,

, I !-,1.-
l \-,')

Alfred Dampier and Garnet Walch

ROBBERY UNDER ARMS

Jrom the nouel by
Rolf Boldrewood

Edited by Richard Fotheringham

Tlte Mirror (Melbourne), 19 April 1889, Supplement (Courtesy La

Trobe Library.)

The Currency Press, Sydney

in association with
Australasian Drama Studies
St. Lucia

VJCTORIAru CCILLHGN
ST THE' A&rs
 General Editors' Prefuce
t , 'i
J
In 1973 Currency Press began the National Theatre ser-
ies under the general editorship of Philip Parsons to draw at-
tention to 'the continuing vitality of'Austraiian writing for the
theatre since colonial times' in 'plays which ... express mern-
orably something of the Australian experience.' Today we
can say with some confidence that the time has passed when
the existence of an Australian theatre 'before the Dol/ could
b1tCurrenty Prss Pry Ltd, be noted with surprise. Rising interest in our older drama is
330 Ox;ford Strut, reflected in literature studies at universities and high schools,
Paddington, N.S.W. 2021 whiie students of history and popular culture are also finding
in association uith the material a rich source for evidence ol the cultural myths
Australasian Drama Studies,
and social mores of earlier generations of Australian society.
Department oJ EngLish, Twelve years on, however, in a dilferent historical and
Uniaersitl o;f Queensland, theatrical context, some aspects of the original plan and pur-
St. Lucia, QJd. 1067 Australia. pose of the series need to be redefined. The nationalistic as-
Coplright@ Currencl Prus Pqt Ld 1985 pect of a national theatre seemed naturai enough in the early
@ Richard Fotheringham I 985
Introduction 1970s, but the current decade has been a more cosmopolitan
Exupt;t'or purposes oJ newspaper reuieu this edition oJ Rabbrlt Under Arms ma1 not be
one in theatrical tastes and interests, and it is now Part of the
copied or reproduced in uhole or in parl wilhout the permission o;f the publisher. Inquir- responsibility of the series to publish plays which remind us
ies concerning publicalion, translalion or recording rights should be directed to Currencl that it is not for the first time that authors have reacted
Press Pry Ltd. against narrow definitions of what constitutes an Austraiian
T'his book is sold subject to the condition that it shall not fut wa1 o;f trade or otheruise play. Given the series' association with Australasian Drama Stu'
be lent, re-sold, hired oul or otheruise circulated uithout the publisher\ prior consent in dies, it is also appropriate - with no offence, we hope, to
an1 form oJ binding or couer other than that in which it is published and without a national feeling on either side ol the Tasman - to expand
similar condition including this condition being imposed on the subsequent purchaser.
our horizons geographically to include plays written in New
National Library of Australia card number A ISBN 0 86819 137 X Zealand when it was the seventh colony and an equal part in
the Australasian theatrical circuit.
Printed in Hon! Kons b1 Colorcra;t't Ltd.
As Philip Parsons made clear Irom the outset, the Na-
tional Theatre has its gaze lixed firmly on the living stage:
... the series will consist of plays which, in the judgment
of their editors, claim a place in a national Australian
repertory - plays which demand revival in today's the-
atre...
The present editors will maintain this priority. They will
A ?',,,,
also, however, adopt a slightly more flexibie approach to the
criteria by which plays are selected to permit the occasional
inclusion of scripts which did not find performance in their
{ own day; we leel that the National Theatre should not only
encourage theatre companies to reconsider proven successes
 v11

O*u, urro draw attention to plays o1' undeniable importance

which should be neglected no longer.
We also recognise that the writer-director, the dramaturg
and literary adviser are important forces in today's theatre as
they were not twelve years ago, and that increasingly they
will provide for their companies adaptations of plays which in
their judgment need modification to suit modern sensibilities
and modern company resources. Accordingly, while the
sources lbr each play will be conflated in a single actable
script, the National Theatre series wiil keep editorial inter-
Twine we a wreath oJ our golden acacia,
vention to a minimum in favour of the original materials on
which any acting version must be based. Whenever possible Our waratah, ;t'uchsia, and filuerets that blow
supplementary materials such as important revisions, earlier In the deep-tangled heart of our flrest primeual
dralts or alternative sections of the playtext will be repro- Where murmers the stream in its musical flow,'
duced so that researchers may consider the relevance of these Then crown with the garland the brows of our brother,
in establishing their own acting versions. Rewarding with honour the talent and toil
The scripts will continue to be presented in a format at- Of those who disdain not, Loith uigour Australian,
tractive to the general reader, with supplementary research To tell us the tales of the sons o.f the soil.
materials and explanatory notes grouped elsewhere in the
volume. At the same time the series' emphasis on visual con-
text will be maintained in pictorial materials which assist un-
derstanding of the physical nature ol the theatre lbr which 'Tis the scene as it uas in the long-aanished fifties,
the play was written or of the society to which it gave expres-
As though o'er our senses enchantment had cast
sion.
The magical power of its uonderful glamour,
VERONICA KELLY
Brisbane 1985 To call back before us the dalts that haue passed,'
RICHARD FOTHERINGHAM
Itcomes to 1ou laden with old recollections,
And holds yu
enthralled till the drama is o'er,
Then out from the stalls and the pit and the circle
lhere surges lne deep-toned tumultuous roar.

From the advertisemenr for Rohberl Llnder Arm.r in the Argus, 72

Aprit 1890.
 1X

AT-H:(I5.N[)FT.A TITEAIf.ET.E.
Izc€sec &lxl MaDager \Ir. Ar.rHnn D.r u t'I ER

.[HIS I.)VI'NIN(;,
FIFRSII PEROf,DI,'CTIOhf IJPOIIU ]r.f\TY Slf AGIE Contents
()f trr origirral Drarnatization lx'AlrnrD I)A.rtt'tEn arrd (irtxn'r \\-rterr of llrxr llttr,Dnl:n'rroD's
lVorld I:rnt<lus Australit'l R()lnauce, cntitlccl
Preface page v

ROBBIRY UNDTR A Stor.r' of Life rtrtl Atlvr'nture irr the llustr alrrl ort the (iokl l'iekls.
ARMS Introduction
i. Alfred l)ampier and family xiii
No'rl:.--Ilv Arriurgeluent u'ith Rrur llor,nRr:n'ootr. the Author of tlre Novr,l. )lr. f).rrn'rHn
I)ossesses tlrc Sole liight of lrrotlttt'irrg this l'atuorts \I'ork itr I)rtrrr:rti<'t'orrrr.
ii. Mr. Garnet Walch , zn Australian drama-
trst xx
(inl,.r't'('-\s't'or ('il.\ll.\("1'ERs Ii\''t'il]: p0t,t'L-{R At's'rtALI.\\ ('0t|t,t\\': iii. 'This National Occasion': the Alexandra
Gaptain Starlight (" r ('attle Stenlt'r I --a Lltrshr&nller I -a,rrd a (lortlt,rn{ur ") xxiv
Theatre seasons l BBB- lB92
(rld llen JIrrst,,r l" tirie *'ho like uis'I).g '("'ril' aoesrr't llark, l,rri llite" , trt':f,:F-3'f,:1i,1,'frT
l)ick }larstolr ("Oltl llerr's lildest \ion -tr Thorough ('ortrstllk ") llr. \\'. E. li.rxr:-n iv. The return of the Dampiers xlii
Jint .trlrrston this llrotlrer---" Fl\ r,l'.\ lrt'rrl1' Loved .lirn ") )lr. \\-,ttxts \\'t'ssr
(icorgc Stort.fit.l<l (" Ilorrt,st as l)al ligtrt. nnd Straight as t l)art")
Sir F er<lirrn"rrd .l\[orringer' (('lrit:f of l'olit.c)
llr'. -{. Ilo()'t'tl}t.\}-
]lr'. .\. llourn
v. Robberlt (Jnder Arms
Irrspt.r'tor (lorilrg (a -\[odenr .lorrat]rtun \\'il<l) ll r'. .I. II. ll.\R'r'r:i (u) the play lx
Troopcr 0'IIlrru (" irtt ()rlrantt.rrt to tlre l'c.rrcc ")
Troopt,r ltltgirrrris (" a Urrr t'ith a llt.llrt") 'lii,.*,lii,.,-1:l[ (b) the text lxviii
Iiilll', tlte llo.r' (a Itrrslr Telernlph) .. lliss ('.rtln rt: lllLto:r
I)a.t t)'Iloolignrr (fnrnr the Urrlrl Sorl) )lr. Il. llrxr:r'r (.) the stage directions lxxiii
Moran (" his l).r'es (;littered like rr ltlrrr.k Strake's") ..t r. rr.\* rry _i:]1i,l;,1,I
D:dr' \
IIrritrert I I J. Ilrstr
lJlnr.k .tat.k , I]ttstrrlrnldcl's of ]lorirrt's Garrg ', )lr. \\'. Lt:wts
ROBBERY UNDER ARMS 1
\Yltistlirrg tlill J ( ur. tY. T.rrr'
Wtrrirul (Starlight's Sli;lrlorv---:r ll*lf (l:rste) )lr. Atttot,\l'ool)
Itillr:rlr ) .. r llr. l{osrrtr
iiiiir'itirU' I Alrorigirr.ls 1 )lr. E. l'rR,t Appendices
'.fhe tltr:.tttrPion ('ooh of tlte ltrrrrtrrrrl,irlgr.,: (a $kett'h frottt l,ifc) . lh'. .lolls ltnY.rs
IIis )tate 1r l)ar:rsite on it I'lrmite)
Cosher Solornou (iu Nt'rv ('hrrnr)
llr. -\. T.rsu.rs : (.'lifforrl jreerr.
]lr. ANt)ttRs(rN
llr. )Lrs'rllonl:\cl
I. The 'Billy the Boy' scene 114
\lr. Iluxtcr ..
F'rcrl. l't'dder
lLr. tir.lsr: I llarrrlr'(
)lr. lt. )l.lnseur:rr, I):rn Ilobirrsotr
. llr. l'rnnut
llr. \l'r.sr' II. Dampier's bankruptcy
linrl ltrrllt,nsrlurf .\lr. ll,rorfi,\' i Srm I)awsott . . llr. (i rR:r?:TT (u) Affidavit lL7
Llt<'kr .l:.rck. ]11'. ('onu\ | Ilalrl' the Heefer .. llr. St:otr
Ariz.otut llill (Driver of the ttlil) llt'rr (l.rrrrr:r
Tr()opersr r\llrrrigintls, l)igrlers.'fririrrcrs,.lot'ke.r's, lUc., lt.\'& Ilrs'l t,r'.\t'rtutlRll{s.
(b) Schedules A and B 123
Aileen Ma,r'gtott ("Tlrr, l)t.trert, Su'eetest, Tl'ur,,st, tlrel llest l.ittle Rlo"sottr itt lttstralia")
tliae III., Performance calendar of the Alexandra
(Ira<.. storefielrt ther t'rienrl)
Kate illorricon 1s'ho Loves rrot l\'isclr, lrrrt too }l-ell ") lllisg KATHERIXE RUBTELL
-it':Y,rP*\f:f$ Theatre season l BBB- LB92 n6
.llliss l.)trphro$lue A-;rrr (a.,\[tirlen Lrrdl oi I'rrr.,'rtairr .{,{t.) }liss.lrl.t.t llnx'ros
Norn (llt'n llrrstorr's \f ife) lliss Nl:I.Ll!: I.t)t'ltI.L
Ilritlget O'Hooligan (l,ar's llttter lhlf) llis,' )int,utr (lnrrsur:gr
Select bibliography 129
!!9.r.a, llt.g, Strc<llh, Pats.r I
Dt'rrnis ('ortr\, Arid.r ..,. lrt':rnt'ltr-'s I )li;ses S. La arrtl ][. Ilr'.rux
;li#i:ll j tlrr rtlire [,r,*., ilI;Hg,,1i'1,,IkXil,?
Notes 131
Nr:n' Scusu,Hv rrf At.T,\. .\l l:r'u.r\ I('.\t, f:r*'* o" Rnssrr
Notes on textual variants 133
('orrrlxxetl aurl
llsr1., alrrl kilrdll

Playbill for the original production, 1 March 18 April

1890, from The Lorsnette. 1 March 1890. (Courtesy La Trobe
Library.)
 xl

Acknoruledgments illustrations

The present edited text could not have come about without the
efforts of Mr Eric Irvin, who located the manuscript of Robberl LIn- Alfred Dampier, Actor/Author/Manager. 'A man of
der Arms in the Lord Chamberlain's Collection in the British Library many parts.'
in London, and brought back to Australia a photocopy complete Playbill for the first production of Robbery Under Arms, 1

with a1l stage directions and annotations. He donated this copy to March 1890 vlll
the Fryer Library at the lJniversity of Queensland where it may be
consulted by anyone wishing to examine the many revisions and The Dampier family, the scene designer 'Alta' (Alfred
deletions made to it. Eric Irvin has also given his blessing to this Tischbauer) and the business manager and co-author of
published vcrsion and has read the manuscript prior to publication; J.H. Wrangham
Maraellous Melbourne, rii
consequently the major acknowledgement must go to him for his
time and generosity. Lily and Rose Dampier as child actors in 1BB0 xvll

I am grateful to the Keeper of Manuscripts at the British Li- Garnet Walch xix
brary lbr permission to publish the text, and to T.S. Pattie of that
Department who examined the original manuscript in response to Scene-sketches of two Garnet Walch pantomimes in
BB2-83 xxiii
my queries about parts of the script which the photocopy had 1

blurred or omitted. Thanks are due to the Keeper of Public Records Act Two o{ Robbery Under Arms. xxx
(Victoria) lor permission to publish as Appendix II extracts from
the file on Alfred Dampier's bankruptcy held at the Laverton Repo- Playbill for the return season of Robberl Under Arms, 15

sitory. The generous co-operation of the staff of the following librar- November 1890, with'The Australian Theatre' subtitle xxxiii
ies must be mentioned: Fryer Library, Brisbane; Mitchell and Playbills showing the closing of the Alexandra Theatre in
Dennis Wolanski l,ibraries and the State Archive Office in Sydney;
.]une 1892, and the other Melbourne theatres in Decem-
La Trobe Library, Melbourne. Permission to reproduce visual ber (upper); the three Dampier chiidren Lily, Rose and
material from their collections is acknowledged in the captions. l'red (lower) rl
Personal thanks must go to Katharine Brisbane, Philip Par-
sons, Margaret Williarns and Veronica Kelly for their interest and Lily Dampier as Rosalind in As You Like It xliii
support, and to Sandra Gough and Lois Toohey who tackled the Alfred Dampier as Shylock I
arduous business of typing and typesetting the script. The Depart-
ment of English at the University of Queensland has provided me Playbill for Arnold Denham's 1899 melodrana The Kelll
with time, financial and logistical support for the project; this has Gang liii
been invaluable. Finally thanks are due to my many students of Au-
stralian drama who in August 1984 undertook an intensive study of The final scene of Robbul Under Arms. lvi
Dampier's Alexandra seasons and uncovered many details of his life
and work which had not previously been noted. The performance The 1907 film version of Robberl Under Arms: 'Mrs
calendar of these seasons which appears here as Appendix III is the Keightley's Historic Ride' (upper); 'Robbery of the Gold
most obvious result culled from their efforts. Escort'(lower) lix
R.F Alfred Dampier as Captain Starlight in Robberyt Under
Arms lxiii
Cartoon of scenes from thc first production lxxx
 , u:,yp.Lff tt\,g,wT r* \u;,x,r*{iff^ffi ft,|chL t#..r',fr.l*.&

