They sold my wife a roll of carpet and when she unrolled it there was a big square missing in the middle.

PD:     More fool her then. Is that what this is about? Someone sold your wife dodgy bit of carpet and you blame me for it. How do you know they were travellers? Maybe they were townies.

MAN: They were pikeys. Just like you.

PD:     That’s not a very nice word. We’re travelling people, not pikeys.

MAN: Well you’re all tarred with the same brush, aren’t you?  Steal anything that’s not nailed down, you lot would.

PD:     Even invisible lead. How would it be if I called you a sod-buster or a cockie, or something else derogatory.

MAN: Look, why don’t up sticks and just head off. You know you’re not wanted around here.

PD:     It’s still a free country – I think

. He  sings a few verses from THE TRAVELLING PEOPLE ( (c) Ewan McColl)

PD:                 I’m a freeborn man of the travelling people
Got no fixed abode with nomads I am numbered
Country lanes and bye ways were always my ways
I never fancied being lumbered

Well we knew the woods and all the resting places
The small birds sang when winter time was over
Then we’d pack our load and be on the road
They were good old times for the rover

In the open ground where a man could linger
Stay a week or two for time was not your master
Then away you’d jog with your horse and dog
Nice and easy no need to go faster

And sometimes you’d meet up with other travellers
Hear the news or else swop family information
At the country fairs we’d be meeting there
All the people of the travelling nation

I’ve made willow creels and the heather besoms
And I’ve even done some begging and some hawkin’
And I’ve lain there spent rapped up in my tent
And I’ve listened to the old folks talking

All you freeborn men of the travelling people
Every tinker rolling stone and gypsy rover
Winds of change are blowing old ways are going
Your travelling days will soon be over

I’m a freeborn man of the travelling people
Got no fixed abode with nomads I am numbered
Country lanes and bye ways were always my ways
I never fancied being lumbered

LIFE AINT WOT IT USED TO BE (continued)

ACT 2

Scene 1

Scene: A Dream of Lionel-Land

The stage is dark. A soft spotlight appears on Alma, sitting at her dressing room mirror, looking tired. She hums softly, then drifts off to sleep. The lights shift, and the stage transforms into a whimsical, colourful dreamscape—Lionel-Land!

Lionel Bart enters, dressed in a flamboyant suit, leading a lively ensemble of dancers and musicians. They perform “I  WISH I WAS IN LIONEL-[LAND” with Alma joining in, her spirits lifted by the fantasy.

Alma: (singing

I wish I was in Lionel-Land, hooray! Hooray! Where the nights are bright and the skies are gay! Hooray!

“I Wish I Was in Lionel-Land”

(In the style of Lionel Bart – to the air of I Wish I Was In Dixie- Land)

(Verse 1)
Oh, I’ve seen the lights of London town,
Where the rain falls down and the world spins ‘round.
But I dream of a place, oh, so grand,
Where the streets are paved with melody, in Lionel-Land!

(Chorus)
I wish I was in Lionel-Land, hooray! Hooray!
Where the trumpets play and the dancers sway.
With a song in my heart and a skip in my hand,
I’d be oh so happy in Lionel-Land!

(Verse 2)
There’s a pub on the corner, the tunes never end,
With a piano man and a jolly old friend.
We’ll sing “Consider Yourself” with the band,
And the whole world’s a stage in Lionel-Land!

(Chorus)
I wish I was in Lionel-Land, hooray! Hooray!
Where the nights are bright and the skies are gay.
With a wink and a nod, and a jolly good band,
I’d be oh so merry in Lionel-Land!

(Bridge)
Oh, the rivers would flow with a musical stream,
And the stars would all dance to a ragtime dream.
Every cobblestone hums, every lamppost can sing,
In the land where the melodies ring!

(Verse 3)
So I’ll pack up my troubles, my hat, and my cane,
And I’ll hop on a train to that sweet refrain.
For the world’s full of wonder, but I understand,
That my heart belongs in Lionel-Land!

