THUNDER ACROSS THE REEF
a play by
ALLEN LYNE
© 1988 ALLEN LYNE
8 REDGATE COURT
MOANA HEIGHTS
SOUTH AUSTRALIA 5169
PH. 8 327 4142
0407 605 710
Devised with the
community at Port
Willunga July-Oct.1988.
THE AUDIENCE ENTERS THROUGH THE GRAVEYARD.
THE SPACE IS SET UP IN TRAVERSE. AT ONE END IS
THE GRAVEYARD WITH ELEVEN COFFINS REPRESENTING
THE ELEVEN MEN WHO WERE BURIED AT ALDINGA
CEMETERY. AT THE OTHER END SCRAMBLING NETS,
ROPE LADDERS AND ROPES FOR SAILORS TO SWING
ON HANG FROM THE CEILING. THIS IS THE ONLY SET
USED. THE COFFINS BECOME DESKS, CHAIRS, CHURCH
PEWS, ETC. AS REQUIRED.
WHEN THE AUDIENCE ENTERS A DISCO IS IN PROGRESS
AT THE PORT WILLUNGA HOTEL. DISCO LIGHTS FLASH
AND THE WHOLE CAST WITH THE EXCEPTION OF THE
GHOST IS ONSTAGE. THE SONG ENDS.
D.J.
Good evening ladies and gentlemen and welcome to the Star
Of
tragic loss of the Star Of Greece one hundred years ago
tomorrow. Yep, folks, a century ago the sailors got wrecked
on the beach down there and we're going to get wrecked here
tonight. so grab your partners and here we go.
SONG: I AM A NERVOUS WRECK
AS THE SONG ENDS BARBIE, WHO HAS BEEN SITTING
IN THE AUDIENCE, ENTERS.
BARBIE
Oh for Christ's sake!
TIM
Hey, come on!
BARBIE
I'm sorry I ever agreed to come here in the first place.
INTERJECTIONS FROM OTHER PEOPLE. WHOOPEE ...
HERE SHE GOES AGAIN ... LAND RIGHTS FOR GAY
WHALES ...WHAT ABOUT THE MARINA BARBIE ... ETC.
BARBIE
You ask me to come out with you and all you do is talk
surfing with your mates.
TIM
I like surfing.
BARBIE
Tim, there are more important things in this world.
INTERJECTIONS: COURSE THERE ARE ... YOU TELL
HIM BARBIE ... ETC. TIM WALKS UP TO BARBIE.
TIM
I'm sorry ...really.
BARBIE
Oh .... You're hopeless.
SONG: I AM A NERVOUS WRECK. TIM AND BARBIE
DANCE. THE CROWD FORMS AROUND THEM CLAPPING.
THEY DANCE TO THE FAR SIDE, KISS, TAKE EACH OTHER
BY THE HAND AND RUN FROM THE SPACE. THE CROWD
WHOOPS IN DELIGHT THEN CONTINUES DANCING. LIGHTS
SLOWLY FADE ON THE SCENE AS THE SONG COMES TO
ITS CONCLUSION.
SCENE 2
THE FIRST PART OF THE FOLLOWING SCENE TAKES
PLACE IN DARKNESS. VOICES ARE ON TAPE.
TIM
Ooooooooor!
BARBIE
Mmmmmmmmmm!
TIM
Aaaaaaaaah!
BARBIE GIGGLES.
BARBIE
Have you got ... ?
TIM
mmmmmmmmmm ...Could we .... ?
BARBIE
Mmmmmmmmmm ... Yes!
TIM
Why don't I ... ?
BARBIE
Oh .... Yes !!!
TIM
Let's ....
BARBIE
Uh huh.
TIM
I want ....
BARBIE
Me too ....
TIM
Let's ....
BARBIE
But not here ....
TIM
Oh ....
BARBIE
No!
TIM
Don't you want ....
BARBIE
Mmmmmmmmm.
TIM
Then why?
BARBIE
No!
TIM
Oh, but ....
BARBIE
Not here.
TIM
Why?
LIGHTS UP TO SHOW TIM AND BARBIE GROPING
IN GRAVEYARD.