II\TTRODUCTIOI\I

Alfred Dampier and famiu

The first Dampier to discover Australia was art eccentric Eng-

lish privateer; the second, who sometimes claimed the first
as a distant relative, was a young actor who had made a fair
living and a sound reputation on the English provincial the-
atre circuit.
Alfred Dampier's birth was unrecorded, but the most
likely date is 28 February 1843, i, Horsh arn, Sussex.l He
progressively revised this to 1845 and then to 1847, and de-
clared himself London-born and destined for the Bar when
the thespian urge overwhelmed him" Like many another
nineteenth-century actor Alfred Dampier preferred good pub-
licity to the truth; consequently little of the little that is
ffi known about his early career can be believed.
He was most often associated with the Theatre Royal,
Manchester, and had joined that company before Henry Irv-
irg left it in 1866. However reports in Australian newspapers
of a life-long friendship between the two men were probably
exaggerated for the purposes of publicity.
In 1866 Dampier married Katherine Alice Russell, who
had oappeared as a famous pianist , zt the Town Hall con-
certs, Birmingham, and elsewhere in Englan d.'2 Katherine
was not a natural actress. She regularly pirformed with the
P.':'rt\,',f*,,
rest of her family when Alfred was managirg their thespian
activities, but it was many years before she rated a review
better than'satisfactory.' Like so many nineteenth-century
women, Katherine sacrificed her own career for her hus-
The Theatrical Courier, (Melbourne), 22 December 1BBB (Courtesy La band's, and had to be content with the excellent musical
Trobe Library. ) training she gave their children. Their first child Lily Anna-
xlll
xiv ROBBERY UNDER ARMS
bel Katherine was born at Newcastle-on-Tyne in either 1867
or 1868,3 and she was followed by a second daughter Rose.
The Dampiers' only other surviving child, their son Alfred
Julian, arrived later in their lives; Fred did not act with the
company till the early 1900s, and was still a young man at
the time of his father's death in 1908.
Alfred Dampier and his family came to Australia in
1873. The theatrical entrepreneur Henry R. Harwood, an
active member of a consortium which ran the Melbourne
Theatre Royal, was in England that year; one of his tasks
was to find a leading man for the newly-built playhouse.
Since the chosen actor, while introduced to Australian audi-
ences as a star, was also expected to be a member of the
stock company and the stage manager for other visiting ac-
tors, Dampier's appointment was not quite the recognition of
his international stature which it was later made out to be.
However, it was a three-year contract, and the Dampiers had
two children to support. Alfred also had ambitions for him-
self as a writer and already may have been thinking to a tlme
when he could lead a company grouped around his family.
Harwood must have offered attractive terms, including a
chance for Katherine Russell to tread the professional boards
and for Alfred's own plays to be performed.
Alfred Dampier had already adapted at least two stories
lor the stage. One, Valjean, was a dramattzatron of parts of
Victor Hugo's Les Miserables, and the title role was one of two
characters always associated with Dampier in retrospectives
of his long acting carer. The other character, which he did
not begin to play until twenty years later, was Captain Star-
light in Robberl Under Arms. Valjean was his first excursion in-
to the theme which also rings out clearly in his stage version
ol Rolf Boldrewood's novel: the dilemma of the repentant
sinner pursued by those who refuse to forget the evil he has
done in spite of the acts ol atonement he has made. It was a
particularly appealing theme for late nineteenth-century colo-
nial Australia, anxious to erase the convict stain and put the
lawless years {irmly in the past.
Speaking in 1889 about his own perlormance in Valjean,
Alfred Dampier described his mission as being to:
...fi1l a small role in the great drama of Human Regen-
eration. For myself, when I heard the hearty hurrahs
and cordial, heartfelt applause which greeted such a play
INTRODUCTION XV
as Les Miserables frorn gallery, stalls and pit, on the first
night especially, I was impressed with the power of my
art. It is something to hope to be able to lead the minds
and thoughts of the people in the right direction. If by
your art and artifice you can teach them to hate hypocri-
sy, to despise drunkenness, to loathe and detest vice in
every form and garb, and to distinguish between the
false and the true, the good and the evil, you are doing
something, and a good substantial something, towards
moulding the future of Young Australia; and in my
opinion, the stage, in time should be in its way, and
within its province, as great a moral teacher as the pul-
pit.4
This was not an insincere or idle statement and it needs to
be remembered in the context of the objections later raised to
the stage version of Robber2 (Jnder Arms in Australia and Lon-
don. The story was altered to make Starlight and Dick Mars-
ton both innocent of murder; this enables Sir Ferdinand
Morringer to successfully petition for a pardon for both
Starlight's case without having spent a day behind bars to
- in
atone for some rather spectacular examples of armed rob-
bery. In the novel Starlight kills one of the gold-escort
guards,and dies himself in the final shootout. Dick Marston,
while never having killed anyone, serves twelve years'gaol for
his crimes, and is fortunate to be paroled even then. But in
Dampier's eyes the happy ending he gave the play was nei-
ther cynical nor at odds with stage logic.
Valjean was probably in Dampier's repertoire belbre he
left England. He claimed to have performed it for Victor
Hugo himself on the Isle of Guernsey, and to have received a
personal ietter in return:
Hauteville House, Guernsey.
With all my heart I associate myself with you in your
success. The praises due to your talent will follow you
always and everywhere. I hope it, and I send you all my
wishes and cordiaiitv.
Victor Hugos
Hugo lived on Guernsey from 1855 to 1870, and if the story
is true the performance must have taken place shortly before
the great man returned to France. But other evidence con-
XVi ROBBERY UNDER ARMS
cerning Valiean in these early years is not available, and it
was not amongst the first pieces Alfred performed in Austra-
lia.
The other adaptation Alfred had penned was Faust and
Marguerite, from Goethe's play, and it was as Mephistopheles
- another role in which he excelled - that he made his Au-
stralian debut on 20 September 1873. The reviewers liked his
acting, but not his play; the general public however were
more kind. Less popular was Dion Boucicault's Grimaldi in
which Katherine Russell made her debut a week later. Alfred
was Grimaldi,'an old French actor,' and Katherine was Violet
'his pupil,' and the play probably reflected, in all but age
difference, some of the reality of the marriage relationship at
the time. But his coaching efforts were in vain. 'Miss Rus-
sell's performance was a very indifferent one' said the Argusq
and she was quickly relegated to supporting roles. But her
singing was commended, and in later years this would be a
highlight of her daughter Rose's performances. After having
seen one or both of the Dampiers rn Faust, Grimaldi, Ru1
Blas, Othello and The Sea of lce, the Australasian Sketcher stated
that Alfred was 'not a genius....But...a good, careful, intelli-
gent, painstaking actor.' However it shared the generally low
opinion of Katherine.T
Restraint and naturalness were qualities often referred to
in Alfred Dampier's acting, but should be seen in the context
of an age used to histrionics and spectacular stage effects.
These were for the benefit of the hoi polloi in pit and gallery;
most critics were literary afficionados. An actress was de-
scribed earlier the same year as'not a dress circle favourite.
Her style is bustling, vigorous, lively, and not refined.'8
Dampier was refined and won critical approval, particularly
as Flamlet and Macbeth. His ability to hold the support of
the literary critics at the same time as he exploited the possi-
bilities of spectacle melodrama was to be a significant factor
later in his career when he interspersed among his melo-
dramatic Australian pieces Friday-night Shakespeare. He
sought, and for many years achieved, a kind of cross-class
identity which won him the respect of all. It added potency
to his campaign for an Australian theatre.
To a modern audience of course Alfred Dampier's acting
would appear neither natural nor refined. He was a mag- Lily and Rose in 1880. Chorus and Dramatic Index,26 June 1880,
nificent elocutionist with a strong, clear voice, and he could p.5 (Courtesy Mitchell Library).
 ROBBE,RY UNDER ARMS
tear a passion well enough when the part demanded it. In
1879 his performance in the delirium tremens scene in 77ze
Llons' Courier was humorously seen by the Melbournc Heraldl
critic frorn the point of view of the old entrepreneur George
Coppin, who squirmed 'as if the seat had been of prickly
pear.... When he [Dampier] seized a 1516 table, and reduced
it to match splinters, the Hon. George was heard to ejaculate
"To [sic] realistic;" the demolition of a Yankee notion chair
brought forth a groan; more devastation caused the unhappy
manager to heave a sigh powerful enough for a blast furnace,
as he cried "There go the gallery receipts in'props'alone".'e
The Dampiers stayed in Melbourne for three years and
it must have been towards the end of that time that they
turned their thoughts towards the immediate future, and de-
cided to commission scripts which would showcase their l'ami-
ly. Alfred had written several other dramas himself, includ-
ing Saint or Sinner in which Lily made her stage debut in
Dunedin, New Zealand.l0 f'his was at the start of nine years
more or less constant touring which began when Alfred's con-
.t
S's
4"
tract at the f'heatre Royal expired in September 1876. They
went first to New Zealand, then in 1877 to Sydney, Me1-
bourne, Adeiaide, back to Melbourne, and then on an Amer-
ican tour including Hawaii, San Francisco and New York;
then up and through Canada and home to Engiand shortly
afierwards. 'fhey returned to Australia which had become a
second 'home,' but leli again for Engiand in 1881 where
Alfred's perfbrmances included a short London engagement.
Dampier also claimed to have visited and performed in Italy,
Egypt, India and South Africa, probably whiie travelling to
and lrom England on this last mentioned trip.11 Interestingly
in terms of his perceived national identity, the 1881 season at
the Surrey Theatre in London biiled him as 'The grear Au-
stralian actor.'12
Thc rigors and responsibilities of leading a touring com-
pany, and the demands o{'a young famiiy, restricted Dampi-
er's own writing during these peripatetic years. No doubt it
was partly expediency which led him to seek out other local
writers, but his efforts were quickly seen as a quixotic quest
on behalf of 'young Australia' and in the same nine years he
staged at least eight ptrays by Australian authors.13 Of these
the first two were particularly important in terms of
Australian stage history, for they were probably the first 1o- Garnet Walch (Courtesy La Trobe Library.)
XX ROBBERY UNDER ARMS
cally-written plays presented on the American and English
stages. Both had exccllent children's roles for Lily and Rose.
They used stories taken from foreign novels but were never-
theless important steps in the careers of their authors. f'he
lirst was Allfor Gold; or, F:JU Millions oJ Monel,lrom Eugene
Sue's version of the wandering Jew legend, by 'a gentleman
engaged in pastoral pursuits near the Murray,'14 Francis
Rawdon Chesney Hopkins. The other was a dramatization of
a very popular American comic novel by John Habberton,
The author of this, possibiy with Allred Dam-
Helen's Babies.
pier as collaborator, was Melbourne journalist and proli{ic
dramatic author, Garnet Walch. Seventeen years later these
two again became a writing team which churned out nine
dramas and a pantomime in less than two and a half years,
including Robberl Under Arms.
ii
Mr Garnet Walch, an Australian dramatist
For the last quarter of a century no name has been more
prominent in Australian literature - both dramatii and
otherwise - than "Garnet Walch" - a name that at
once marks the work - whether it be poetry, prose, or
play - with the indelible stamp of popularity.ls'
So wrote the Melbourne magazine Table Talk in 1890, in a
long biographical article pubiished during the premiere sea-
son of Robberl Llnder Arms. Walch was an eccentric writer and
publisher and an important iiterary ligure in the years lrom
1865 to 1895, and he deserves to be better remembered than
he is at present. If he had produced a major novel like his
lriend and contemporary Marcus Clarke, or some substantial
short stories or pieces of 'serious' ve rse like the younger writ-
ers of the Bulletin era, his place in Australian literary history
would have been assured. But his intcrests and temperament
were directed towards the light and the lantastic, and his
.journalism and prodigious output of comical and narrative
verse, burlesques, pantomimes, extravaganza.s, grotesques,
comediettas, comedies, dramatic sketches, whimsical stories
and Christmas and Hcliday Annuals havc al1 lost their 'inde-
lible stamp of popularity.' Somc ol his poems were still being
anthologised well into this century, and his early nationaiistic
INTRODUCTION
cricketing pantomime Australia Felix (1873), which coincided
with W.G. Grace's Iirst visit to Australia, has stirred some
recent academic interest. 16
History should also record Walctr's contribution to Au-
stralian letters as an editor. Long before the Sydney Bulletin
took up the idea, Walch was actively advertising throughout
the colonies for stories of Australian life to publish. His 1877
Christmas anthology Hash 'with ingredients by various Aus-
tralian authors' was accompanied by a single-leaf flyer:
Special Notice to Residents in Victoria, New South
Wales, South Australia, Queensland, Tasmania, New
Zealand, Western Australia and the Northern Territory.
The Editor ol Hash invites original anecdotes, humorous
or pathetic, from all whose personal experiences in any
of the above colonies has embraced occurrences of a nov-
el, interesting, or exciting nature.17
Hash itself contained contributions from writers 'Tasma' (Jes-
sie Huybers/Couvreur) and 'The Vagabond' (]ulian Thom-
as); actors George Darrell, Alfred Dampier, George Coppin
and Richard Stewart; Garibaldi (son of the Italian patriot
and revolutionary) and Walch himself. The old actor-manag-
er George Coppin was in sombre mood, grumbling his way
through an essay on the state of the Australian theatre:
A good stock company is not appreciated or patronized
in proportion to its great importance ; we are rushed by
stars - good, bad and indifferent - who take very large
sums away frorn the colony....If I were to turn Pro-
tectionist, I wonder if our paternal Government would
'extend the blessings ol its policy to theatrical managers.
This complaint has echoed throughout Australian theatrical
history, and Dampier, who had been the leading man in the
stock compariy Coppin was referring to, never forgot it. Dur-
ing the next thirty years, while the J.C. Williamson empire
gained its ascendency by rushing complete casts 'direct from
London,' Dampier acquired a reputation as a manager who
would always give Australian actors'a go.'
Garnet Walch, the native-born Australian, seems to have
been rather less disturbed by possible tensions between
colonial, national and Imperial identities than was the expa-
triate Alfred Dampier. Nationalism was one position he
xxll ROBBERY UNDER ARMS
adopted with genuine enthusiasm and with an eye to the atti-
tudes of the cornstalk generation, but he was equally willing
to celebrate the delights of the old country. This is not
surpiising, given his upbringing. Walch was born in Tas-
mania in i843 and sent at the age of nine to be educated in
London and later at the Pied Piper town of Hamelin in Ger-
many - an appropriate place of learning lor a future writer
of pantomimes. Returning to Australia in late 1859 or early
1860, he moved to Sydney and by 1865 was contributing
verse to Sydney Punch. His first-known dramatic work, a
Christmas pantomime LoaeI Siluer Dream, was a pronounced
success for Rosa Cooper at the Sydney Adelphi theatre in
1869.18 In 1871 he penned a burlesque Trookulento.s, which
followed the 'extravaganza on Australian themes' style esta-
blished earlier in Melbourne by William Mower Akhurst.
Trookulento was successfully performed in Sydney and else-
where by George Darrell, and became the basis for Australia
Felix when Walch moved to Meibourne the next year. He
quickly established himself in that city also as the major au-
thor and adaptor of pantomimes for a variety of staees. His .