(Final Chorus)
I wish I was in Lionel-Land, hooray! Hooray!
Where the music’s grand and the laughs never end.
With a song in my soul and a smile so grand,
I’ll be oh so happy in Lionel-Land!

(Outro)
Oh, Lionel-Land, my sweet, sweet home,
Where the melodies wander and the stories roam.
With a tune in my pocket and a dream in my hand,
I’ll be forever in Lionel-Land!

The song ends with a flourish, and the dream fades. Alma wakes up, back in her dressing room, smiling wistfully.

Later, in Lionel’s flat. Lionel at the piano trying to compose. Alma helps.

ALMA:                                                                                                                            I had a dream last night. Well, in my dressing room. I nodded off for a little while, and I remember you were singing a song you had just written. It was called ‘I wish I was in Lionel-Land’  or something like that. It sounded like the air to ‘I wish I was in Dixie’, but the words were different. Then I woke up.

Lionel laughs then plays a few notes and sings.

LIONEL:                                                                                                                           I know that tune. It’s an old American Civil War song. I think someone recorded it recently. (sings a few bars). ‘I wish I was in Dixie/ Look away, look away/ In dixie land I will make my stand. Look away…                                                                                                    something like that. Do you remember the words from last night?

John enters with some drinks etc

ALMA:

Ha! I was dreaming! (pause/sings) I think the chorus went something like this;            I wish I was in Lionel-Land, hooray! Hooray!/ Where the nights are bright and the skies are gay! Hooray!

LIONEL:                                                                                                                       Hmmm. It might have possibilities. Maybe I will work on something later on. (to John, taking a drink) I wrote a new song last night – apparently

JOHN:                                                                                                                            In your dreams!

ALMA:                                                                                                                                      No. In my dreams. (smiles) Oh, don’t ask, John (to Lionel) I think it has your whimsical style Li; full of charm…with a touch of nostalgia.

LIONEL:                                                                                                                              Oh, I’m  nostalgic now , am I! All my songs are merry, I’ll have you know.

AMMA:                                                                                                                             You sound like Sean Kenny now. I remember him saying once ‘All our wars are merry, and all our songs are sad’. Or was it the other way round?

LIONEL:                                                                                                                          Yeah, well, Sean’s Irish, so he should know. ‘for the great Gaels of Ireland are the men that God made mad/ all their wars are merry and all their songs are sad’. Chesterton.

JOHN:                                                                                                                             Hark at him! A poet and we don’t know it!

LIONEL:                                                                                                                        As Sean himself might say, ‘If I didn’t go to school itself, I met the scholars’ on the way home’

JOHN:                                                                                                                          Yeah that sounds like Sean. Full of Blarney! A bit like yourself, come to think of it! You’ll be telling me next you read Chesterton at school!

LIONEL:                                                                                                                        All I read at school was the Dandy. Desperate Dan and Korky the Cat were my introduction to literature. As for Chesterton, I sometimes found that the poets of the past were often good for tuning up my own lyrics.

JOHN:                                                                                                                        You mean you nicked some of their words!

LIONEL:                                                                                                                      Why not? Everyone does it, in my view. There’s nothing new under the sun. I bet even Shakespeare did it!

JOHN:                                                                                                                      Comparing yourself to Shakespeare now eh! (to Alma) What do you think Alma           

LIONEL:                                                                                                                    Hah! I’m more popular than Shakespeare ever was in his day. I bet he didn’t have two plays running at the same time in the West End. Both playing to full houses every  night!

ALMA:                                                                                                                      Don’t get too cocky Li. You know the old saying? The bigger they are, the harder they fall. What’s  next on your agenda?

LIONEL:                                                                                                                                 Oh, I have got big plans for the next three or four years. First will be Blitz, then Maggie May, and then my piece de resistance – Twang.

JOHN:                                                                                                                       And what’s going to pay for all this extravagance?

LIONEL:                                                                                                                       Well, Oliver’s doing well isn’t it? And it’s only got started. They say it will run for years.