TAPE ENDS.
TIM
Come on. Why?
BARBIE
Sacrilege.
TIM
What?
BARBIE
Doing it on dead people.
TIM
They won't mind ... Come on?
BARBIE
No! Tomorrow ... Okay?
TIM
Can't tomorrow.
BARBIE
Why?
TIM
Going to be a swell down at Middleton.
BARBIE
Tim! (she moves away) Bloody surfing!!!
TIM
Come if you want to.
BARBIE
It's all you ever think about.
TIM
No it's not.
BARBIE
Surfies! Park your brains with your surf boards.
TIM MOVES BEHIND HER AND PUTS HIS ARMS AROUND HER.
TIM
Now come on. Don't start. Let's ...
A SOFT HUM IS HEARD.
BARBIE
What's that.
TIM
What?
BARBIE
That noise?
TIM
Electricity.
BARBIE
Nah.
TIM
Probably me.
BARBIE
Sssssssh!
TIM
About to explode.
BARBIE
Sssssssssh!!
THE HUM INCREASES IN VOLUME.
TIM
Hey!
BARBIE
Hear that?
TIM
Sheeeeeet!
THE HUM GROWS LOUDER.
BARBIE
What is that?
TIM
I dunno.
THE HUM CLIMAXES. THE GHOST APPEARS.
GHOST
Ooooo arr, gor blimey .... Why don't you two just get
it off together and stop making so much bloody noise?
TIM
Sorry?
GHOST
In my day if we were going to do it we just went ahead and did it.
BARBIE
Who are you?
TIM
An old drunk.
GHOST
Aye ... We didn't go on with all that cackle you've been
going on with (mimics them) Let's ... Ooooooooh no ...
Oh but I want to ...No. ... Why don't I ... You've got .....
BARBIE
Piss off!
GHOST
No! In my day we just went ahead and did it.
TIM
Yeah? Well that was your day. This is now. So piss off.
GHOST
No way to speak to your elders. In my day ....
TIM
Look .... Piss off!!!
BARBIE
Your day? When was that .... Exactly?
GHOST
Oh, arr, that's be ... err .... that'd be a long long time ago.
Let me see. What's the time?
TIM
Three o'clock in the morning.
GHOST
No, I mean the date? The year?
BARBIE
Nineteen eighty eight.
GHOST
And the date?
BARBIE
Thirteenth of July.
GHOST
Well shiver me timbers that's .... Three a.m. A century to
the day. Well I'll be damned. No I won't!
SEVENTEEN ROCKETS EXPLODE IN THE AIR.
TIM
What's that? Fireworks?
GHOST
No, they be .... SHIP ASHORE. HELP. SHIP ASHORE!!
BARBIE
What are you doing?
TIM
What are you yelling about? It's just fireworks.
GHOST
No no no. You see, they be distress rockets. Some poor
sailors be wrecked down there at Port Willunga.
BARBIE
No they're not.
GHOST
SHIP ASHORE, SHIP ASHORE ....They be wrecked
I tell you. SHIP ASHORE SHIP ASHORE!!!
BARBIE
Shut up! You'll bring the coppers. Let me explain,
I read about it in the Southern Times. It's a commemoration.
TIM
A what?
BARBIE
A hundred years ago a ship ran aground down there.
GHOST
Star of
TIM
Oh, the wreck.
BARBIE
Seventeen men were drowned, so they fired seventeen
rockets over the wreck at three a.m. One for each person
lost. Bit romantic for me.
TIM
Oh, I don't know.
BARBIE
Not romantic in that way, stupid.
GHOST
Should have been eighteen rockets.
BARBIE
But only seventeen were lost.
GHOST
No! Eighteen. One were a stowaway and his body
never accounted for.
BARBIE
Who are you?
GHOST
Eighteen lost. A hundred years ago. Seems like yesterday.
BARBIE
Tim!
TIM
Look, who are you?
GHOST
A hundred years ago today. I were in the Star of Greece.
The twenty ninth man onboard and not accounted for in
no record books.
BARBIE
A hundred years?
TIM
You must be very old!