versatility and crisis-free Australian/British identity is well-il-

lustrated by the left half of p.9 of the Australasian Sketcher for
the 14 January 1882. Both the pantomimes illustrated were
by Walch. His adaptation of Dick Whittington at rhe Princess's
Theatre showed 'views of old London' while at the Bijou his
original work Gulliuer contained an aviary scene featuring 'a
great variety of the gorgeously-plumaged birds of Australia.'
It is tempting to see Walch as a nationalist forced to work in
an expatriate-dominated theatre, but his unfettered output
included a comedietta Perjdious Albion (1879) which satirized
anti-British sentiments, and a hagiography of General Gor-
don (1885) written to cash in on popular outrage after Gor-
don's death during the siege of Khartoum. Walch defended
Australia as a piace where culture and intellect flourished,
but was in most other respects, like Alfred Dampier, a Bri-
tish Imperialist.
Although the 1890 Table Talk article states that Walch
first met Dampier in 1877 , implicitiy in connection with the
Helen's Babies adaptation, the two met some years earlier.
Dampier stage-managed Walch's 1875 Christmas pantomime Garnet Walch's two pantomimes for Christmas 1882. Dick Whitting'
for the Melbourhe Theatre Royal ,4 Froggu Would A Wooing ton (above) at the Princess's Theatre and. Culliuer (below) at the
Go,ts and spoke an address written by Walch at his (Dampi- Bi1o,t. Australasian Sketcher, 14 January 1882, p.9 (Courtesy Fryer Li-
er's) larewell benelrt performance in September 1876.21) brary).
 ROBBERY UNDER ARMS
Walch cultivated all the stage personalities of his day. In
1879-80 he wrote two entertainments Rainbow Reaels and IJ
for Richard Stewart and his family, who included Stewart's
daughter Nellie ('Sweet Nell of Old Drury'). The Stewarts
played these pieces throughout Australasia and in India, En-
gland and America. In 1879 the brilliant clown Bland Hoit
starred in Walch's enormously successful pantomime Babes in
the Wood. Holt was to become for a time Dampier's employer
and later his chief rival in the melodrama stakes, relentlessly
importing the latest hits from Drury Lane and reproducing
them with local casts grouped around his own extraordinary
comic talents.
Garnet Waich also wrote vaudeville material for Harry
Rickards in the mid-1BB0s; however journalistic committ-
ments including an extended visit to Madagascar (1883-4)
and the editorship ol a number of short-lived journals includ-
ilrg Town 7'alk (1881-2) and Melbourne Mirror (1888), and a
long severe illness, all served to interrupt his dramatic writ-
ing. It was only after the Dampiers returned to Melbourne
late in the decade that Walch turned again from his other
interests to writing principally for the stage.
iii
'This national occasion': the Alexandra Theatre seasons lBBB-1892
During the 1BB0s the Dampiers worked steadily to imprcve
their finances, versatility, and repertoire. Bland Hoit had
gone into management as well, and Alfred Dampier some-
times worked for him, and at other times mounted his own
productions. His commitment to Australian playwriting con-
tinued, and Julian Thomas' play No Merqt was a useful mon-
ey-gatherer lbr him in 1882-83. Most of Dampier's
Australian plays however - both those with Australian set-
tings and those adapted from overseas novels and plays -
were substantially his own work. Katherine Russell made one
attempt at writing lor the stage; a slightly tongue-in-cheek
version ol The Fllting Dutchman. It bobbed up again a decade
later at the Alexandra where it was retitled The Phantom Ship
and lasted a creditable two weeks. Garnet Walch spoke high-
ly (in the Tabb Talk intervieu') of her contribution to their
version of Robberl Llnder Arms, so although she was the least
TNTRODUCTION xxv
prominent of the Dampiers her presence always needs to be
remembered.
In October 1BB5 the family focussed their efforts on Syd-
ney, and for the next two and a half years they leased either
the Gaiety or Royal Standard theatres. Here Lily and Rose
made their adult acting debuts, Katherine Russell became a
regular rather than occasional actress, and Alfred, alone or in
collaboration, scripted eight plays, five of which (Far the Term
oJ His Natural LiJe, Monte Cristo, An English Lass, Shamus
O'Brien and./ass) were revived at the Alexandra. AII were sen-
sation melodramas, yet Dampier was something of an uneasy
popularizer. His first love was Shakespeare, and his target
audience in Sydney was not the gallery boys. When the les-
see ol the Gaiety Theatre had its gallery remodelled as a
comfortable upper circle in September 1887,21 Dampier im-
mediately took a new lease there and opened on the 1 Octo-
ber with his new Irish nationalist drama Shamus O'Brien,
which ran for two weeks. But when Dampier came to Mel-
bourne and took an initial six-month lease of the Alexandra
Theatre commencing in October 1BBB, the size of the audi-
torium - it held over 2,500, with 600 of those in the gallery
- and its somewhat unsavoury surroundings at the slum-
mier end of town, led him to revive an old trick of George
Darreli's: halving the price of the gallery (from a shilling to
sixpence) and ensuring rowdy and bumper, if not
particularly remunerative, audiences. In such an atmosphere
Shamus O'Brien did much better, running for seven weeks in
1BB9 and being revived twice in later years for St. Patrick's
Day. Almost in spite of himself Dampier found in Melbourne
the ,right audience Ibr his plays: young, working-class, pre-
dominantly male, with a significant proportion of Celtic des-
cendants and strong larrikin and nationalistic tendencies. It
was almost certainly not the audience he would have chosen
in an ideal world. He was respectable , English, pro-Imperial-
ist, and his acting was sophisticated and restrained and never
had the outrageous comic flair of a Bland Holt. His interest
in nationalistic Australian drama was neither republican nor
even national in any genuine sense of the term. It reflected
instead his own ambitions as a playwright and his belief (it
w3!' a common one) that the silken bond of friendship
bctween Australia and England would be strengthened by the
successful production of plays about Austraiia on the London
stage.
xxvl ROBBERY UNDER ARMS
The Alexandra Theatre had been built in 1885-6 on the
corner of Exhibition and Littie Bourke Streets where Her
Majesty's stands today. It was a site already associated with
popular male audiences, for it replaced the old Melbourne
Hippodrome, and indeed horses' hooves continued to pound
across the Alexandra stage. Coconut matting was laid under
the stage floor-cloth to give a muflled earth-like sound and to
stop the horses slipping as they executed spectacular tricks
and turns. Lily Dampier in particular was fond of making
entrances on horseback, either demurely sidesaddle (as Doro-
thy in Maruellous Melbourne, to give but one example) or as-
tride, 'Wild West fashion,' in The Scazrt. When Robberyt (Jnder
Arms was presented in London in 1894, the Times thought it
was 'practically an equestrian drama.'22
The Alexandra opened on 1 October 1886 and reported-
ly sent bankrupt Juies Joubert, its creator. This may be a
myth however, since there are no insolvency records lor the
name Joubert in the Public Record Office in Victoria.23 The
source of the story is George Meydell's The Pleasant Career of a
Sltendthrift, written many years later.2a Meydell was with Dan
Barry's company which used the Alexandra in the mid-1890s,
and may have confused Dampier (who went bankrupt in
1894) with Joubert. Certainly the Mercantile Finance Com-
pany controlled the theatre (it is mentioned by Meydell, and
was Dampier's major creditor), and it had not managed to
attract a long-term lessee until Dampier arrived. Yet it was a
true pleasure palace, with an exterior in French Renaissance
style. The Argus description (2nd October) of opening night
said 'the new house presented a brilliant appearance when
the electric light was turned on full, as, with the exception of
the velvet curtain, there were no surfaces to absorb, only
light and cheerful colours to reflect the illumination and to
serve as a bright and pleasant framework for the large audi-
ence.'
According to Joubert the theatre was well-equipped for
its anticipated users. Some of the orchestra members and
their instruments (wind and percussion) were concealed un-
der the stage in a covered recess, with only the conductor
and string section visible to the audience. There were no
stage boxes, and the auditorium design gave great promi-
nence to the dress-circle. Technically it was one of the first
INTRODUCTION
theatres to have a fly-tower high enough to enable the scenes
to be hoisted up out of sight without rolling or folding them,
and the large stage (50' deep x 33' wide, or 15 m x 10 m
approx.) was liberally sprinkled with mechanically-operated
trapdoors, ideal for the staging of sensation melodrama of the
kind favoured by popular audiences.25
There was another more reliable, respectable and remun-
erative audience to be found in Melbourne; one which would
have {rlled that prominent dress-circle at three, later four,
shillings a head (six to eight times what the gallery boys were
paying) and one which would have been less Iikely to desert
Dampier in times of financial depression. This was the bour-
geois female and family audience; but Dampier ignored it,
with only two exceptions. These were The World Against Her
by the English actor-rnanager Frank Harvey, and Dampier's
own version of Mrs Henry Wood's novel East Lynne. Both
were advertised as'The Ladies' Drama' and it was the ladies
of Melbourne who made Dampier's Alexandra venture a suc-
cess after a fatrly indifferent opening. For the Term oJ His
Natural Life began the season on the 6 October, but it only
lasted a week. So did Z'he Green Lanes oJ England; An English
Zass (the story of the Australian convict heroine Margaret
Catchpole) and A Royal Pardon. After a month it looked as if
the Dampiers were going to be .just as unsuccessful as their
many predecessors, and there was talk of closing the theatre
altogether. Alfred Dampier and his business manager J.H.
Wrangham were pinning their hopes on an old play by the
Sydney M.L.A. Thomas Walker ('Thomas Somers') called
Voices oJ the Night. They had extensively revised and localized
rt as Maraellous Melbourne, a blatant appeal to Melbourne pa-
rochialism and the colonial inferiority complex. 26 The title
was taken from an article written by the visiting Engiish
journalist George Augustus Sala in 1BB5; it was a flattering
piece and effectively soothed local vanity which had becn
sorely wounded by the savage comments of Anthony Trol-
lope and other English visitors in earlier years. But whik:
Maruellous Melbourne was in rehearsal Dampier slipped into
the gap an unpretentious domestic English melodrama about
a wife wrongly accused of adultery, who endures all sorts of
undeserved punishment with the kind of saint-like tolerance
and love that Janet Achurch would in the following year not
 ROBBERY UNDER ARMS
display in London as Nora in the first English-language pro-
duction ol Ibsen's A Doll\ House . The World Against Her had
lasted five weeks in Sydney, but in Melbourne, whlle Mar-
aellous Melbourne waited eager and ready in the wings of the
'Aleck,' it went on, and on, and on, for an unprecedented
eieven weeks - from Melbourne Cup week in November to
the middle of January, sixty-five nights in all. It was helped
by some clever advertising by Wrangham, supreme amongst
which was a 'letter' printed in the advertisement in the Argus
on the 3 November, which had supposedly been penned alter
the correspondent had seen the play in Sydney:
"Dear Sir - Two years ago, when I married I was only
a girl, unversed in the world's ways, lull of love {br my
husband, but wanting in that wisdom which is only
bought by bitter experience. Through the scandal of
neighbours into our life came 'the little rift within the
lute,' and finally we drifted apart. One word would have
explained all, but pride prevented its utterance. I re-
turned to my mother, and day by day watched him as he
passed my window on his way to the olfice, hoping
against hope that he would return to me. This wretched
existence went on until last Wednesday, when, by
chance, reading the words written by the English clergy-
man on 'THE WORLD AGAINST HER,' something
impelled me to go to its performance. During the prog-
ress of the play I was so carried away by the pathetic
story that I had eyes and ears for nothing else, and in
the intermission I was haunted by the one thought
- 'IF
HARRY COULD ONLY SEE THIS PLAY.' At last
the curtain fell on the perfect picture of confidence re-
stored and domestic happiness assured, and then, across
the theatre, I saw my husband. As I was hurrying out, a
hand slid into mine, and the voice I knew and loved so
well, said, 'EMILY, FORGET AND FORGIVE."THE
WORLD AGAINST HER' has brought such happiness
to me that I trust all women who suffer or have suffered
will, as you suggested in your advertisement, bring their
Sweethearts, Husbands, Sons, and Daughters to learn
the lesson it teaches. Flarry knows I am writing this and
approves. - Yours, gratelully, ----."
Yet no-one could understand the play's success; not for the
INTRODUCTION xxlx
first or last time the influence of women as audiences and the
domestic as subject matter was underestimated and underval-
ued. The Melbourne Mirror (then being edited by Garnet
Walch) observed on the 14 December that'Now the produc-
tion is such a success, authorities in these matters are bother-
ing their wits to divine the reason thereof... the play itself
possesses a domestic interest and a homely touch which ap-
peal to the great mass of the people; and '..finds a resPonsive
chord in their hearts. From all apPearances The World Against
Her wrll be withdrawn about this time nert year.' The play
was evidently an antecedent to today's television soaP operas,
and its faith in the perfectability of marriage was clearly
more to the taste of Melbourne audiences than Ibsen's views.
When Janet Achurch brought A Doll's House to Melbourne in
it was considerably less enthusiastically re-
September 1889,
r:eived.
The World Against Her could have been for the Dampiers
what Struck Oil was for J.C. Williamson and Maggie Moore
- an easily staged, widely popuiar letter of introduction
wherever they went, and an insurance against hard times.
Yet Alfred Dampier seems to have undervalued the play, and
by 1893 other companies were doirrg it, indicating that he
had lost, sold or given up the Australian copyright. But its
success at the Alexandra cannot be under-estimated or over-
emphasized; it was this rather than Dampier's Australian
plays which made his venture an initial success. When its
season finally closed on the 1B January almost any competent
production would have benefited from the follow-on effect.
Maraellous Melbourne did better than that and iasted six weeks;
it was a fairly undistinguished horse-racing melodrama, but
its local flavour and spectacular effects carried it through.
Other successes in this unbroken year-long season were Euery
Man for HimselJ and Men and Women (written by and starring
Bland Holt's 'sister May, a visiting English actress); Shamus
O'Brien; Madam Midas (starring Philip Beck in his stage ver-
sion of Fergus Hume's Australian novel, but without Dampi-
er in the cast); an English play The Unknoun by J.A. Stevens
and the other'Ladies'Drama' East Lynne. This hrst year wzrs
highly profitable for Dampier, and on the strength ol the ear-
ly successes he negotiated a new three-year lease of the
theatre. It was a decision he soon came to regret, for the
land-boom 'eighties quickly turned to the bank-crash 'nine-
tie s.
 INTRODUCTION xxxl
An added burden for Dampier was that he also under-
valued the importance of a good business and advertising
manager. Sometime during 1BB9 he quarrelled with'Jack'
Wrangham. After Wrangham left, Garnet Walch came in as
Dampier's co-author, and Dampier himself took on the finan-
cial and promotional side of the company. This overloaded
even his enormous capacity for work, and several references
were made in newspapers and journals to how careworn and
-\.
>- exhausted he looked. But Walch provided an impetus to the
,-r
d
l-{ writing of new scripts. Another successful Frank Harvey dra-
-o ma, Judge l{ot, opened the second season at the end of 1889,
F]

0)
and the first Dampier/Walch collaboration , The Count of
L) Monte Cristo, followed with a four-week run. However as the
l-{
z earlier version of Dumas' novel staged in Sydney was almost
>-
a
identical, Walch's input cannot have been very great. Their
(-)

t<
first major collaboration was Robberyt [Jnder Arms.
o On 1 March 1890, the duy Robbery Under Arms opened,
O the Melbourne theatrical newspaper The Lorgnette published
o
an article 'The Drama in Australia' which exulted over the
O success of Australian dramatists on both the colonial and
O
o
London stages. It was not the first time (and certainly not
O the last) that a wave of national sentiment flowed across an
t<
0-) industry which nevertheless was predominantly concerned
L
O with reproducing the latest successes of the London and New
0.,{
York stages. The Lorgnette article almost certainly appeared
+ with prodding from Dampier and Walch; both were keen to
(-) see their work again reach London and saw the Alexandra
seasons as a springboard to this. The spirit of the times, if
H
o
not the health of the economy, was also ideal for new efforts
tL{
t-{
in the field of Australian drama. In October 1BB9 Sir Henry
t; Parkes gave his famous Tenterfield oration in which he called
for a national parliament, and the first meeting of the Pre-
\ t-
miers of the colonies took place in Melbourne in February
t 1890 as Robberyt [Jnder ,4rms was being rehearsed only a few
\)
F\

hundred yards away. There could not have been a better mo-
\\)
\) ment to celebrate Australian life and Australian history, and
*s
^s
s the production was a success from the outset, even though
q
the opening-night reviewers noted signs of hasty preparation,
imperfect'business,' a rather free approach to the text and
o
3 'hitches in the scenery.' But even the stuffy Argus admitted on
F the 3 March
lJ
O
The theatre was crowded in every part, and the attitude
xxxll ROBBERY UNDER ARMS
of the audience was never for a moment in doubt after
the fall of the curtain upon the first act. Unlike many
wtro can find nothing of piquancy or interest in familiar
scenes by reason of their very familiarity, the audience
on Saturday night received the piece with enthusiasm, EREZII,EIhI (OF ZTITE ED.u.IVfPIEEIS.
obviously because it was Australian. They found it racy
THIS EVENING,
of the soil, full of those associations around which most Gtrand Revival for a Few Nights Only of the O_riginal Dramatisatirrn bl.Ar,rnro D^l,urtrn and
of the romance of a young country must gather, and G.1nxrr Welcri, oi noir" Bolnnr'wooo's Woild-faruous Australian-Rotrratrce, entitled
they asked for little more. Every canvas affording a fresh
glimpse of Australian bush scenery was applauded as it ROBBERY UNDER ARMS A Story ol Life and Adventure in the Bush attd on the Goldffelds.
came into view; every charhcter recognised as a typical Norrq.- -B.y arrarrgelrent rvith Ror,r BolpRrwooo, the Author of the Novel, ltn. DAIIPIER posse8seE

figure in the colonial life of the early digging days was tiie Sole'i[Gtrt of producing this Farnous ]York in l)rattratic Fortn.
GnB.rr cest or clrenrcTERs BY AN Aug',rReltex covrrxy :
welcomed as an old friend anrl-a Gentlettran ") ALFRLD DAIII'IEIi
Captairr Starlight (,, -A Cat-tle Ftealer, .a Bushr&Ilger,
i'tloesnt llark, brtt Bites'') [Ir. Elrtrsn llorr,ow,rv
glrl tsen -\tarsto. (\.O;;;il lik; hls'Dog 'Crib
The actual business of bushranging however was surprisingly Dick llarston 1,.t)ld-gbrr'* Eldest So1,-flhororrgh Corrrstalk") i\Ir. Gnonsu Drrr
Ji,ii li"*t., iili* iirott l:ver1pgdf io.t91a Jiru "1 ![r' ]Yrrxts w'r"xxr
low-key, accordirg to the same day's Age: "i-*
A;..F'sbr*ri.ra 1-*-noii"rt "" -Driikl,al and straight'as a Dart").. ^\Ir. A. Rorru
Sir Ferlinand }lolrirs.t adniet-ot t-,lticir) ' '' Mr' F' C' Aruunrox
<tiir lTirrt Appetrarr<.e after Seven Yearrs Absenoe frottr lflelllourne).
The sticking up of the gold escort,...is represented as a Inspector coring-[e irnaot,f in,,,,th"it trtita; ItIr' J' H' Menrtx
Trooper O'Hara ('t A, Orttatuetrt tL if,o f9-1t'e "; .. .. ' ' l[r' Rno llnnp
very quiet affair indeed; not a shot is fired, and the pas- T;;;Fi rrrngini'i. (i; i'ii;; ;'illi .a-Heart ") .o " Iltr' J' cars'rR
sengers and the troopers are so taken by surprise that Billl', the lloy tu B\r.*il.'tuiegraph) .. " Iliss Cenntu Bturox
llloran (IIis Eyes Ciiitui.a fiXou'glact Srrake's) .. -' lllr' IiosF:Rt Vr:nxott
they surrender everythirg, and rnails are carried off with w;,1;ii;s'i'iii-l (lang " ) "hXIlllXI
a facility that in real life would induce the authorities to ii?Jil"" 1" Bttshrangere o[ iloran's "
Illack Jat'k ) I ".iil:-i,Xl_g,l
send the police to trial on a charge of complicity in the iit;i.;l*.J (Startistrt,'s Shadorv-a llalf Caste) .. .. llr. Cttrnr!:s Ttto'vl'soN
[Ir' Att<-:rtr:R
Bilbah r ^,.^*:,::;- .. o' |
robbery. iliiit'irirrr- i Aboriginals '1 __ i _ llr. E. I'ortun
or,th,i,'ibob6.. .. ..
.- .' Mr"irlitf,il3ll1
Cosher Solotttott -..- '
o