JOHN:                                                                                                                         Do you remember what Noel Coward said to you a little while ago. ‘Dear boy, never put your own money in any of your own plays’

LIONEL:                                                                                                                       Ah! Coward. What does he know? He’s a has-been – and has been for the last twenty years or more. Come on, Let’s celebrate.

Drinking, laughing, singing, dancing etc (Lionel slyly swallow s couple of tablets on the qt) They sing/play a couple of songs from Blitz & Maggie May

CONSIDER YOURSELF

(From Oliver!, music and lyrics by Lionel Bart)

Consider yourself at home,
Consider yourself one of the family.
We’ve taken to you so strong,
It’s clear we’re going to get along.

Consider yourself well in,
Consider yourself part of the furniture.
There isn’t a lot to spare,
Who cares? Whatever we’ve got, we share!

Chorus:
If it should chance to be
We should see some harder days,
Empty larder days,
Why grouse?                                                                                                              Always a-chance we’ll meet
Somebody to foot the bill,
Then the drinks are on the house!

Chorus:
Consider yourself our mate,
We don’t want to have no fuss,
For after some consideration,
We can consider…
Yourself one of us!

Consider yourself at home,
Consider yourself one of the family.
We’ve taken to you so strong,
It’s clear we’re going to get along.

Consider yourself our friend,
Consider this a ’and up, if you please, sir!
We’re very ’appy to give
You our ’umble company.


We’re ’appy to ’ave with us
Cheerfulness, charm and innocence,
All the ingredients
For ’appiness.

We now hear the sounds of guns and bombs, people screaming etc And the voice of Winston Churchill on radio;

WC: (voice)

I would say to the House… that I have nothing to offer but blood, toil, tears and sweat. We have before us an ordeal of the most grievous kind. You ask, what is our policy? I will say: it is to wage war, by sea, land and air, with all our might and with all the strength that God can give us; to wage war against a monstrous tyranny, never surpassed in the dark, lamentable catalogue of human crime. That is our policy. You ask, what is our aim? I can answer in one word: it is victory, victory at all costs, victory in spite of all terror, victory, however long and hard the road may be; for without victory, there is no survival.

Lights change and they sing the song MAGGIE MAY, from the musical of the same name.

MAGGIE MAE

 ow gather round you sailor boys, and listen to my plea                                               And when you’ve heard my tale you’ll pity me                                                                 For I was a real damned fool in the port of Liverpool                                                    The first time that I came home from the sea I was paid off at the Home,              from a voyage to Sierra Leone                                                                                           Two pounds ten and sixpence was my pay                                                                When I drew the tin I grinned,                                                                                                     but I very soon got skinned By a girl by the name of Maggie May

Oh, Maggie, Maggie May, they’ve taken you away                                                      They’ve sent you to Van Diemen’s cruel shore For you robbed so many a sailor, and skinned so many a whaler                                                                                          And you’ll never shine in Paradise Street no more                                                                                                                                          

I shan’t forget the day when I first met Maggie May                                                            She was cruising up and down on Canning Place With a figure so divine,                     like a frigate of the line So, being a sailor, I gave chase                                                          Oh, Maggie, Maggie May, they’ve taken you away                                                             They’ve sent you to Van Diemen’s cruel shore                                                                            For you robbed so many a sailor, and skinned so many a whaler

LIFE AINT WOT IT USED TO BE (continued)

scene 2

 A single spotlight on Lionel, now in his 50s, standing centre stage. The rest of the stage is dark, creating a sense of isolation. As Lionel speaks, faint projections or shadows of key moments from his life appear in the background (e.g., Joan Littlewood, Alma Cogan, the premiere of Oliver.

LIONEL:
(to the audience)
Twenty -five years. Doesn’t sound like much, does it? But when you look back… (pauses) It’s like staring at a different person. That young bloke, full of fire, thinking he could take on the world. And for a while, he did.

(He steps forward, the spotlight following him.)