GHOST
A hundred .... Har har har .... No! I never got no
older than forty nine.
THEME MUSIC HAS BEGUN UNDER THE LAST
PART OF THE GHOST'S PREVIOUS SPEECH.
LIGHTS FADE ON TIM AND BARBIE LEAVING
GHOST IN SPOTLIGHT
GHOST
The Star Of
she was and how much pride we had in her. Built in
Belfast in eighteen sixty eight for the Corry Star
Clipper Line. Held the Liverpool to Calcutta record
along with the Cutty Sark. Seventy seven days ....
A beautiful ship ...Aye beautiful. Oh I were a sailor
alright and I shipped under Captain Legg in eighteen
eighty on her first trip to Adelaide. Jumped ship here
I did in eighteen eighty one and never planned to go
back to sea no more. But I got into trouble see?
Booze were always my problem and women.
Ooooooooh, women! Well I got into trouble and I was
in and out of clink and in eighteen eighty eight I was one
jump ahead of the law and this time I would have gone
down for a long, long spell. Little matter of .... But never
mind. That's all so long ago. So I spies me old ship in
harbour and what with her making straight back to dear
old
sea. So I stowed away. I figured that once out to sea
there was precious little Captain Harrower could do.
Besides, he'd be getting an extra hand for no more than
the price of me grub. So I took me chances. Could've
picked a better ship though. Don't you reckon now?
LIGHTS UP TO SHOW BARBIE AND TIM SITTING
EITHER SIDE OF THE SPACE LISTENING. THEY STAND.
BARBIE
You were on the Star of Greece?
GHOST
In missy, in. We sailors be in a ship, not on her.
TIM
You were on ... in this ship a hundred years ago?
GHOST
Aye ... The stowaway. And nobody knew I drowned
...Don't take fright now. I mean yous no harm.
Never hurt no - one in me life. Why should I start in me death?
TIM
Told you we shouldn't have come here.
BARBIE
Practically dragged me.
GHOST
Now, no arguments. Tonight of all nights there should
be no violence.
BARBIE
How did you ...?
GHOST
Die? I jumped overboard in the early morning while it
were still dark. Wanted to make shore and get clean
away. No - one saw me go. ... Do you know the story
of
the Star of
TIM
No. Not really.
BARBIE
She ran aground in a wild storm and some of her crew drowned.
GHOST
Oh there were more to it than that. Far more. We put to sea
about six p.m. and passed the Semaphore about seven. We
set sail and ran down the coast hoping to be passing through
Backstairs Passage at daybreak. Around nine a really dirty
storm hit and the captain hove to, put the main topsail aback
and put her head into the wind. I could hear Captain Harrower
giving his orders to the First Mate and I remember thinking: "No,
no. Put her on the other tack. Stand out to sea and fetch up in
the lee of Kangaroo Island for shelter". In the event I were right.
Fat lot of good it did me. Harrower were in command, not me.
THROUGH THE LAST SPEECH THE LIGHTS FADE TO ONCE
AGAIN LEAVE THE GHOST IN HIS SPOTLIGHT. DURING THE
LAST PART OF THE SPEECH THE STORM BEGINS SOFTLY
AND WE HEAR FAINT CRIES OF "ALL HANDS ON DECK."
"FURL SAIL. FURL SAIL. THE SPOTLIGHT FADES ON THE
GHOST AND THE STORM BUILDS IN THE DARKNESS.
SCENE 3
THE STORM BUILDS IN THE BLACKOUT. SMOKE AND DRY
ICE MACHINES COMMENCE. LIGHTS UP TO REVEAL
SAILORS IN THE RIGGING. THEY ARE STILL. DIALOGUE
FOR THIS SCENE IS ON TAPE.
CLAESSON
My God .... BREAKERS OFF THE PORT BOW.
WAUGH
What?
CLAESSON
Breakers, sir. I hear breakers.
BELL SOUNDS.
WAUGH
All hands on deck. All hands on deck.
HARROWER
What is it Mister Waugh?
WAUGH
Breakers off the port bow captain Harrower.
CLAESSON
Breakers getting louder. Get some sail on.
HARROWER
Let go port anchor.