It is interesting to observe in passing that this 'casual' quality Clifforrl (4 Neu' Chuur) ...
.. ..
" ..
^
llr' lYvxv'rno
IIr'OTtoBnexuox
IIr. Ilqxter ..
has also been noted in Tom Roberts' celebrated 1895 paint- I)arr<l.r' Green ... .. .. )Ir' PeRxuR
. . ltlr. Gponou Srt,Ttt
irg of a similar incident, Bailed Up!.But perhaps it was just F-rerl lrt,dtler
I)alr Robinson ..
..
.. ..
.
..
.
" IIr' Wr:s't'
DIr' 'Ult-rtlxut
that in the chaos of openirg night the props master forgot the Iiarl llallersdorf .. " llr' GrnsuT 'r
Slltrr I )i[\\ son .. .. ' ' " IIr.
blank cartridges, for later reviewers found it explosive Lttt'hr .ltrt'k aa
Cottr:s

enough, and the Champion on 10 October 1896 complained at

the excess of pistol-discharging, condemning the whole play
as 'a howling pandemonium of incoherency.' Neverthqless Lady of Uncertairr Ag'e)
Robbery Under Arms became the second-biggest hit Dampier
ever had. It ran for seven weeks in its initial season and was
the showpiece of his company for the rest of their working
lives.
In Muy, after revivals of Maruellous Melbourne and For the
Term of His Natural Lrf, had both failed, Dampier sub-let the
theatre and went off on a long Victorian and South Australi-
an tour. The company was back in November, and for the Playbill for -the return season, L5-28 November 1890, from The
first time , zt the top of the playbills under the words 'The (Melbourne), 15 November 1890. The new head block with
Lorgnettz
Alexandra' was a subtitle, also in bold black type: 'The Au- the words 'The Australian Theatre' was used here for the first time
stralian Theatre.' They opened with a return season of Rob- (Courtesy La Trobe r,ibrary).
xxxlv ROBBERY UNDER ARMS
bery Under Arms which lasted a fortnight, and lbllowed it with
an original 'hypnotic drama' For Loae and LtJe which Dampier
and Walch claimed to have written. It was however set in
London and was not in any other way Australian; nor was it
a success. East Lynne started to rebuild their audience
following, and Katherine Russell's The Phantom SDzp served in
placeol a Chrisrmas pantomime.
In 1891, and again in 1892, Dampier several times ap-
proached the Mercantile Finance Company with a view to
cancelling his lease. But there were no other lessees in view,
and the finance company, itseif facing bankruptcy, dcmanded
that Dampier keep going, hoping for their sakes and his that
a series of successful productions would solve the problem ol'
this large and uneconomic theatre. Consequently they al-
lowed Dampier to lall heavily into debt rather than evict him
for non-payment of rent. Dampier accepted the challenge
with the blind optimism without which no theatrical entre-
preneur would ever continue, and promptly ran up a rent
bill ot f3,134.9.5 in eighteen months.27 It was in this context
that'The Australian Theatre' was born and in which it strug-
gled to survive. It was an advertising concept not really con-
sidered until after Wrangham departed and was replaced by
Walch, and its chief glory, Robberyt Under Arms, was already a
past success when it was announced. 'The Australian
Theatre' struggled on for eighteen months at a time when ev-
ery play had to be a hit, and too few were .
1891 starteri well enough with strons audiences lor Frank
Harvey's The Workman (two weeks) and Henry Pettitt's Thi
Black Flag (three weeks), and it must be remembered that
even if these English plays advcrtised rather oddly under the
new 'Australian Theatre' banner, it was still a company of
Australian actors and stars at a time when imported casts
were the rule rather than the exception. (Although Bland
Holt, who took no interest in Austraiian themes at this time,
could have claimed as much.) Rolf Boldrewood then put
some genuine Australian scripting back into the enterprise by
allowing Dampicr and Walch to adapt another of his works,
The Miner's Right. Whatever he thought of the liberties they
took with his writing, Boldrewood was not averse to the pub-
licity and the pound-a-performance royalty he received, and
he turned up on opening night, as he had wrth Robbery Under
Arms, to take a bow before the curtain. The Miner's Ri,qht,'a
INTRODUCTION xxxv
new drama of life on the diggings' was advertised in the Age
on the 28 February:
It is Australian to the backbone, written by Australians
for Australians, played by an Australian company, em-
bellished with gems of Australian scenery and episodes of
Australian life. In short it is an honest effort to do credit
to Australia.
According to Table Talk the scene designer 'AIta' (Alired Tis-
chbauer) excelled himself with a cloth showing a 'forest o{.
straight sum trees with the ranges in the distance' and anoth-
er of the diggings which had the 'real coiour of the country.'28
The following week the same reviewer added '7'he MinerI
Right ... cannot lail to arouse a feeling ol pride and pleasure
that a realiy national drarna is in process of formation.'2g A
song and choral march celebrated the men of Eureka, al-
though the diggings in the story were located near Lambing
Flat in New South Wales, and the action skirted uncomlort-
ably around the issue ol' the notorious anti-Chinese riots
which had taken place there. The plot lbllowed the novel in
having the first act set in England, but deviated lrom its con-
clusion by omitting the hero's return 'home' after his reputa-
tion had been restored and his lbrtune won. Small anti-colo-
nial steps were indeed being made.
The Minerl /ieglzl closed after twenty-six perlbrmzrnces
and the season desenerated back into one-week oll'erings of
Dampier's old repertoire, interspersed with a lew 'Shakes-
pearean Friday' As You Like It performances. f'hen in May
they presented Buflalo Bill's lbrmer pzrrtner, thc sharp-shoot-
ing Dr. William F. Carver, in two outrageously spect:rcular
Wild West dramas'based on Dr. Carver's exploits.' 'l'he Scout
ran Ibr six weeks and The T'rapper for three, but both were so
expensive to stage that Dampier lost money on them.30 The
real winner was Carver who had come to Australia with a
Cowboy and Indian troupe as a last minute stand-in when
Cody himsell became unavailable, and returned to America
with a highly marketable dramatic setting lbr his routines.
The Scout kept him going lbr several years and had many sea-
sons in and around New York. Not surprisingly its down-
under origins were not mentioned in America and there is ncr
evidence that Dampier and Walch ever received a penny for
this profitable spin-off lrom their writing efforts. 7'he Scout
 ROBBERY UNDER ARMS
hzrcl a plot which began, \ke Robberl Under Arms, with a vil-
lainous policeman pursuing the heroine. However as Carver,
unlike Captain Starlight, couldn't string a sentence together
without falling over his lassoo, his contribution was mostly
limited to rushing in on horseback at the appropriate mo-
ment and disposing of the baddies with a virtuoso display of
Wiid West vaudeville tricks. Lily Dampier as the heroine
learnt a few sharp-shooting tricks herself for the second play
The Trapper, which unfcrrtunately was too much of a good
thing and undoubtedly was principally responsible lor the
loss overall.
From July to November 1891 Dampier again sub-let the
theatre and went on a tour which ended in Sydney. The
premiere of Robberl Under Arms in that city took place on the
31 October. The play only ran for twelve performances, but
this may have been because the Alexandra had gone dark
and he had to hurry back to Melbourne. He and Walch had
already stirred the southern capital's imagination with hints
in the theatrical journals that a new piece of Yarra-bank pa-
rochialism, T'his Great Cit1, was being penned. It was even at
one stage rumoured to have a plot revolving around Australi-
an Rules football. This was not evident in the story which
eventually went before the public on the 21 November, but it
managed a moderateiy successful three weeks. It put the boot
into Trollope again in the character of Sir Hector Globetrot-
ter, but balanced this with a right royal tribute to the Gover-
nor ol Victoria (1ater the first Governor-General). The 'Ho-
petoun Fling' was danced'in the Fitzroy Gardens' by some of
the leading characters in the play.
A week of East Lynne took them to Christmas, and Walch
had written a spectacular pantomime Jack the Giant Killer
which went moderately well. Oddly, given Walch's commit-
ment to the Australian theatre and his track record in this
most Australianized of nineteenth century theatrical lorms, it
was set in England and made only slight reference to local
events and personalities; although Blunderbore and Gor-
gibuster, 'two gigantic swindlers' were played by actors with
the improbable names of Mr Bankman Ager and Mr Bill
Dingsighty.3l
A sad but sensational real-life event helped to publicize
its deiights. A servant in the Dampier household, Selina
Palmer, had formed a 'violent attachment' to the stage de-
INTRODUCTION
signer 'AIta' Tischbauer. The two had planned to run away
to America together, but she had confessed the secret to the
Dampiers, and in the misery and despair of the subsequent
recriminations she drank a large quantity of rat poison. She
was lound by Lily vomiting and distrdught in her room and
died sixteen hours later in violent agony, with her lover at
her side. The Age noted sadly that she was a 'great reader of
novels' (and presumably attender of. theatrical performances).
The lover's identity only emerged some days later, and the
curious public hastened to the Alexandra hoping to catch a
glimpse of the 'romantic' artist and to examine his transfbr-
mation scene where for the rnorbidly over-imaginative there
was some evidence of death being transformed into art.32
The death of their artistic endeavours was also not far
off. In February 1892 the Iast of the five seasons commenced
with a desperate sequence ol old and unsuccessful plays, and
then a remarkable stroke of luck provided them with one iast
success and delayed the inevitable. The exact sequence of
events is unclear, but a plausible guess goes something like
this: Dampier had obtained the rights to an old London play
possibly called Wiful Murder, but almost certainly not by
George A. Meredith, the author credited in the early adver-
tisements. There was a play Wiful Murder by John F. Preston
presented in London in 1888, and there was of course an En-
gish writer called George Meredith, but he did not write
plays. Dampier's production opened on the 19 March, but
the cloings of an extraordinary real-life Melbourne murderer
were hastily stitched into the plot as they unfolded just belore
and during the play's season. The London setting and the
authoridl credit 'George A. Meredith' helped to protect the
play from charges of sub .judice and defamation: Iater the
namc Meredith was dropped and the advertisements boldly
proclaimed the 'Entire Career of the Windsor Murderer.'3:t It
was not for nothing that the popular plays of the late nine-
teenth century were often referred to as protean dramas.
On the 3 March 1892 the decomposing body of a young
woman was found buried in a slab of concrete under the
hearthstone of a cottage in Andrew Street, Windsor, Mel-
bourne. Her throat had been cut. It was a gruesome murder
and a local scandal, but its relevance to the English events of
WilJul Murder could not have been immediately aPparent to
Dampier and Walch, although no doubt they borrowed the
 ROBBERY UNDER ARMS
murderer's method of disposing of his victim early in their
play-doctoring exercise. Topical allusions were alier all en-
demic to melodrama, wherever the nominal setting o1' the
piece.
On the 13 March, only six days before the play opened,
Frederick Bayley Deeming, alias 'Baron Swanston,' aiias 'A1-
bert Williams,' alias the 'Mr. Druin' who had rented the
Windsor cottage, was arrested in Western Australia and
charged with the murder of his wife Emily. On the 16
March - only three days before opening night - police at
Rainhiil near Liverpool in England prised up another suspi-
cious hearthstone at a villa Deeming had rented six months
earlier. Underneath, also set in concrete, were live bodies -
those of Deeming's first wile and their fbur young children.
A11 had their throats cut, except the eidest child who it was
believed had discovered her Iather in the act and had been
strangled. Some newspapers thought that Deeming was Jack
the Ripper, finally run to earth in Australia.lra
f-he relationship between the piay and the sensational
rnurders was therefore a case ol opportunistic tinkering with
an existing script which had nothing to do with Deeming ex-
cept that it happened to be in the murder mystery genre.
There was not time for the play to have more closely
reflected reality, although by closing night it could probably
be fairly said to have been 'written' by Dampier and Walch,
and may have been lurther revised (after Deeming's execu-
tion) for a provincial tour. For the Melbourne season the
'Terrible Crime' of the first act was changed so that its details
corresponded to those of the Rainhill murders, and the lilih
act ('Scene : Exterior of the Bungalow, Windsor') was an in-
vention by Dampier and Walch. Deeming's arrest (13
March), deportation (25 March), arrival in Melbourne (1
April), and the preliminary inquest (5-B April) all provided
bits of dialogue and details of action which were progressive-
ly stitched into the plot. Deeming's trial began on the 28
Aprii, the day the play closed alter six gruesome weeks of a
cut-throat razor whistling chillingly in the husired theatre and
a silhouette moving around carrying buckets of wet cement.
The play's closure was possibly because the authorities
decided to no longer tolerate this flagrant breach ol the iaws
of sub-judice, but also because the initial excitement was
over and Melburnians now had the real villain to hiss at.
INTRODUCTION
Dampier, who at this time only introduced 'Shakespear'ean
Fridays' when the business of melodrama was flagging, inter-
rupted the Wilful Murder run to present Hamlet on the 22nd
'to commemorate Shakespeare's birthday' (and perhaps to
show that contemporary society had no monopoly on dark
and bloody deeds). Then it was back to his old standby
Fazsl, followed by two English plays appropriately named
Dead Beat and DeuilI Luck. Romeo and Juliet was thrown in lor
good measure, and then a Iast despairing Dampier and
Walch script whose tttle Help One Another made a lutile appeal
to everyone from the gallery boys to the four-shilling dress-
circle patrons, all of whom had deserted the Exhibition Street
box oIfrce. This 'original Irish drama' lasted just six nights.
'The Australian Theatre,' with all its hopes, promises and
contradictions, was closed until further notice.
Over the years a small legend has grown up about the
achievements of those three years and eight months; like
most Iegends it somewhat oversimplilies the facts. It was
spread in its own time by the Sydney Bulletin which once
coined the phrase 'national occasion' to describe the rapport
betw6en'Dampy' and his young audiences,:ls and it has been
sustained in recent times by articles which, like the Bulletin,
have sought a dramatic equivalent to the literary nationalism
ol the 1890s and an ancestry for the Australian popular dra-
ma. llti The legend was embellished in 1970 when the Pram
Factory collective decided to open their new Melbourne the-
atrc by staging a revue Maraellou.r Melbourne which included
the Chinese opium den scene from Dampier and Walch's play
of the same name.
Du'ring the Alexandra seasons Dampier was not, as has
sometimes been claimed, an enthusiastic promoter of other
Australian piaywrights. He did advertise at one stage for new
Australian plays. to be sent to the theatre, an event which the
Bulletin commented on satirically in a very funny and often
reprinted article.3T However there is little reason to think of
this episode as being very much more than a publicity stunt;
during the Alexandra seasons he only produced three plays
by Australians which he himself had not penned at least in
part. One was Walch's pantomime, the second was written
by his wif'e, and the third - Madam Midas - was a play by
Philip Beck and already in that actor's repertoire belore he
combined with the Dampier company (without Dampier) fbr
 INTRODUCTION xli
gb(nt. m a.rdl, t :irru Eud!!'r €iiirr
I a brief season. The two Boldrewood adaPtations were rightly
,rrtEE .E I/EX5,Nf,rFrA 4\,
.a .-- cIJOSEI' I seen as contributing to a school of national drama, and the
t+ CLOSED other local pieces, localisations and adaptations showed the
gDu! +
importance of the writer's contribution to iiving popular the-
fur/fier Vlar'ce-
il.-4h. farfier ?lon:ee
I atre; but perhaps most importantly the seasons at the 'Aleck'
.r+r-' ",;*"
show the different priorities which emerge when a theatre
Cf{OSED oP€BAi&&t HousE.
company is run by a writer. Some 60% of ail perlormances
came at least partly from Dampier's pen, although somewhat
I'I'|[IIJ
I less than half of those were concerned with Australian char-
FURTHER NOTICE. .& -.4,
(I-(}BEI' acters and settings.
c.r-()tiIrt) In the acting department the seasons were as much Lily's
-ffiia6--
*w,-
BNTIA
as her father's, and she was clearly a figure to be admired
FURAHER &OIICE
f:u,tfier
-
9loh'ee and emulated by young women for her vigour and indepen-
ar' dence of spirit as much as for her 'good woman' image. She
was also of course a much whistled-at figure of romance and
sexual fantasy lor young men. Rose seldom acted with Lily,
Playbills showing the fate of theatre in Melbourne in 1892. Dampier preferring to understudy and replace her in the lead when
gocs down in June (left), followed by the othcr theatres in Decem- Lily was il1 - which was quite often, testimony both to si-
bcr (right). 'The Australian Theatre' disappears. l'he Lorgnette (Mel- bling rivalry and the frail disposition which contributed to
bourne), June 1892; December 1892 (Courtesy La Trobe Library).
Lily's early death in 1915. Rose also gave singing concerts
and toured these independentiy of the company. Katherine
Russell developed her own 'lines' as comedienne, 'soiled dove'
and villainess, and the family as a unit had a public aura of
'togetherness' which helps to explain the affection lelt for
them. When Lily as Aileen utters to Starlight the closing line
of Robbery [Jnder Arms'.'And oh! How dearly loved!' it was not
so much the attitude of lover to lover that was being de-
clared, but rather the public image of Dampier himself, the
innocent child-like image of the father/daughter relationship,
and'a general familiai love which flowed across the footlights
to embrace the audience. The tensions in their private lives
they usually managed to keep to themselves.
Ol the new plays only Robberl Under Arms remained for
any length ol time in Dampier's repertoire, whereas Easl
I,ynne, The Green Lanes oJ England and other English plays con-
tinued on until he retired in 1905. There were only 18 per-
LlLf illlllltlll. -\trl), AI.raldM ii.,rU i,1lllll1i. M.il,- {J!r(,rd.,
formances of Shakespeare. The whole had been a commercial
Scheherazadean feat, 780 nights of story-telling, eventually
beheaded by the great depression. From it historians have se-
Thc three Dampicr children. Freelance (Melbourne), 17 October lectively read the nationalistic message. It was a magnilicent
1896, p.4; p.5; The Theatre, Novembcr 1905, p.23 (Courtcsy Mitch-
ell Library). achievement, but more interesting and complex thanthat.
xlii ROBBERY UNDER ARMS
iv