LIONEL:
Fings Ain’t Wot They Used to Be. What a title, eh? Joan came up with that. Joan Littlewood. She always had a way with words. Me? I just wrote the tunes. But together… (smiling) We made magic. (pauses as he remembers)

 Frank Norman was the geezer who wrote the story.  It was his first play. A straight play; no music or nothin’; Frank sent it to Joan and she liked it, but told him it was a musical. She dragged me in to write the songs. ‘A cockney musical, Joan’, I said, ‘you’re ‘avin’ a laugh’. But she wasn’t. ‘Those days are long departed, dear, she said to me, ‘when every actress has roses round her vowels, and every actor wears a butler’s suit and speaks a mouthful of mockney. Oh no, this is the real Mccoy’.

And so Joan and her Theatre Workshop group began rehearsals at the Theatre Royal, Stratford East early in 1959. Some of those who took part are household names today; Yootha Joyce, Barbara Windsor, James Booth, George Sewell….

(He looks off into the distance, as if recalling a memory. A faint projection of Joan Littlewood appears in the background, directing a rehearsal. Then we see her for real at back of the stage ‘encouraging’ Rosey (Barbara Windsor) to sing a more upbeat rendition of WHERE DO LITTLE BIRDS GO)

JOAN:

Come on Barbara, it’s not a funeral march! Put some oomph into it

ROSEY:

Where do little birds go…in the wintertime? / There will be blizzards and snow too…in the wintertime.                                                                                               And the thought of it horrifies me so / where do…where do…where do little birds go?

JOAN:

No…no Barbara! Get those arms and legs moving. Imagine you are going to fly away…

LIONEL:
(calling out)
Easy, Joan. They’re doing their best.

JOAN:
(turning to him)
Their best isn’t good enough, Lionel. Not for this. You wrote something extraordinary—now let’s make it real.

LIONEL:
(smiling)
You’re a tyrant, you know that?

JOAN:
(grinning)
And you’re a genius. Now stop flattering me and get to work.

(They share a laugh, then Joan turns back to the cast, while Lionel watches with admiration.)

Scene 3

Lional’s flat, papers everywhere. drinks and a half-empty bottle of whiskey. Lionel is at the piano, playing a few notes, while ALMA COGAN sits on the couch, scribbling lyrics on a notepad.

LIONEL:
(playing a melody)
What about this? (sings) 

We got love, we got laughter,
We got dreams to chase.
No matter what comes after,
We’ll always have this place.


.ALMA:
(thinking)
Hmm. It’s close, (pause)   It reminds me a bit of ‘Dreamboat’

LIONEL:

I didn’t write that one, did I?

ALMA:

You’ve written so many you can’t remember! But no, you didn’t. (pause) I think this one needs …more sparkle

LIONEL:
(grinning)
Sparkle? You’re the one with the laugh in your voice, love. Maybe you should sing it.

ALMA:
(playfully hitting his arm)
Cheeky. But seriously, Lionel, this could be huge. It’s got that magic—like Oliver!, but for the pop charts.

LIONEL:
(softly)
You’re my magic, Alma.

(There’s a pause. Alma looks at him, surprised by his sincerity.)

ALMA:
(smiling)
Careful, Lionel. You’ll make me blush.

LIONEL:
(laughing)
Impossible. You’re the queen of cool.

(They share a moment of quiet connection before diving back into the song.)

ALMA:
(scribbling)
What if we change this line? (sings) “We got love, we got laughter, we got nights that last forever…”

LIONEL:
(playing along)
Yes! That’s it. You’ve got it.

(They work together, refining the melody and lyrics. The tension between them is palpable, but they channel it into their creativity.)

ALMA:
(singing)
“We got love, we got laughter, we got dreams to chase. No matter what comes after, we’ll always have this place.”

LIONEL:
(softly)
That’s beautiful, Alma.

ALMA:
(smiling)
It’s ours.

(They share a quiet moment, then Alma stands and takes the notepad.)

ALMA:
Let me try it from the top.

(She begins singing the full song, her voice filling the room. Lionel watches, captivated, as the lights dim slightly, focusing on Alma.)