WAUGH
Let go port anchor.
SPLASH.
HARROWER
We should be twenty six miles off the coast ...
If the anchor doesn't hold ....
CLAESSON
White water ahead. I see breakers.
HARROWER
Hard a'starboard.
THERE IS A GREAT CRASH AS THE SHIP GOES
AGROUND. THE MIST RISES. THE SAILORS BEGIN
TO SWING IN THE RIGGING. HOLD FOR FIFTEEN
SECONDS AND LIGHTS FADE TO BLACKOUT.
SCENE 4
SPOTLIGHT HITS FANNY HOW STANDING ON TOP
OF COFFIN. SHE REGISTERS SHOCK AT SEEING
THE SHIP.
FANNY
Oh ... Oh .... Oh .... Thomas!
FANNY RUNS OFF RIGHT. KILL SPOTLIGHT.
LIGHTS UP ON SHORE. THOMAS MARTIN
RUNS IN FROM LEFT. HE LOOKS THROUGH
HIS TELESCOPE.
THOMAS
My .... God!
FANNY RUNS IN FROM LEFT. SHE IS OUT OF BREATH.
THOMAS
And I thought you were joking.
FANNY
Do you see anyone Thomas .... Do you?
THOMAS
Patience.
FANNY
Thomas. Oh, Thomas.
THOMAS
There are four in the mizzen rigging and I see one
up near the bows.
FANNY
So close.
THOMAS
So rough
FANNY
Poor souls.
THOMAS
I'll ride to the telegraph office.
FANNY
SHIP ASHORE! SHIP ASHORE!!.
THEY RUN OFF LEFT AND RIGHT YELLING "SHIP
ASHORE". STORM BUILDS UP AGAIN. MORSE
CODE IS HEARD. LIGHTS FADE TO BLACKOUT.
SCENE 5
LIGHTS UP ON TELEGRAPH OFFICE. JANE MACHELL
IS HUNCHED OVER A MORSE KEY. THOMAS MARTIN
IS ON THE OTHER SIDE OF THE COUNTER (coffin)
THOMAS
For God's sake, Jane ...
JANE
No use, Thomas. The line doesn't open until nine.
SCENE 5A
LIGHTS FADE ON TELEGRAPH OFFICE. MORSE
CODE FADES. STORM CONTINUES BUT GRADUALLY
DECREASES IN VOLUME AS LIGHTS COME UP ON THE SHIP.
HARROWER
We must hold on lads. Hold on. Help will be at hand at daybreak.
REVELL
Do as you please captain. I'm going while there's still strength in
my body.
SCENE 5B
LIGHTS UP ON SHORE WHERE WE DISCOVER FANNY HOW,
THOMAS MARTIN AND THOMAS LOVELOCK. REVELL DIVES IN.
STROBE AND DRY ICE MACHINES BEGIN. THOMAS LOVELOCK
DIVES IN. MOVEMENT SEQUENCE AS LOVELOCK SAVES REVELL.
LIGHTS DOWN ON SHIP AND SHORE. UP ON GRAVEYARD.
SCENE 5C
BARBIE
You beautie.
TIM
One saved twenty eight to go.
GHOST
(laughs) No. That was James T. Revell, Able Seaman,
forty years old and first man saved, but some of us weren't
so lucky.
LIGHTS DOWN ON GRAVEYARD. UP ON SHIP.
SCENE 6
WAUGH
Revell made shore captain. Should we go too?
CARDER
What should we do Captain Harrower? What should we do?
MCBARNETT
What should we do Mister Hazeland?
HAZELAND
Hold on for now lads. Help must come soon.
KEARNEY
We can't hold on much longer. She'll break up.
HAZELAND
Hold on I say lads.
HARROWER
I'll try for shore. Who is with me?
WAUGH
With you captain.
HARROWER
Well done Mister Waugh.
LIGHTS UP ON THE SHORE WHERE WE DISCOVER
ALL THE TOWNSPEOPLE. CONSTABLE TUOUHY
IS IN THE CENTRE. HARROWER AND WAUGH DIVE
IN FROM THE RIGGING. STROBE AND DRY ICE IN.