The Return oJ the Dampiers

At a beneht performance for Alfred Dampier in. Sydney in

June 1894.just before his departure for Eneland, he de-
scribed the recent past as 'very, very sorry years' lbr himself,
but quickly added 'as lor most people in Australia.'38 Conse-
quently most of his audience would have assumed that he
was referring to the depression, but the Dampiers'close
friends would have known that their linancial troubles had
been compounded by a number o1'other setbacks.
First there had been thc very public scandal o1'Lily's di-
vorce - scandalous because no-one, including her father,
knew that she was married. Apparently one Sunday in 1BB9
she went for a drive to Eltham with Bill Watkin, who as Mr.
Watkin Wynne was the original Jim Marston in Robberlt LIn-
der Arm-r and one of the handsome young men of the cornpa-
ny. Caught between the melodramatic billows of passion and
the rocks of nineteenth-century morality, the two had per-
suaded the local Church of England minister to marry them.
According to Lily's version of the event, her lover 'assured
her that as she was not ol age the contract could not be
binding, but was nothing rnore than a bethrothal vow .' (She
was in lact of age but Watkin did not know this.) The Ant
observed dryly: 'Alter Miss Lily's experience of heavy villains
of this description (in drama) fancy her innocence.'3e The
Bulletin was more direct and more cutting:
For some unexplained reason they didn't tell the old man
- we mean dear old Alfred Dampier - till two years
alterwards. This proceeding doesn't harmonize well with
the gentle, trustful look in Miss Dampier's big, dark
eyes, but probably Watkin was responsible. Anyhow, in
June last year that base deceiver fled with another girl
and hasn't been seen since. We don't know the other girl,
but we will bet she was ugly; there is a demon of cussed-
ness about the bad man of the period, and when he
leaves his young and beautiful wil'e he generally elopes MI68 LILY DAMFIEB.
with a painted harridan o1'Ibrty.'+0
Lily got her divorce on 13 June 1892, just a week alier the
rrriserable end ol the Alexandra lease. The Bulletin account is As Rosalind in As You Like It. 'I'he Lorgnette (Melbourne), December
amusing to read today, but it must have been acutely embhr- 1894 (Courtesy La Trobe Library).
xliv ROBBERY UNDER ARMS
rassing for the whole lamily to have her private life held up
to salacious ridicule, whatever else it had done to the image
of the pure, trusting and united Iamiiy.
The second disaster was the New Zealand tour. Not hav-
ing been there since 1877 , Dampier thought that the seventh
colony was overdue for a visit and might restore his 1brtunes.
He had forfeited all his scenery to his landlord, the Mercan-
tile Finance Company, but was allowed the use of enough
sets to put together a touring repertoire. His acting company
was still basically intact
- though he owed them money too.
T'he other Melbourne actor/managers gave him a benefit
matinee at the Princess's Theatre on the 25 June. He owed
money to the newspapers, but his standing was such that
'The Age rebated 25 per cent of the usual charge on ads.
relating to the Dampier matinee, the Herald aliowed 50
per cent, the Standard inserted them gratis, and the
Argus loftily declined to make u.ry .o.,...Jion whatever.,4l
T'he benefit netted f249 from a bumper house, and Dampier
in his speech in reply built castles in the air, describing:
'How when he hrst opened the Alexandra.... he wished
to make it the stepping stone to a scheme for the produc-
tion ol Australiarr drama not only in this country but in
England and America. It was the desire of his life to pro-
duce The Minerl Right, and Robbery L|nder Arms by Rolf
Boldrewood, His Natural Ltft by Marcus Clarke, and The
Land We Liue In by Garnet Walch in England and there-
by establish a reciprocity of theatrical enterprises with
the old world. But circumstances, over which he had no
personal control, had for the present prevented him from
carrying out that project. He, however, still hoped to see
his idea realized (Applause).'42
The immediate luture however involved grim and frenet-
ic touring: the Victorian country towns in June, Tasmania in
July, then to New Zealand where they began in August at
Invercargill and lor seven months worked their way north
wrth Robbery Llnder Arms and their other pieces. But they
lound 'nearly forty companies of various kinds in that Colony
all treadine on one another's heels.' The Directors of the
Wellington Opera House distrained their wardrobe lor non-
payment of rent, and f'homas Heap of the Opera House,
Auckland, became their only secured crcditor when he lent
the Dampiers I30, recciving in return a gold shield of Kath-
INTRODUCTION xlv
erine Russell's - a family heirloom - valued at 160. The
money from this and from the sale of all the Dampiers' porta-
ble property, personal mementos and .jewellery, was used to
disband the company and to pay their passages back to Mel-
bourne and the Dampiers' passage -to Sydney.a3 To add
injury to insult, somewhere during this tour Alfred Dampier
fell down a trap-door which a careless stage-hand had left
open, and sustained injuries which troubled him for the rest
of his life.
From April to July 1893 the four Dampiers managed to
find employment at the Sydney Theatre Royal. Times were
hard and most Sydneysiders passed up the chance to see the
plays the Melburnians had flocked to a few years earlier.
These included Robberl Under Arms, For the Term oJ His Natural
LiJe, Hamlet, The Slaues oJ Sydnry (a rather inappropriately ti-
tled localisation of Maruellous Melbourne), The Green Lanes of
England , Shamus O'Brien, Jess, a new piay by Thomas Somers
called Marmondelle the Moor, The Miner's Right and The Conuict
Hero (Valjean retitled). At about the same time Bland Holt in
Melbourne was writing to a friend 'Affairs have not in any
way improved....working like the Devil....trying to hold
things together somehow but the off nights are very off
indeed.'aa Dampier's comment in his Affidavit was that 'ow-
ing to the suspension of the Banks in the month of May 1893
our employer Aiderman Rainford the lessee of the Theatre
Royal was unable to pay us more than sufficient to pay our
board bill and after struggling on against unprolitable busi-
ness lbr three months he gave it up and we had no engage-
ments or means whatever.' It was the nadir of their careers.
Three events promised a better future. Lily Dampier,
having been abandoned by Jim Marston, married Dick.
Alfred Roker, who acted as Alfred Rolfe, played Sir Ferdi-
nand Morringer in the premiere season of Robberl Under
Arms, George Store{ield in the first revival and Iater Dick
Marston. He and Lily were married in Sydney on 12 July
1893. He gave his age (correctly) as thirty-one, she gave hers
(incorrectly) as twenty-two.45 Roker/Rolfe's mother was Ma-
ry Ann Holman, who was possibly related to the actor W.A.
Holman. Holman studied as a student with Allred Dampier
at the Royal Polytechnic, London, and was a lil'e-long friend.
He sometimes acted with the Dampier company, and was the
father of the Premier who dominated NSW politics from
rlvi ROBBERY UNDER ARMS
1911 to 1920.16 The younger William Holman began in the
Labour Party, and Dampier too was a Labour supporter.
His beneht nights at the Alexandra had included one in Sep-
tember 1BB9 lor striking London dockers, and in .]anuary
1891 advertisements offered free seats to Melbourne workers
'out of employment through the late strike.' If Alfred Rolfe
(he progressively abandoned his real name) was indeed relat-
ed to this Holman family, then his prominence in disputes
with the NSW government during his later career as a silent-
film director is both logical and ironic, for it was his relative
who led the government which banned bushranging lilms, in-
cluding the Dampier version of Robbery Under Arms.
Alfred Rolfe proved in the long run an invaluable assis-
tant and successor to Alfred Dampier, but initially the
wedding beils broke up the team. Lily and Rolfe did not ac-
company the others on some of their subsequent tours, and
did not go to London with them to present Robberl Under
Arms there. Instead they stayed in Sydney and in time pro-
vided Dampier with a grandson, appropriately christened
Alfred Sydney. Rose Dampier was promoted to the leading
roles her sister had vacated, although she still unceremoni-
ously stepped aside for Lily whenever the Rolfes worked with
the company.
The second fortunate event of 1893 was that the Dampi-
ers signed lbr a tour with a new management. One of the
partners, George Buller, later threw in his lot with the Dam-
piers and became what Alfred had clearly needed for some
time: a competent and enterprising business manager. He
was also able to hold down minor leading roles and so save
an actor's salary in the tough struggle back to prosperity. But
there was still the massive debt in Melbourne unresolved,
and in June or July 1893 Alfred Tischbauer (the 'Alta' of the
Alexandra years) demanded the money owed to him. This
third stroke of luck was a blessing in disguise for aithough it
forced Dampier to publicly declare himself bankrupt and
subsequently place his affairs in his wife's name, he was able
to wipe the slate ciean. The tone of the bankruptcy proceed-
ines suggests that 'Alta' had quarrelled with the Dampiers,
and, hearine that they planned to return to England, had
jumped in for his pound of flesh. Flowever it is equally possi-
ble that Tischbauer, who was owed the large sum of 1591
and was therefore probably a partner in the venture rather
INTRODUCTION xlvii
than an employee, was simpiy resolving his own financiai
difficulties and incidentally enabling Dampier to face the in-
evitable from the best public vantage possible
- that of a
debtor willing to pay off his debts but forced to the courts by
an intransigent creditor. Whatever the truth of the matter,
no creditors appeared at the public meeting before the Chie{'
Clerk in Melbourne in July 1893 and when the matter came
to court in June 1894, Dampier was unconditionally dis-
charged from his debt.aT
By this time - the middle of 1894
- the Dampiers and
the economy had both revived somewhat and the planned
visit to London went ahead. Someone, possible Garnet
Walch, had visited London earlier and registered the script
with the Lord Chamberlain; but this was rhe 1893 version
and did not reflect the extensive changes made to it by Dam-
pier since then, so on arrival in London Dampier was ob-
liged to register the new version. The resulting much-amend-
ed script is the one which has survived in the Lord
Chzrmberlain's collection. It shows clear signs of being the
version performed at Dampier's benefit performance in Syd-
ney in June 1894, and does not seem to have been further
revised for London consumption. When Starlight appears in
disguise in Act Three his accent in the revisions is changed
from that o1'a silly Englishman to a lbppish French one, bur
this change, clearly an advantaee when perlorming in En-
gland, was aiready being commented on i.avourably at the
Sydney performance.aB Speaking at that beneht, i)a,.,pier
again waxed over-enthusiastic, saying that he was taking
'about ten' Australian plays with him, and at a subsequent
presentation at the Australia Hotel he allirmed 'he was
satisfied that the British public would gladly welcome stirring
plays which brought home to them the scenery and daily iife
ol their kinsfolk in the antipodes (Cheers).'a!)
However only Robberl Under Arms reached production in
London, and then only in hasty and under-rehearsed form
with an English actress as Aileen. The Princess's Theatre in
Oxlord Street was being leased by Mrs Anna Ruppert and
her company; the Australian actor Herbert Flemming was in
the cast. Possibly through Flemming's introdur:tion the Dam-
piers were able to combine with that company, adding to the
cast list another old 'Australian' actor: Clarence Holt, lather
of Bland, who played Ben Marston. I'he price of the amalea-
xlviii ROBBERY UNDER ARMS INTRODUCTION xiix
up the
mation was that Rose Dampier, as usual, had to give and not the least of its advantages is that it gives a
i""ai"g role, this time to Ni's Rttppett, and play the second bird's-eye view, as it were, of the country and of the
lead i.ac. Storefield; a relatively insipid creation and
one manners and customs of the natives in that far-distant
she had refused to perform in the past lt must have hurt land, where our descendants live, thrive, and flourish.
;;;ply after a y.u, oi'being the leading lad.y to see MrsanRup-
Au- f'he season at the Princess's lasted for seventeen perfor-
f".i p.u.,.i.tg about o,, u *hitt horse and imitating mances. During 1895 and 1896 two English entrepreneurs
stralian accent as Aileen. Messrs Drew and Auld presented the play throughout pro-
Several reports of opening night mentioned the evident vincial England, and according to a report in the Lorgnette tn
haste with which the piece had been put together' However
,the colonial stage pictures are September 1895 it was again being played in London - with
the Labour clarion ,uid th.t
Lily's ex-husband Bill Watkin Wynne as Dick Marston!
thebestoftheirSorteverseeninthiscountry.,Itthought ol Flowever there seems to be no other evidence of this second
Alfred was a remarkably good actor'from whom a many London season.
our rnelodramatic histriois might "topy" with advantage"a The Dampiers in any case had nothing to do with the
and was delighted to recognize, transported to Australia
as
own McGinnis''50 later performances, and were making their way leisurely back
;;;-., t.oo"per, u fut,o,-t'ltt charactei'our
to Australia via the United States. In an article in the Saz
The Times *u, .ord.r.ending, classifying it in the 'forcible- Francisco Call on the 15 June 1895, Dampier gave an insight
l-eeble order of melodrama''51 The great William
Archer con-
and into the unsettled nature ol his soul. "'When I am in Austra-
sidered it 'more Australian that Aristotelian'
became
youthful experiences in the lia," he said, "my whole soul goes out to England, and when
*o.L-.t up.odical about his own I am in London I long for the sights of Sydney".' It was the
Australian bush.52 Perhaps the most balanced account came
on the 27 sort of comment he could only make on neutral territory.
from Clement Scott in tie llLustrated London Nare's
In 1895-6 the Dampiers directed their efforts back to
October. It reads as if Scott knew Dampier and had dis-
Sydney. A new version of For the Term oJ His Natural LiJe was
*..a the pro<luction with him; certainly it recognizes charm Dam-
devised with Thomas Walker (the 'Thomas Somers' of earlier
the play's essential
pi..', lrr,",ri, and its appreciation.of times) as co-adaptor, and attracted 'an enormous audience'
l.rd irrro...rce is plearantly free lrom condescension: on opening night.53 The Count oJ Monte Cristo was back in the
I must say that I admire the courage and plucky endeav- repertoire, and now the Boer skirmishings were again in the
our o1' Mrs Anna Ruppert' Her natural' Pretty and Un-
news rlass was retitled A Transaaal Heroine and became a thor-
artistic perlbrmance in the Australian drama Robberl oughly Imperial success in the years to come, undergoing a
der Arms shows cleariy that she has not mistaken her vo- further narqe change to Britain (sometimes Briton) and Boer
cation. She makes a comely and fascinating little Austra- during the War itself. A new Australian drama (possibly
lian girl; she rides her miik-white steed as to the manner Dampier's last on iocal themes) called To the West was written
bo..tl...Mr' Alfred Dampier, with his sensation play anda in collaboration with another Sydney M.L.A., Kenneth
his stage pictures of Australian life' has received Mackay. Later in 1896 they toured first north and then
cordialwelcomeintheoldCountry.Thedramaisrough south, with newspaper advertisements shouting'The Dampi-
but at the same time it is ready' In the great Lowther ersl The Dampiers!' up the east coast as lar as Townsville
Arcade of the drama there must be toys for all tastes""It and down to Hobart. Lily and Alfred Rolfe were with the
is a ridiculous affectation to maintain we must a1l go
to company and Robbery Under Arms was back at the 'Aleck' in
the same counter. Mr' Alfred Dampier makes no very October. Melbourne Punch observed 'Whenever the genial
special pretences about his play, save that it is
an honest Alfred is running a show, the neighbourhood is like Sheol let
and t.ulhful one, bright, lively, exciting' full o1'picture loose through a sewer shaft. Every character...lires off a sun
and colour. It can do no possiblc harm to anyone;
lt rn- at the slightest provocation, and when the company are not
sentiments in a downright practical manner' taking shooting exercise, they are whooping "Police!"'54
stils honest

A pose and costume reminiscent of his great contemPorarY and ac-
quaintancc Henry Irving. Shakespearean QuarterQ, January 1924, P.2B
(Courtesy Mitcheli LibrarY).
INTRODUCTION li
Another Dampier play Thou Shalt Not Steal was added to the
repertoire this year, and in 1897 the company toured across
to Adelaide and Perth, where an outbreak of typhoid closed
the theatres.
In November the Dampiers again left for England. This
time Lily and Alfred Rolfe went with them, and there were
reports that some at least of Alfred's new repertoire had been
accepted for production in England
- but this is as yet un-
traced. Alfred Rolfe found work in a Drury Lane melodrama
sometime in 1898, so he and Lily stayed in England when
the others returned to Australia. The trip seems mostly to
have been a holiday and a search for new plays. Dampier
brought back to Australia an English play set on the West
Australian goldfields called The Duchess of Coolgardie, and a
new play of his own, Euerl-Da1 London. When the Rolfes re-
joined them in Adelaide in March 1899, Dampier worked up
his own version of The Three Musketeers with himself as
D'Artagnan and Lily as 'Miladi.' But Robberl Llnder Arms was
still the company's showpiece, and silk playbills preserved in
the La Trobe Library in Melbourne show that it was now
famous and respectable enough to be given by Vice-Regal
Command in Adelaide (1899) and Hobart (1902)
In the Mitchell Library there is a surviving account book
which gives linancial details of the Dampiers' Tasmanian tour
(I)ecember 1899 - January 1900) and their seasons at the
Melbourne Alexandra (February - March 1900) and Syd-
ney Criterion (April - September 1900).ss On the expendi-
ture side it has entries for fireworks, chemicals and other es-
sential tools of the spectacle melodramatist; and details of
royalty piyments such as 'Royalty I Robbery f1.0.0'. Mrs
Marcus Clarke was still getting a guinea for each perfor-
mance of For the Term of His Natural LiJe, but an overseas play
The Duke's Motto tryas costing two guineas - another slightiy
less admirable reason why Dampier 'wrote' so many of the
plays in his repertoire. On the income side are listed the box-
office takings for each night. Friday was now nearly always
devoted to Shakespeare and in Melbourne the receipts for the
{irst night of a Shakespearean production were as good as, if
not better than, the comparable melodrama opening. Here
the two Australian classics were somewhat less popuiar. For
exampie, opening night attendances at the Alexandra
in order of production Robbery (lnder Arms f94.19.6;
grossed,
lii ROBBERY UNDER ARMS
Britain and Boer f112.15.0; The Merchant of Venice 1100'4'9;
His Natural LiJe t84.12.0; Hamlet t109 12'0' In Sy<lnt:y how-
f,AIIACIEBIAL NOTE. Tlk Plsr is r cor.ect spmsnhlion oftho pr;nc;p6l erelh iD thr rie rDd 1il| ot
Nd f,"lh..,nd br. bislnn. G6Ds or 8u:bnDs.BBho [.,1 "'"r *i t." ,"a .A"r il ab.ol'il. dpdsoe,
'". '*^
"osri,.! lh" Grv"rnm",,t ll,/,',t"diLh um,,unt nt tlljr{0, snM lrdm rh" lsocltEhlp @ndce uf life ih.,d"okl b
tbrtr "I{un lhrn! th- o,rion ot th, fr@ ouI Fsl,sh. ;prpynhrionr ol Arsrmli.o BMb L'fe snd Smtrd
@ Bhd\n ,urmiDdrou ,n s Msgn,h@nl tutri. Dhpls,. shui,ry tL+ hnrDiDg ot thp Gjoororsn Ilot.l. an.l Nea
f,ellr's ls{ (snd n, hk Lullerproof smoor.

ever Shakespiu." ,rr,1 the other plays ran a poor scconcl to

the Australian plays:(.Rolber1 (Jnder Arms f126'7 '0 F)rtst l1tnne Ca$t

f77.7.6; Briton (sic) and Boer f.4B'12'6; The Merchctnt of Venice

f.57.19.0; His Nanral Ltfe LLOO'2'0)' Although Melbourne
*u, .o.rrir,"ntly better (albeit during a shorter season)' it was
Sydney which rewarded Dampier in the two pic<:cs which
.."- io have grown dearer to his heart than even his bcloved
Bard, and the Sydney Criterion was used for long scasons
until his retirement.
Robberyt Llnrler Arms had an enormous influencc on
the
shape of bushranging "of
drama as a genre' In 1899 there was a

.p..tu.r.,I.. pie.. plagiarism by Arnold Denham whosc 7'lze

kat1, Co"g ui Sya".y't Op".u Flouse was. heavily indebted to

Dairpie."and *alch's play. This is not altogether surprising' SYrrotPSIg.
since the stage version ol Robberyt [Jnder Arms had rather more
to do with tle Kelly gang than its authors admitted (this is
Act L The First Shot.
T\etrellyBEoEeatG!€ts-
of lilscrnrr
{!lnJtn,.l).ug[broftLeBush. KateKdl,y!lire.. Nd-Kellr's\o'
AD l,Frhliu (iirl knolvs hos r, h\. .8. ot Lcr.elt A lrrel n, rh. t).alh. I r.,,risi SGier.