ALMA:
(singing)

Verse 1:
We got love, we got laughter,
We got dreams to chase.
No matter what comes after,
We’ll always have this place.

Chorus:
Through the highs and the lows,
Wherever we go,
We got love, we got love.
In the stars up above,
In the songs that we sing,
We got love, we got love.

Verse 2:
We got nights that last forever,
We got mornings wrapped in gold.
Even if we’re not together,
We’ll have stories to be told.

Chorus:
Through the highs and the lows,
Wherever we go,
We got love, we got love.
In the stars up above,
In the songs that we sing,
We got love, we got love.

(As she finishes, the room falls silent. Lionel looks at her, a mix of admiration and longing in his eyes.)

LIONEL:
(softly)
You’re incredible, Alma.

ALMA:
(smiling)
We’re incredible, Lionel.

(They share a smile, but there’s a hint of sadness, as if they both know their time together is fleeting. The lights fade.)

SEPTEMBER IS THE LOVELIEST MONTH

SEPTEMBER IS THE LOVELIEST MONTH
September is the loveliest month.
The sky is on permanent fire
The trees painted many colours
Burnished, it seems, with pure desire
In the park, ducks glide silently by
And the always busy seagulls
Resemble sea-planes
Coming in to land from on high
Whilst near the dozing oak tree
The squirrels nutmeg each other
Each acorn hoarded
For the soon-to-come cold weather.
Your arm in mine
We stroll down the park
Heading towards the sunset
Home before dark.

STARLING SKY

MURMURATIONS OF LOVE

There was a starling sky
Yesterday over Rye
The arc of cloudless blue
Quite frequently changing its hue
as we watched the songbirds fly-by
You and me walking hand in hand
Along this wild and windy headland
The starlings singing high above
Sketching their murmurations of love.

THE WORLD’S GREAT POEMS

WE’LL GO NO MORE A-ROVING  by Lord Byron

So, we’ll go no more a-roving

So late into the night,

Though the heart be still as loving,

And the moon be still as bright.

For the sword outwears its sheath,

And the soul wears out the breast,

And the heart must pause to breathe,

And love itself have rest.

Though the night was made for loving,

And the day returns too soon,

Yet we’ll go no more a-roving

By the light of the moon.

TWINKLE, TWINKLE LITTLE STAR

TWINKLE,TWINKLE LITTLE STAR

A star may look like heaven

From afar

But in reality

It is hell in a jar;

Not a small gold object that twinkles

But a furnace of endless fire

A million miles from being

An object of desire

FALLING

FALLING
Clubbed by kindness
I sit here stunned
By the knowledge that
You loved me once
Possibly.
No room for any doubt on my side
But you were forbidden fruit
About to fall from the tree
Trouble was
I never tried to catch you
Not really.
And now I have fallen further
Than you ever could
And there you are
Somehow
To pick me up

WITNESS

wave_tourist

WITNESS

If I bear witness of myself

That witness is not true83

There is another who bears witness

And that witness is you.

You are a burning and shining light

My only reason to rejoice

You gave me hope where there was none

You brought sanity to my voice.

If now you should wish to leave me

Where is there another who will believe me?

When I shout out to the heavens up above

That what saved me then, and will do so again

Is nothing other than unconditional love.

TAKE NOTHING BUT THE PICTURES

aliceinwonderland_zwerger8

TAKE NOTHING BUT THE PICTURES
Our minds are all we have
They are all we have ever had
Be they good or bad
As my thoughts wander towards my life
I feel an energy deep inside
A life-force gathering momentum
Like an onrushing, incoming tide.
There’s a power that will not be denied
And a direction I feel I must go
And it doesn’t matter in the greater scheme of things
If the momentum is fast or slow
For no matter how small something may seem
To others it may be a huge overpowering dream
Whose connection is infinite.
Happiness cannot be taught
Nor love bought
So if you must go
Take nothing but the pictures in your mind
And leave nothing but your footprints behind