TUOHY DIVES IN. MOVEMENT SEQUENCE IN THE
MIST AND FLICKERING LIGHT OF THE STROBE.
TUOHY REACHES THEM AND ATTEMPTS TO RESCUE
THEM. HE FAILS. THEY DISAPPEAR INTO THE MIST
AND TUOHY, AFTER A STRUGGLE, REGAINS THE
SHORE. LIGHTS DOWN ON SHIP AND SHORE. A
SPOTLIGHT HITS REVELL ON THE CLIFF (coffin).
REVELL
... and what's more captain Harrower was drunk when
he came on deck during the middle watch
HAZELAND
(in spotlight on rope ladder) How would you know?
You weren't on deck during the middle watch.
REVELL
If Harrower had been sober the ship wouldn't have
gone aground in the first place.
HAZELAND
Rubbish! Captain Harrower ran a teetotal ship.
REVELL
Harrower was a drunkard. A drunkard.
HAZELAND
Lies. Foul lies.
REVELL
Just after she foundered I came aft from the forecastle
and found Captain Harrower drinking repeatedly from a
bottle of brandy. He was drunk before the ship ran
aground and he got drunker afterwards.
HAZELAND
Nonsense! Captain Harrower ran a dry ship. There was
no grog aboard.
REVELL
Harrower was drunk!
HAZELAND
Harrower was sober!
SPOTLIGHTS SNAP OUT ON HAZELAND AND REVELL.
SPOTLIGHT UP ON FORMBY.
FORMBY
There is never a ship founders in South Australian waters
but someone says the captain was intoxicated.
SPOTLIGHT SNAPS OUT ON FORMBY.
SPOTLIGHT UP ON MRS. HARROWER.
MRS HARROWER
My son, Henry Harrower, he was captain of the
STAR OF
was. Henry got a lot of the blame for the loss of his
ship and I suppose whatever happens that is the
captain's lot. He is in command and must take the
blame if things go wrong. But Henry was a good man.
His name was blackened by that able seaman at the
enquiry. Henry told me often that he didn't drink at sea
and insisted his men didn't either. It is easy to vilify a
man after he is dead. That is the coward's way. I know
in my heart that Henry did his best on that terrible night.
There were other experienced seamen onboard who
would have said something if they thought Henry was
doing the wrong thing. He wasn't a martinet or a
monster or anything like that. The mates could have
told him if they thought he was wrong. I owe a debt I can
never repay to Mounted Constable Tuouhy. He found my
son's body and risked his own dear life to retrieve it and
carry it up the cliffs. I feel some comfort knowing that
Henry's body lies in a churchyard even if he is so far,
far away. I miss him. Oh, how I miss him
SPOTLIGHT SNAPS OUT ON MRS. HARROWER.
The rest of the script is available to read.
contact me and I'll send you a copy.
This play affected me like no other that
I have written. I am a man of the sea and
the rhythms of the sea run deep in my
blood. I could feel the agony of these
poor sailors trapped in their grounded
ship close to shore, yet unable to
confidently abandon her in the wild storm
and mountainous waves they faced.
The water was full of barrels, spars and
other flotsam, and to enter the water
from the ship or the shore was a lottery
with death. It is a story of great heroism
on the part of some, and terrible incompetence
on the part of others. The political
dimensions of the tragedy are covered in
later scenes.
Much of what is written in this play is what
happened according to the written and oral
research. Some is my own invention or my
projection of what might have happened.
Whatever the construction, and granted that
there is some degree of 'gallows humour' in
the script, I have tried to be true to the memory
of the people and events that occurred.
The names used are the real names of the crew
And of the people ashore.
One final note... The ghost who was the 18th
man to die in the play is possibly real. The props
man at the Theatre Royal in Adelaide disappeared
the day The Star of Greece left Port Adelaide on
her doomed voyage. He was in debt and a bit of strife
with the law. he was also a former seaman. It is within
the bounds of possibility that he bribed Captain
Harrower to carry him without detailing his
presence on the crew list. This was a common
practice at the time. I like the connection made
between the theatre and the sea.