discussed in the next section). Denham's play begins in

simi- lil/1,'tr,l. l ill._ Lrr.h,ll\ d Li) l'il'nl [ro,)t.N .'Strr. mJ LilL,n{ D) \\in.ud Littlr (Ires,, liSht
\irl, rl,r I1lr.. l.- 't,. ,t l,r.r.at'i.r l|" trr5t lr'..1 ,t lttu,n!-t'p4 Uurdor ofS€reeEnt NoDnedv -
llut
lar lashion ro Robberl Llnder Arms at the
ta in North-Eastern Victoria where
Kelly's
Kate Kelly is
near Gre-
assaulted Act
Scene
II. f1000 H,eward, Dead or Alive.
I Ioteilor Police Station, Euros. Tl,e $)ft ll.str ofa TnDper. -flr Qx.sti,, oia L{d\'s ,\s..
by a lecherous trooper and the Kelly boys swear revense' 1lx 1!ainir lrlonlrr th.dri"g rh. Gils s.rf,.nor si.;t. i L,n,.natn,r
Scen€II.'WombatCavesrStrathbogieRaugear. u,,yll)rn,.rL,.r, .,'-l'prH,{1,,r .\'t,h',.ritr
r'1"'1, A" \nf,l B.'r'iL,r I N,ri" r,iffc8. -,{ll $0 (rrd\iromf in thr \\,,rlt (nild n,tr Lr
Most obviously plagiarized was the comic sub-piot' Maginnis '1,. \!r, tala
.A lth,,s-,xi,Fl.. \\J,,1r,,s
, h1r, h-llL I r,tArilchar,J h,r, \.1.,,,t,, tr"
"."1,,,...,r,,,
lr, rl,,, r ,r , -'.,, r' ',,,A DF€d of vencesnce

and O'Hara turn uP as Moloney and Murphy, 'Two

Bould(?) Sons of Erin,' and Miss Euphrosyne Aspen becomes Act III. The Bank Robbery.
Sc€tre I. Bank oI New South Walss, Jerilderie. 1'1,, n, L.,t.r r !r rhr IaiJ. tl" t;uug t;_DiJ
Mis Melpomone Prim, 'a giddy young thing of 60'' The sy- !ui! \\lo,',,\,n,r,,\,,t t\"t. rt,. tnr-trrrr!,r' : l'[. lt.,,,tsru"krt).

nopses oi the sub-plot scenis are remarkable similar to those

of'Robbery [Jnder Arms, even to the extent of containing a se-
quence 'it[.lpo*orle Prim wants her fiver back'' Oddly Dam-
pi.....*. to have taken no stePs to suPpress the production; The
possibly (but it is only a guess) because the script had been
gtror,.i by the now forgotien flgure of Garnet Walch' Walch
iruy hu,r" been hired as a minor actor during the 1BB8-92
,"uro.r, at the Alexandra, since a Mr' Garnett or Garnet is
regularly credited in the playbills, but it. is not known what fhe -rrnour Worr !y Ned llellv Sp*ially Co$tructed frou Mod,els of tle Origi.!il iE the
fin-ancial agreement he had with Dampier' His name does
Ileasuy' Meltoume
Mechanical Effects by - Mr w pApps & Assistants
lncidental Music by Mr. H. FLORACK. Leader. Mr. HARDY
,rot upp.uiin Dampier's bankruptcy paPers, nor was he be-
i"g puia any royalty in 1899-1900 according to the account Prices - 2s. 6d, 2s, Is, and SIXPEiICE
Uo"ot ai..rrsed above. His later career, from iB93 to his Box Plan at PrliDt a. Day Ticlek Johaslotre & Co., 8lrsDd

death in 1913, is unknown' But he seems to have been prin-

F.'il\ tI"{.. ;, ri'i ;:!lr, ln-,lir'd srJ Ear'r D-,{. Sr\1- ,., }:\rn
lj.\]'s()\ & co.. l,TD., ttl\]ERS, 89 yORX STRErf, S) t,\E\
responsible for the comic scenes in his collaborations
cipally'Dampier.
(There is no evidence that Dampier ever Detail from a poster for the 1899 production of 'I'he KelQ Gane
with which stole many of its characters and episodes frorn Robberlt Under
.4rzns (Courtesy State Archive of NSW).
Iiv ROBBERY UNDER ARMS
wrote comedy and indeed this may explain why he so regu-
iarly sought out a co-author.) Walch may well have consid-
ered that he had as much right as Dampier to exploit at least
parts of Robberyt (Jnder Arms for his own profit. But whatever
the truth behind the origins of The KelQ Gang, it was a huge
success, toured Australia for many years and was probably
the version made into the famous early silent filrn The Kelll
Cang.56
Dampier himself celebrated the coming of Federation in
1901 by rewriting in a predictable way an old bushranging
drama The Bush King by W.J. Lincoln. This play by a then
young Melbourne playwright had been performed in London
in 1893 and 1897, and in Melbourne in 1894, but without
great success. Dampier added a hfth act, called the hero
Captain Midnight instead of Captain Dart, and opened it on
Australia Duy - 26 January 1901. Although still in demand
as Starlight for sentimental reasons, Dampier was getting
somewhat old and corpulent for dashing bushranger roles.
Rather than attempt Midnight he built up for himself the rni-
nor role of 'an intemperate but loveable old bushman,' Ned
Harling.5T Dampier's success in this role was probably not
forgotten by a young actor ol the time, Bert Bailey, who was
to immortalize the type as Dad in stage and lilm versions of
On Our Sclertion.
to judge the extent to which Dampier was
It is difficult
able to fight his way back to a place amongst the leaders of
the Australian theatre during this last decade of his career
(1895-1905). In spite of all the new plays, and the success of
old ones, and the very popular seasons - particularly in
Sydney - there is a touch of nostalgia about many of the
reviews. Many of the books and theatrical journal articles
which included surveys of the Australian stage and Australi-
an stage personalities during these years dismissed the Dam-
piers in a line or two, if they mentioned them at all. Bland
Holt had established a clear lead in the field of popular meio-
drama, and he cut away some of the ground from under
Dampier's leet by'Australianizing' his London and American
scripts and introducing extraordinary military and sporting
spectacles which only a very Prosperous management could
afford. Ironically it was Holt who paid Henry Lawson for
lists of Australian phrases which could be slipped in amongst
the English dialogue ol his Drury Lane plays, and Lawson
INTRODUCTION lv
and 'Banjo' Paterson who wrote to Holt requesting free seats
for their families when 'The King of Melodrama' came north
for his annual Sydney Showtime season.58
One journal which did give Dampier his due was the
Theatre. In its first issue in March 1904 it lamented that 'the
great bulk of our amusements is imported,' but then noted:
'the Australian drama is represented by a few plays in
the repertoire of Mr. Alfred Dampier, such as "Robbery
Under Arms," "For the Term of His Natural Life," etc.
Mr. Bland Holt's "The Breaking of the Drought" is not a
specially Australian drama. Indeed it might be regarded
as ultra-English. Of course, in it are made references of
various import concerning the bush and the back-blocks.
But the attempt to make a play written in London a viv-
idly local production, savouring of the soil, is somewhat
of an effort.'
The Theatre also congratulated Darnpier, 'that courtly gentle-
man and scholarly actor,' for 'holding aloft the gonfalon of
traditional legitimate drama,' by which it meant Shakespeare.
But this was eccentric editorializing and when the Theatre was
successfully revived in i905 as a monthly publication, it
reverted to type and devoted most of its gloss to imported
stars.
In 1904 Dampier's health began to break down. In Octo-
ber 1905, as the newspapers announced the death of the
great Sir Henry Irving whom Dampier had acted with more
than forty years earlier, he began his last season at the Syd-
ney Criterion. Alfred Dampier Junior was now a capabie
young comedian, playing Ginger Joe in The Bush King and
Warrigal in Robberl (Jnder Arms. His father's last performance
on any stage, although he did not know it at the time, was as
the Rev. North in For the Term oJ His Natural Ltfe on 10 No-
vember. It was r'eplaced by the JCW production of The Gon-
doliers, whtch was to be an all too common pattern in the Au-
stralian commercial theatre for the next fifty years. The
Brisbane Mail observed gloomily on 10 September 1904:
'Alfred Dampier is the best friend of Australian drama that
we have in the whole of Australasia....if there were a few
more Dampiers there would be scope for Australian writers.
But there are not any more...' This defeatism was premature.
Bert Bailey, Alfred Rolfe, Edmund Duggan, W.J. Lincoln,
 INTRODUCTION lvii
Raymond Longford and Lottie Lyell had all worked in Dam-
pier's company and carried on his mission, and Dampier's
plays went after his death into the repertoire of the William
Anderson company. The silent film rather than live theatre
became the major mode of expression for stories of Australi-
an life, although many stage plays includirg Bailey and Drg-
gan's On Our Selection (1912) and Kate Flowarde's Possum Pad-
t<
03
dock ( 1919) were still to come.
t<
Early'in 1906 Dampier left yet again for England. A
J picture of him at the time shows a snowy-white, exhausted,
O watery-eyed old man. The trip was supposedly for his health,
O
though one suspects that it was more for the good of his di-
\3
z vided soul. He described Australia in the accompanying in-
a
O
terview as 'the land of Romance' and mentioned a recent
*J

t-t newspaper report he had read about a solitary old man who
O
l-)
had died on the banks of the Murray while reading his be-
loved Flomer, and another of a copy of Shakespeare being
found beside a skeleton in the desert in the Northern Territo-
ry.5e In occasional scrapbooks of his press clippings which
(-)
O

O
survive in the Mitchell Library, stories like these are pasted
t-r amongst the reviews of his productions. For Dampier melo-
!
O
drama and the classics lpere Australian life.
0r Alfred Dampier died quite suddenly, though not
"- unexpectedly, of a cerebral haemorrhage at his home inGood-
hope Street, Paddington, Sydney on Saturday night 23 Muy
li
+-) 1908. He was buried on Monday 25 Muy in Waverley Cem-
etery in a select Church of England area on the south side
tr<
L half-way down the long slope towards the Pacific breakers.
An old family friend, the Reverend G. North Ash, read the
\
q

\\ service and remarked 'It was a sad coincidence. . . that the de-
ceased...who did so much for the British Empire, should be
\\ t-
buried on Empire Dry.'uo Dampier would have approved of
5 the comment, though others had read a more independent
\\ L)
*s national message'into his texts. Later the Sydney Truth and
^s
a
n( the Sportsman organised an appeal to erect a monument over
q-r
o his grave. It is there today: a white marble book marked
O 'shakespeare' on a large stone box, with the inscription 'An
O
() accomplished actor, a cultured playwright,' followed by a
a
quotation fro m Macbeth.
03
' Opportunists as well as mythologisers were at work. The
0) early silent-film industry quickly came to demand actors in
F front of real scenery; in the years before the flood of import-
lviii RO]]BERY UNDER ARN{S
eci 1i1nis this gave an enormous impetus to the hlrnine ol Au
stralian stories.'fhe theatrical cntrepreneur Charltrs M:rt'
Mahon made a lilm version of Robbery Under Arm; in 1{X)7
and ol For the Term oJ His Natural LiJe in 1908.'l'ht'lirst
scems to have been worked up diiectly from the nov<:l ittt<l
historical sources; the second may have owed sornt:tltirtQ ltr
onc of the Dampier versions. The actor Alfred Bootlttrtittr
was associatecl with both fllms; he had played Rulus I)rrwt:s
in Dampier's 1886 vcrsion of Clarke's novel, and was (it'ot-gt'
Storelielcl in the 1890 premiere season of Robberl (lrulrr Artttt'
although he left the Dampicr company to go int'r rrr'rrt:r1l('
ment himself shortly afterwards. Boothman travcllecl witlr (ht'
fi1rns and narrated the story, accompzrnied by siiuncl t'll<'tts
and piano and string accompaniment. Both wcr'(r lrrrgt'
successes.6l
In Lily Dampier and Alfred Rolfe deciilctl lo llv
1911
the new medium themseives. They signed a contrlttl wi(lt
Spencer's Pictures to make a series of Iilms lrom I)rtrrrpit'r's
scripts. They made thrce: Captain Midnight, the Ru'th liittv
Captain Starlight and T'he LtJe oJ RuJus Dawes, changing tlrt
natrles of the last two presumably because o{'the still-popttlrtt'
MacMahon vcrsions. One highlight of Captain Mitlnight's
exploits involved him lcaping lrom a clill into a rivtr :rrttl
swimmins away amid a hail of bullets; a sccnc very rcttritti-
scent of the 1891 Wild West drama 'I'he Scout. lJnlbrtunatt:I1'
no fragment of any ol these hlms has survivcd, and so wc ar(l
denied any moving image of Lily's ar:ting. How close thcY
c:rme to immortality is shown by the fact that Rolle left :rlierr
the hrst three pictures to become a director for the Australian
Photo-Play Company, leaving Raymond Longlbrd to take
over the direction of a fourth Dampier script,4z English Lass,
screened later the sarrle year as 'l-he Romantic Story oJ Margaret
Cttchpole. About hall this h1m survives, but it is Lottie Lyell
who pranccs around on Mr Spcncer's horse Arno, not Lily
Dampier.
Lily Dampier died suddenly in Melborrrne on 6 iirL rl!r.i,
ll,,rNri'if ,,i i;{r,i. i,, I l1Lil,' llirll,,lr,,i,- l\,i
Febru-
ary 1915. Alfred Rolf'e hurried from Sydney to be with her,
but she -joined the great majority less than twenty-fbur hours The first film version made in 1907. The story was worked up Iiom
alier his arrival.62 Her rnother Katherinc Russell died a few the novel and liom its historical origins (e.g. the Mrs. Keightlcy of
months later; she was lbr some reason living in Pennsylvania the real-lil'e incident rather than the Mrs. Knightlcy of the novel). A
with Rose and Fred, neither of whom seems to have returned lbrrner membcr of the Dampier company provided thc nariation.
The Theatre, 2 .January 190ti, pp.12-13 (Courtesy Mitchcll Library).
to Australia.(jlJ Allied Rolfe became the most prolific of early
Ix ROBBERY UNDER ARMS
silent-film directors, remaining active till about l{)20 FItr
died on 9 September 1943 in Sydney aged eighty-otrc, ltrtvittg
outlived the other ma.ior figures in the drama by a gt:tt<:t'it-
tion.64 I.ike Raymond Longlbrd he became disillusiont'<l lrv
the fights with governments and distribution comP:tni('s, l(:li
the entertainment industry and devoted his later yczlrs (() ittr)-
ateur athletic organisations.
The spirit of Dampier's odyssey continued' Playing rrri-
nor leads in all three ol Dampier's Australiarr plrrys
committed to Iilm in 1911 by the Rolfes, werc two y()trrrrl('r'
actors who worked with them, who learnt about filrn-rnirkirrg
with them, and who must have learnt from thcrrr Alli:<l
Dampier's approach to 'natural' restrained acting antl his lrt'-
lief in Australian stories. The couple were Raymorl<l Lorrg-
lbrd and Lottie Lyell. It is pleasant to speculatc thirt (1.f '
Dennis might have once attended a Dampier Friclay pt'r'lirr'-
mance of Ro*eo andJuliet in Melbourne and remernlrcrctl tlrt'
experience when he came to write the famous 'At tht' l'liry'
s.q.,.r-,." in The Sentimental Bloke- (Certainly it wrIS rrr()r'('
likely to have been the Dampier company than zrny otht'r")
The comic description of the Bloke's earthy gallery-liktr rt'-
sponse to the Tybalt-Romeo duel, and the genteel rcs[)()r)s('
of Do....r and the family-circle audience around thcrtr, is t:x-
actly the kind of cross-class reaction to the play which [)arn-
pier must have achieved with his strange mixturc ol str:right
Shuk.rp.u." one night and popular melodrama the ncxt lt is
tempting also to see Longlbrd and Lyeli's realisation ol this
scene in their 1919 film as a comic tribute to the cornpatry
they had once worked with. But the exact correspondenccs
hetween the old Australian drama and later celebrations of
the local on Iilm is a part of Australian cultural history which
has yet to be written.
Robberl Under Arms
(a) The play
Although Ned Kelly had been hanged less than two years
before the Sldnq Mail began publishing Robberl Under Arms as
a serial in.]uly iBB2, the adventures and iegends of the Kelly
INTRODUCTTON lxi
gang are only occastonally echoed in T.A. Browne's (Rolf
Boldrewood's) novel. His fictional locale was on and around
the Turon goldfield near Bathurst in New South Wales, and
he had extensive knowledge of those areas and of the bush-
rangers who had inhabited them. R.B' Walker has traced
many parallels in the novel to real-life bushrangers, their ex-
ploits, and their haunts, including Terrible Hollow;b5 it is
sulficient to note here the origins of some of the major char-
acters and incidents. Captain Starlight has links with Harry
Redford and the minor bushranger Midnight, but George
Scott (the gentlemanly'Captain Moonlite'), and Frank Gardi-
ner, leader of the gang that robbed the Forbes gold escort in
1862, are the major sources. Gentlemen outlaws were com-
mon enough on the stage. When Dampier and Walch made
Starlight the innocent bearer of a brother's guilt with a griev-
ing mother at home in England, they were simply returning
the character to the meiodramatic stereotype from whence he
came.
There were many bushranging brothers, but Dick and
Jim's closest real-life counterparts were surely John and
Charles Gilbert, who were introduced to crime by Frank
Gardiner and helped him rob the gold escort. .John Gilbert
later escaped from police who were attempting to take him
and his brother into custody. In an episode closely imitated
in the novel, he organised a daring counter-attack on the
troopers escorting Charles to prison and secured his escape.
Both brothers aiso attempted to start new law-abiding lives
working on the goldlields, although in New Zealand rather
than on the Turon. .]ohn Gilbert's sister Ellen, who married
an Irish bdronet, may have contributed something to Aileen
Marston, although Dampier and Walch's Aileen is in the
stage tradition of the agile but true currency lass.6b Warrigal,
a surly and traitorqus half-caste in the novel, also returns to
his origins as the loyal and mischievous stage aboriginal. Dan
Moran the 'bad' bushranger has always been assumed to be
based on Daniel 'Mad Dog' Morgan, but the vicious John
O'Meally from Gilbert's and Ben Hall's gang is another close
parallel. Sir Ferdinand Morringer, the gallant and aristocrat-
ic police inspector, is unmistakeably Sir Frederick Pottinger,
the Inspector in charge ol the western-district police in the
eariy 1860s and a brave and relentless pursuer of Frank Gar-
diner, Ben Hall, and the Gilbert brothers. Sergeant Goring is
lxii ROBBERY UNDER ARMS
perhaps based in the novel on a Sergeant Wallings who at'
i.-ptla to arrest the bushranger Midnight, but his dramatic
counterpart is a stage type that T.A. Browne consciously
eschewed: the corrupt and vindictive policeman. Browne, the
friend of many policemen and one-time police magistrate,
could not bring himself to portray police corruption and per-
secution as major factors in driving young colonial men to
'cross ways.' Here the play 'improves' on the novel , zt least in
the opinion of those who gave credence to Ned Kelly's Jeril-
derie letter:
They were not satisfied with frightening my sisters night
and duy and destroyirg their provisions and lagging my
mother and infant and those innocent men but should
follow me and my brother into the wilds where he had
been quietly digging neither molestirg nor interfering
with anyone.
and earlier in the letter, referrirg to the same incidents: fl
the greatest ruffians and murderers no matter how de-
pri".a would not be guilty of such a cowardly action. .I
don't think there is a man born could have the patience
to suffer it as long as I did. . -67
I)ampier and Walch's principal invention in their adap-
tion was ifr. story of Act I which, while it draws on dialogue
from the first chapters of the novel, is a new construction de-
signed to invite their Melbourne audience to identify Dick,
J; and Aileen with Ned, Dan and Kate Kelly, and Starlight
*itfr Victoria's own gentleman bushranger, Henry Power. In
the novel the Marstons meet Starlight at Terrible Hollow
having drifted into catrle-duffing out of loyalty to (and fear
of; thlir father. In the play however captain Starlight ap-
pears mysteriously and romantically at the Marstons' farm-
ya.d gate, much as Harry Power is popularly supposed to
have done after his escape from prison in 1869; arrivirg at
the Kellys' farm near Greta in north-eastern Victoria and in-
troducitg young Ned to bushranging. ,\ i igi li 9,,';;4 i i s ,,\ h,* *, & l,l:,*i,
The play omits aty hints of wrongdoing before the end
of the act. The Marstons live in an idyllic pastoral world;
even Jim's jealousy of Dick is a token throwback to earlier
forms of melodrama and is not pursued further in the plot. From The Theatre, I November 1905, Supplement.
Dick once rescued the infant Grace Storefield from drownirg

ROBBERY UNDER ARMS
(an incident from Ned Kelly's adolescence which is in both
novel and play) and Jim has rescued the adrrlt Grace lrom a
bolting hoise, an episode which occurs to Miss Falkland in
the novel. Grace values Dick's rescue more highly (an odc-l
contradiction since 'Everybody loved Jim'). It seems that
Dampier and Walch intended a more thorough revision of
the love element in the story, but abandoned it after Act I
and quickly and somewhat gratuitously introduced Jim's wili:
Jeanie u.ri h". sister Kate Morrison, a one-time
lover ol'
bi.k', whose machinations are central to the plot o1' both
novel and play.
The ending ol Act I moves on to the celebrated Consta-
ble Fitzpatrick incident which led to the Kelly breakout anrl
to the bitter Ieelings Ned expressed in the Jerilderie lettcr'
Fitzpatrick arrived in March 1B7B at the Kellys'home to ar-
rest Dan on a charge ol horse-stealing. He was drunk, hzrcl
no warrant, had previously fought with and harassed thc:
Kelly brothers, and tried to sexually molest Kate Kelly' Not
surprisingly there was an argument, the end result of whit:h
-Constable
was that Fitzpatrick departed and after three hours
at another hotel reported to his superiors that Ned and I)an
had tried to murder him. Warrants were issued for Ned's ancl
Dan's arrest, and their mother with her six-week-old baby
was given three years in Pentridge prison on the word ol a
policeman who was to be dismissed lrom the lbrce within twtr
y.r,., for lying, perjury, drunkenness ancl other misdt -
meanours. It was exactly the kind of outrageous police behzr-
viour that T.A. Browne carefully omitted from his novel, but
in the play Sub-InsPector Goring's behaviour is a watercd-
down but still odious version of Fitzpatrick's; deliberately in-
serted to stir memories of the legendary injustices done to thc
Ke11ys.
While Alfred Dampier and Garnet Walch wt: re
themselves just as law-abiding and upright citizens as T'A'
Browne, they differed in their view of the way in which hu-
man beings behave and the way in which works of art could
have a moral function. For Browne humans are ultimately
responsible lor their own actions, whatever their upbringing
and whatever pressures are placed upon them; they recognize
right and wrong and know that they ought not to transgress.
The novel acknowledges the influence on Dick and Jim of
INTRODL]( I'I'I()N
their father, old Ben Marston the cx-convitl, ;rrrrl 1ililily r)llr('t
mitigating factors, but Dick Marston in his owrr rrlrtt;rliott
admits that this is not enough. For Browne the road to tt'-
demption is through the long years of retribution in Berrirna
Gaoi, and the telling of the story of'Robbery (lnder Arms is a
constant tension between the romance, adventure and temp-
tations of flash ways and the inevitable consequences of giv-
ing" in to that temPtation.
Aifred Dampier saw things differently' His view was
influenced by his idea of drama as embodying the theme of
human regeneration, a morality which he had already ex-
pressed it Valjean and in his stage version of the other fa-
inous Australian novel of the period, For the Term oJ His Natu-
rat Lift. Regeneration differed from redemption in its sharper
recognition- that social institutions themselves were flawed
-sometimes
and deeply evil. Dampier got the theme from Zes
Miserables and from Marcus Clarke's view (which became the
popular view) of the excesses of the Australian convict era'
in-applying ihe theme to post-convict times in Robberlt Under
Ar*i,-Dutnpier was suggesting that as well as the sins of the
father being visited on the sons, society itself was still directly
responsible for the behaviour of its worst citizens as well as
its best. Both individuals and society had to be regenerated
through mutual forgiveness.
In working this theme into the play, Dampier and Walch
were able to stick more closely to the novei in Acts II, III,
and IV, with a few exceptions. One is the Iong discussion in
Act III scene 1 between the disguised Starlight and Sir Ferdi-
nand and Goring, where the theme is stated baldly:
GORING: I hear they've quite abandoned bushranging and
settled down as diggers.
STARLIGHT: Then why not leave them alone?
GORING: (Honiiid) Leave them alone?
STARLIGHT: Yes. I should think it would strike even you,
a professional thief-catcher, (GORING starts, and is about
to interrupt, but STARLIGHT restrains him b1 an impressiue
gesture) ihat in mercilessly hounding down the criminal
*ho h^t repented and reformed, you either drive him to
worse deedi, or render him by your Persecution, an ob-
.ject worthy of the truest PitY?
lxvi ROBBERY UNDER ARMS
This dialogue is not in the novel, although Starlight does say
once 'Society should make a truce occasionally, or proclaim
an amnesty with fellows ol our stamp.'68 The play picks up
this idea and makes it the guiding principle of both the dra-
matic construction and the ending. The dialogue quoted
above is only part of a long claptrap sequence on the subject,
set squarely in the heart of the play.
One alteration to the novel which the stage authors made
and then unmade concerns the supposed death of Starlight.
In the original 1890 version of the script, the siege of
Storelield's house in Act IV scene 3 culminates in the house
being set on {ire. Starlight is wounded and apparently dies in
the flames, while Dick Marston becomes an outlaw in hiding.
This of course is suggestive of the Kelly's iast stand at Glen-
rowan, the firing of the Glenrowan Flotel, the incineration of
the outlaws inside, and the persistent rumours that Dan Kel-
ly had escaped the conflagration and was being kept hidden
by friends and well-wishers. In later versions of the script,
written after Dampier had left Melbourne and was again pri-
marily targeting his work on Sydney (and after he had
bought himself a superb rain, hail and lightning effect), this
scene was revised and another two scenes added to the:rct.
Act IV scene 5 with its thunderstorm and 'weird' supernatu-
ral atmosphere reminiscent of Macbeth, reverts to the plot of'
the novel, as does the added first scene of Act V where Dick
Marston is in prison awaiting his execution.
Another alteration which Dampier and Walch made tcr
these middle acts was the structuring of the episodes, and
here it is necessary to go beyond the script which has sur-
vived, and consider two piaybills from performances in 1899
and 1902.6e By this time Dampier had transposed Acts II
and III. In the London version, which is the script repro-
duced here, there is already some grouping of similar epi-
sodes into the acts of lawlessness (Act II), attempts to lead a
new life (Act III) and acts of atonement (Act IV). In the final
version of the script, which unfortunately has not survived,
Dick and Jim are made outlaws by the events of Act I, but
then immediately try to go straight by honest industry on the
goldfields. It is only after their persecution there by the vin-
dictive Goring (whose immediate stage antecedent is surely
Inspector Javert in Les Miserables) that the Marston boys
INTRODU(]'I'I( )N lrvtt
break out in Act III in wild acts ol bushrangirrg.'l'lris rrlstr
moves the bailing up of the coach - the biggest sensation in
the play, by all accounts - from the end of Act II to the end
of Act III, giving a more satisfactory shape to the play over-
all. It is noi possible to simply transpose the two acts of the
existing script, but a director should certainly consider asking
a scripi *riter or dramaturg to make the transposition and
undertake the rewriting necessary to remove inconsistencies'
The path to the gallows becomes a steady descent, and this
enables Dick, Jim and Starlight to show their innate decency
at the point of no return.
Afier the excitement of the first four acts, it must be ad-
mitted that the last act is disappointing. The first scene seems
to be a draft of an alternative beginning for the play Dick's
escape is not indicated or anticipated in any way, and this
adds to the burden of improbabiiity which the second and
last scene has to carry. Scene 2 is almost completely an
invention of the stage adapters, and for many contemporary
commentators did not work. Again a modern production
might well look at substantial revisions here; it may even be
thai a satisfactory conclusion could be made from the ending
to Act IV, for the play is almost certainly too long for a
modern audience to sit through, and the material in Act IV
scene 5 was originally used at the end of the play'
There are many other hints of stories from popular plays
being used in both novel and stage version. The most obvi-
orr. i, the episode at the Turon races where Starlight's horse
Rainbow wins the Grand Handicap.To This is closely mo-
delled on the Derby Day scene from Dion Boucicault's Flying
Scud (1866): In that play the jockey is drugged just before the
start, and the old Yorkshire horse-trainer peels off his coat,
calls for the colours, and announces 'I'm going to ride Flying
Scud for the Derby.'71 Boldrewood, working against the mel-
odramatic imaginatibn, does not have Starlight ride Rainbow
at the Turon races, although the drunken jockey and the
trainer are combined in the character of Jacob Benton, 'a
wizened, dried-up old Yorkshirern-an,'72 who manages to stay
sober until aJter the race. Again the stase version returns the
story to melodramatic orthodoxy.
The comic sub-plot, which lor some reviewers set the
tone for the whole evening, is almost certainly Garnet
Ixviii ROBBERY UNDER ARMS
Walch's majorcontributionto the script. Miss Euphrosnye As-
pen and the two troopers Maginnis and O'F{ara were not
new types; a comic old maid had appeared in Philip Beck's
version of Fergus F{ume's novel Madame Midas which Dampi-
er had produced the previous June, and bumbling Irish cop-
pers were certainly not new to Melbourne audiences. But
even today the charm and warmth of Waich's broad charac-
terizations are apparent, and give the script a kind of inno-
cence which would appeal to those young playgoers who have
always been the target audience for Australian melodrama.
(b) the text
The only known manuscript of the stage adaptation ol
Robbery Under Arms is one made by a copyist, and later
altered by a second hand, lbr the Lord Chamberlain's oflice
in London prior to the play's 1894 season at the Princess's
Theatre. This manuscript is now held in the British Library's
Department of Manuscripts, together with other scripts clat,
ing from this era when the Lord Chamberlain was the oflicial
censor and licencer ol plays performed on British stages. It is
hled as Add. MS 53559.D in the Lord Chamberiain's Colicc-
tion.
The original text is an exact copy, with all stage manaqe-
ment notations, of a prompt-script submitted to the Lorcl
Chamberlain's office. The copy was made in late January
and early February 1894. The problem for an ediror is thar
this copy has been extensively revised at a later date by a
second hand. lt is reasonabiy safe to assume that the second
copyist worked through the original copy on one or succcs-
sive days, adding to, deleting, or replacing with new dialoguc
each and every section of text which did not conform to that
contained in a second prompt copy of the play submitted at
some unknown later date. In places the deletions render the
original manuscript indecipherable and the aiterations are in
thernselves so substantial that the publication of a composite
text containing all the variant material is not possible. The
present edition therelore is based solely on the later, revised
text (hereafter D) and ignores ali variant readings in the orig-
inal manuscript (herealier C). A synopsis of the principal
changes to each scene is included at the back of this volume,
and one sequence from C, the first'Billy the Boy'section
INTRODUCTION lxix
from Act II scene 1, has been reconstructed as fully as possi-
bie and included as Appendix A. This, when corrrparcd with
the Warrigal sequence which replaces it, enables the interest-
ed reader to see how character, plot, and dialect interact in
the writing of this kind of melodrama.
Comparison with plot synopses and character lists from
other seasons of the play show that C and D represent only
two successive steps in a ionger evoiution of the script from
its original 1890 form to that used in the early years of this
century. There are at Ieast five major alterations to the
script, although the attendant problems which the changes
create are not always solved in a manner which would lead
the modern sensibility to describe them as improvements.
But there are good dramatic and historical reasons for each
change.
Version A'. the original production, 1890.
In A there is an additional comic sub-plot element, an
Irish family called O'Hooligan, with many children. Billy the
Boy, the young larrikin and bush telegraph of the novel, is
an important character, taking in versions A, B and C much
of the dialogue allotted to Warrigal in D and E. The major
difference in the plot is in Act IV, which contains only three
instead of five scenes. The first scene begins with Starlight
and the Marstons, including Aiieen, in hiding at Terrible
Hollow. Aileen is wearing'the Red Cross' but it is not clear
who her patient is. They leave when they hear of the planned
attack on Storelield's house. In the second scene Jim Marston
is attacked and killed by Dan Moran. In the third scene at
the Homestead, George Storefield is at home, but is lured
away by the bushfire which Moran and his gang have started
at the 'five mile.' (This explains his puzzling entrance in the
corresponding scene pf D even though Grace has told us 'my
brother's away;' evidently a new beginning to the scene has
been attached to the earlier plotting.) At the end of the scene
in A troopers arrive and attack the house, injuring Starlight
who apparently dies in the conflagration as the house is set
on fire.
Act V has only one scenerwhich seems to be a combi-
nation of later-deleted material and sections from D's Act IV
scene 5 and Act V scene 2. Dick is in hiding, it is Aileen's
Ixx ROBBERY UNDER ARMS
birthday, and the scene is near the Queenslzrrrrl lxrrtlt'r. 'l'he
revived Starlight, Warrigal, the troopers and M()r;lr irll zrr-
rive in hot succession, with Sir Fedinand carrying thc par-
don. Warrigal avenges .|im's death by kiiling Moriin (o zrdd
poetic justice to rhe happy picture.
Wrsion B: November 1890 - April 1893.
The exact progression of the script lrom A to the
surviving C is not clear. Comments in reviews suqgcst that
changes were regularly being made to the play.'l-hc,4rgzr.r on
the 15 November 1890 refers to a new incident showine the
heroism of Sir Ferdinand; this is presumably thc czrpturc of
the Inspector and Maginnis by Moran in Act IV sccnc 1.
Certainly by the first Sydney production (31 Octobcr 189 1)
the plural 'Deeds of Atonement' was being applicd to th<: A<:t.
Only the first part of the scene is new script, Ibr Warlieal's
entrance (in D; Billy the Boy's in A-C) picks up tht: old
plot. This explains the rather short space of tirnc (in l)) l;c-
tween Moran's exit and Warrigal's entry with atlditiorrzrl in-
lormation aborrt him.
The O'Hooligans disappeared from the Novcrrrlrt:r' ll]1)0
season, but other changes in the direction ol versiiirr (l st:r:nr
to have come more slowly. As late as April 1893 whr:n thc:
play was revived in Sydney there was still oniy onc sct:nt' irr
Act V and Billy the Boy was still in the cast. By 12 Iit:lrruary
1894 when the play first appeared in Brisbane, Ar:ts lV
and V had been revised and Billy the Boy hacl clisap-
peared. Sometime during the period from May 1893 to.f anu-
ary 1894 therefore, the foilowing sequence ol events nrust
have taken piace:
1. the revision of Act IV scene 3, the addition olAct IV
scenes 4 and 5 and Act V scene 1, and the revision of Act V
scene 2 were completed and incorporated into the script, es-
tablishing version C;
2. version C was sent or carried to London to be regis-
tered with the Lord Chamberlain in anticipation ol Dampi-
er's season there,
3. a Iurther revision, combining the roles of Billy the
Boy and Warrigal (as Warrigal) was made and incorporated
into the production. This and other changes made at the
same time (or at least belore the Dampiers arrived in Eng-
Iand in September 1894) established version D.
INTRODUCTION lxxi
Therefore version C of the script represents the play as it was
performed during the second half of 1893. The only other
possibiiity is that it was Garnet Walch who took the script to
London, and that he used the time available on the sea voy-
age to write new material not sighted by Dampier until he
arrived in England some nine or ten months later. This
seems unlikely.
Version C: the first Lord Chamberlain's copy.
This was made by a copyist in late January and early
February 1894, using a fine-point nib in a large folio book. It
is a Iair copy apart from a few minor corrections he made to
his work and a slight eccentricity in the use ol capital letters
which has been regularized here since it does not seem to re-
late to spoken emphasis. The copyist rendered periods as a
short dash; this is a common stylistic mannerism when work-
ing in ink since it minimizes blotting; however it makes
dillicult the editor's task of distinguishing a true dash from a
full stop. It is for this reason that some nineteenth century
plays are reprinted in modern editions with a superfluity o1'
dashes, suggesting hasty, scrawled writing and incomplete
utterances from the characters. The present editor takes the
opposite view and has allowed a dash only where one is
clearly intended, in the belief that the writer of melodrama
aimed for the colloquial but not the inarticulate or slapdash.
The text is written on the obverse (right-hand) folios,
and stage directions are sometimes incorporated in the text,
sometimes written on the reverse (left-hand) folio facing the
corresponding section of text. Various shorthand symbols are
used to 'key' the precise point in the text to the accompany-
ing facing-page instructions. In many instances these instruc-
tions on the reverse folios are identical with those in the text;
in other cases the stage-manager's notes are more explicit
(e.g. for George and Dick's first entrance the text has simpiy
'music' and a cue mark; the stage-manager's note is 'Lively
till George and Dick on'). In all cases the most explicit com-
bination of stage directions has been used and other material
deleted without comment, and that explicit instruction is in-
serted in the text at the point indicated. As already noted,
version C expands Act IV to five scenes and also adds Act V
scene 1. Starlight is now shot and apparently killed at Willa-
lxxii ROBBERY UNDER ARMS
roon rather than incinerated at the Storefiel<l honrt'stt'iul, :rnd
Dick is taken prisoner; the script is clearly bcins rnov('(l rrwzry
from the Kelly Gang story back to the events ol thc novel.
tlnlbrtunately the 'disappearance' ol Starlieht's lro<ly now
strains credibility, as does Dick's unexplained cs<:zrpt: Irom
prison. In order to retain the burning house scnszrtion (a
stock favourite throughout the nineteenth ccnrur.y) it is
George's stables rather than his house which burn clown in
Act IV scene 3.
Wrsion D'. incorporating the alterations to the Lord Chamber-
lain's copy.
This consists of additions, deletions, substitutions, and
revisions or corrections of'version C, done at a later date
(hypothetically September 1894) by another hand using a
much heavier italic nib. f'hese changes are extensive, and
only a brief indication ol the more significant alterations is
possible in the present edition; they will be lound at the back
ol the volume. The overall impact of the changes is to bal-
ance more evenly the roles ol Aileen and Grace by incrcasing
Grace's number of appearances and their importance; cutting
back Kate Morrison and Dan Moran's roies extensiveiy, par-
ticularly in Act III, and deleting the role of Billy the Boy and
giving most of his dialogue in rewritten form to Warrigal.
This creates some difficulties, lbr example in Act II scene 2
where Warrigal exits L.2.E. to escort Aileen home and then
must aimost immediately enter R.2.E. and concern himself
with new happenings. Jim Marston's wife Jeanie (or Jenny)
is also added to this version. She replaces a 'Miss Elmsdale'
in the coach and her diaiogue with Jim at the srart of Act III
is new. Jeanie's role is not usually credited in the playbills.
As noted earlier, Starlight's accent when in disguise is
changed from that of an English 'new chum' in C to that ol a
Frenchman in D. This change is intermittently made to the
actual diaiogue; obviously it is left to the actor to regularize
the character's speech patterns. Since this was comrrented on
as a new f'eature ol the production by the Sydney DaiQ Tek-
graph on the 23 June 1894 in its review o1'the single perfbr-
rrance given by Dampier at his beneht the previous night, it
enables us to pinpoint D as reflecting at least some ol Dam-
pier's ideas about the play at this point in time. At that
performance Lily and Rose Dampier were together on stase
INTRODUCTION lxxiii
which might account for the more equal balance between the
roles of Aileen and Grace; but they had also performed
together during the grim days of 1893, and the balance is not
evident in C, which as we have seen must have been post-
May 1893. Another explanation might be that Dampier had
Iong-term plans to combine with Mrs Ruppert's London
company, and in preparing a text for the London season
gave his daughter Rose a more substantial role to play,
knowing that she would have to give up the lead.
But whatever the fine details of the revisions, it seems
safeto assume that D represents Dampier's script in October
1894, rather than that of the subsequent provincial tour by
another (English) company or the reported but as yet un-
traced second London season.It is therefore a better basis for
a published edition than C, quite apart from the practical
dilliculties involved in trying to reconstruct the earlier version
from under the D copyist's heavy black deletion lines.
Version E'. 1895-1905
In later years only one major change seems to have been
made: the transposition of Acts II and III. The thematic sig-
niiicance of placing the Turon goldiieldscenes before the
scenes of bushranging has been discussed earlier; it clearly
involved some rewriting of D although perhaps not a great
deal, considering the obvious stitch marks which already ap-
pear in C and D. In some seasons an Inspector Walters re-
places Inspector Morringer, but this seems to be a minor
name-change not affecting the plot and may have been made
in New South Wales because the real Sir Frederick Pottin-
ger's relativbs requested it.
Some minor changes are also noticeable in the 1899
(Adelaide) and 1902 (Hobart) silk playbills helcl in the La
Trobe Library. In Adelaide the backdrop scenes for Act IV
scene 2 ('The Black Stump') and scene 4 ('A Piece of Wild
Bush Country') have been transposed; in 1902 they become
'Main street in the township' and 'Dead Tree Plain.' It is
doubtful if these changes indicate anything more substantial
than the graduai deterioration and replacement of some of
the canvases.
(c) The stage directions
There are a number of atbreviations, common to theat-
lxxiv ROBBERY UNDER ARMS
rical stage-managers ol the time, which perhaps ncctl t:xpla-
nation. L. is lelt and R. right as the actor perccivt:s thern
when facing the audience. C. is centrestage; IJ. is upstaee
(away from the audience) and to 'come down' is to approach
the audience. E. indicates an entrance/exit point; D. in l'.
means a useable door in a flat (a free-standine set-piece).
The numbers 1,2, etc. are occasionally used with indications
ol'extrance/exit points (".g. L.1.E., R.2.E.); this means the
first, second, etc. entrance point from the winqs tt,unting
from the proscenium line upstage towards the backcloth. It is
a hangover lrom the earlier shutter system of changing
scenes, where instead of a backcloth being flown in and out
from above, two half-scenes painted on solid flats slid on in
grooves in the stage floor one from each wing to meet in the
middle. The 'first srooves' were the set closest to the audi-
ence, only a few leet behind the proscenium line, equivalent
to the lirst counterweight position today. The space between
each set of grooves was a possible entrance/exit point and
was marked offstage by a number.
The term 'Front Scene' may also require explanation.
The method of staging (still common in today's pantornimes)
was to alternate scenes which used the full depth ol the staee
with scenes played on a shallow downstage area in lront of a
painted backdrop in the 'first grooves.' While these lront
scenes were being played, the next full-stage scene with its
sensational or spectacular efl'ects would be being set up quiet-
1y (or in some cases not so quietly) behind the back-drop.
Any furniture etc. required for the front scene was placed on
sheets of canvas which were drawn off at the end of the
scene by stagehands standing in the wings. In Robberl Under
Arms Act II scene 1, Act III scene 2, and Act IV scenes 2
and 4 are front scenes although not all are so indicated in the
script. Act III scene 2 is a slight variation on the pattern
since the backcloth is perforated and lights shone on it Irom
behind to give the audience the effect of distant points ol
light twinkling. Act V scene 1 is a rather more distant vari-
ant of the lront scene idea, since it is a three-dimensional
prison-cell, built in lront of the next scene with the wing and
border curtains closed in around it to conceal that scene until
it is required.
It should be noted that alternating lront scenes with full-
stage scenes was absolutely essential for late nineteenth cen-
INTRODUCTION lxxv
tury melodrama since otherwise the iengthy scene changes
would have severely interrupted the telling of the story. Con-
sequently the action and dialogue of a lront scene was often
inconsequential, superfluous, or tangential to the main story
- because its primary lunction was to occupy stage time while
the main-stage sets were being changed. Robberl Under Arms is
no exception to this rule, and a director working in a theatre
which offers sophisticated set-changing equipment could well
consider dispensing with some of these scenes or at least cut-
ting them down to make the play a more acceptable length
overall (Dampier's performances took about 3 y, hours).
Conversely however some set changes in the nineteenth cen-
tury, particularly thosc described as 'mechanical changes,'
were in themselves highlights of the perlormance. Opportuni-
ties lor virtuoso displays of modern staging equipment in ac-
tion would not be out of place in any revival of thc play.
NOTES
1. St Catherinc's Housc in London does not hold any birtlr ccltilit;rtt s
fbr Allrecl, Lily, or Rose Dampier, and the prcscnt editor has not lr:rd
the opportunity to consult Anglican baptisrnal rccords in Lingland'
Alfred Dampierrs aqe was given as 23 in thc rnarriiige certificate is-
suecl on 28 August 1866; Katherine Russell gave hcr age as 22 Dam-
pier's derath certificate givcs Horshzrrn, Susscx as his placc of birth -
although sevcral other cntries on this documcnt are wror)g. Norrttan
Campbcll, u'riting in T'he Shakupearean Q,uarteri, (January 1924, p' 29)
gavc his birth as 28 Februarlr - but gave thc year as 1847.
2. 'N{iss Lily l)ampicr,' 7-he Lorgnette,28 Deccurber 1889, p. 6.
3. Thc short biographical note'Miss Lily Dampier'in'['he Lorgnette g,wes
hcr birth as being in.January 1869; an earlicr brief rc{erencr: in the
surmc periodical, on thc lgJanuary 1889, p. 4, states that'Lily L)arn
pier was twenty ycars of age on Friday 11 inst.' Ncwcastle -on-Tyne
rvas alx'ays givcn as Lilv's placc ol birth, and RoscJs as Manchestcr'
'l'he Chorus atLd Dramalic Index (26 June 1880, p. 5) gavc Rose's date of
birth as 21 October 1873, but the Dampiers were in Mclbournc at
that timc. Both Dampier daughtcrs later followe d their father's
example and lowe red thcir adult ages significantly; both wcre prob-
ably a feu'years olclcr than cven thesc first rccords statc, their parents
having altcrcd the dates to cnhancc their childrens' 'child prodigy'
status. Thc ciay. month, and place of birth is probably correct lor
e ach.
+. T'he L[irrar (Mclbournc), 19 April 1889, p 9.
5. Thc Mirror article of the 19 April 1BB9 is thc sourcc of the full text'
Since it is remembcred, and partly quoted, in the Svrlnel il[ornins Hcr
altl obrtuary nolice nincteen ycars later, it was possibll' a genuinc lel
ter rather than a publicity stunt.
lxxvi ROBBERY UNDER ARN,{S INl'I{ODUC'IION lrrvii
ti. Tfu Arsu.r,28 Scpternbcr 1873, p. 7.
26. lror thc sinrilaritit:s lre trvct:n the plots ol the 1*,o J]lays, sc. M:rrqurct
\Villi:rns, Au:lralia ort tht Populu Stae( lIJ2!)-1929 (Mcllrournc: Oxlbrcl
7. Au.rtralasian Skdcher, 1 Novcnber 1873, p. 139. Urjvcrsin Prcss. 1983). pp. 150-156.
B. Austrnlasian Skttchtr, 1'2Jtrlv i873, p. 75. '27. Insolvcnc.y Scheclrrlc B, l)ampicl Ilankmptcv li)c (Appcndix II).
9. Rcprintcd it L' Lntr,4cL (Svdnev), 20 April 1ti79. p. 2. 28. l'ahlr l'olk, 20 Fcbruarr' 1 89 1 . p. 1 ll .

i0. 'Miss Liiv Darrrpier,' p. 6. 29 'l oblc 'l a/t. 27 Fcbruary 1891. p. lit.
11. lhc nrost:rccLrrare acc.u.1 olAiliecl f)arnpicr's trarels is rrniloubteclly 30. Scc L)anrpicr's alhdavit, 3 Mar' 189,1 (Appcndix II).
tris srvorn atfidavit siranecl ori 3 N{a1 1894 in Benciigo as part of his
31. 'l'he Aqr:. 26 [)ccr:rlbcr 1t]91. p. 12.
application lor a Clcrtilicatr: ol f)ischargc from his stiite ol bankrupt-
cr'. rcproclucecl here as Appcndix II(a). The rcr:ords ol his bankruptr:v 32. 'l'he tlqe.30 f)er:ernber 1B!)1. p. it 'lht Bulletin,9.Janu:rry l8{)2. p. 9.
arc hcld in the Public Rt:corcl Oflice (Victoria) at La\.erton. un.lcr rhe
'l
Rcr:orcls ol ttrc Clourt ol lnso)r.ernc1 (Insolvcncv Act 1890), 757/(t l.J<: 3J. ht Ant, 11 April 18!)2. p. 113.
no. I 382
3+. Sii.J.S. ()'Sullivan. .,1 .\,lotl (irnquc )luffi.an: llu: trial ol l,'.R. Dt:r:rttinq,
1'2. 'l'he lllurtrated Sporli.ng nnd
l)ranrtic N..l (Loncl,n), 4 l}:cerrrbcr 1Slil, ,)1tlbt,urnt. /1192 (Svclner': (lhirshirc. l968). pp. !)1 (12.
;t.'270. 3r. 'l'hc llulkth. 25 .Jtrly 1891, p. 3.
13. Iior dr:tails of rhcse scc Eric Irvin. Australian ,Me lltdrama (Sydncv: llale 3tt. Sce t.{. (iarlic Hutchinson, "I'hc Iftruls ol the C}allcrv Bovs: Alfrcci
& lrcrnonser. l9til), pp. i;0-67. [)rrrrrpicr zinrl an Austr:r]ian poprrlar thcatrc,' Perfonning:|rt.r in Au.;tra
1+. Australasian Skttcher, 7.Julv 1877, p. :9. lit (,\Iretnjin) \'o1. 43, No.i. NIarch 1984. pp. 49-:J5. Ilutr:hinson's
article. \1hich is in p;rlt ii rcvicu ol \4argarct \\illiarns' )t.stralia on tlrL
15. 'l'abb 7'olL (Melbournc). 14 March 1t190, p. +. Pofnlor Sktst 1829 192() (Nlcllrournc: (Jxtbrcl Univcrsitr. Prcss. 19811).
(lraw s attcntion to thc nation:rlistic plavs ol Darnpicr :Lncl Darrcll anri
16. Ser: c.q. Iraul Ric:h:rrc{sorr. 'flarner Walch's ula.rtralia l,llt.r: a ( ontrasts tllcrrr rvith thc Irnpcrialisti(] themes o{ .C. !\rilliamson's lnr:l
.f
rcconstruction,' Australatian L)rarna Studies Vol. 1. No. 2 (April l9B:l). oth(lrs.
pp. (i3-tl 1 .

(]arnet Walch, cd., 'Hath.'; a Mixcd Dish .ior Chrishnas (Nlelbournc & 37. l ht Bulletin..l .f anunrr, 1891. p. 7.
11 .
-/
Svclney: Rcynolds, 1877).'Ihc flycr is incluck:cl at the bark ol thc 38. l)ai11 t'kgruph iSrdno'), 23 Junr' 1tt!).1, Ir. .1.

copy hclcl by thc State Librarv o1 \'ictoria.

31). 7hc,{n1 (N{elbournc), 23.Junc 1t}92. p. 1 1.
18. I arrr inclebtccl fbr tiris inlirrnration to L)r. \/cronica Kc]ir'. rvho al
lorvccl mt: to rcad lrcr unpublishccl arricic'C]arnet \{alch's t:arly lhc '+0. l'ht: []ulbtin. lB.June 1t]92, p. 7.
atrc rvork in S;clncy to 1872.' +1. l'ht Bulk:tin. iii.[uly 1i]92. p. !).

19. Ciarnct Walch, adapt.,.4 lrroggec lf'ould A l[ooing (]0,.or, ITnrlequit Al +'). 'l'ht r1gt.2'7.1ur" 1892. p. ti.
Kohal, tht Rad Djinn, tlu Prdty Prinus.;, un.d t.fu lrairy of the Dancitg Ll'atcr
(Mclbourne : Azzopardi. Itilcirerh, 1ti75). +3. L)ampicr's Allidavit & Insolvcncv Schcdulcs A & B (AppL:ntlix II).
20. 7'he Arsus.2ll Scptcnrbcr 1876, p. B. ++. Blancl Holt, lcttcr to 'Ohris', Ciorlcsl;oncle ncc hclcl in thc \,litchcll Li
briirr'.
2l . Sydneq Mornitr! Ilerakl, 3 October 1887. p. 7.
'15. Nlarriaee flenilicatc 91d/1ti93. Rcgistrar ol Births, N{alriaqcs arrcl
22. 7'fu 7'imes (l-ondon), 23 ()ctobcr 189.1, p. 2. I)taths, Svclnr:v.
'23. I am qratcful to Dcnisc Toogoocl rvho unclcrtook a se arch iirr Joutt +6. 'l ht 'l lttulrc, \{arch 1904, p. 21.
crt's file al thc Lavcrton Repositorl .

+i. I)arripit-r bankruptc,v frlc. Public Rccorcl ()liii:c. I\,lclbournt'.

')+. (]coree Mcr.dell. 'l'he PLeasant Curcer of a Spendthrift (1,onclon:
+8. Itaill' 'lblegraph (Svclner'). 2li.Jurrc 1894, p. tl.
Routlcclgc, n.d. Il!]29?l), pp. 1-20.
25. For cletails of the Alcxanclra Thcatrc scc Ross Thornc, 7'tteatre Build- +9. S,yrinal Morning Hsalrl.'29 Jtrnc l8!)4. p. 3.
tttg.s in Auttralio lo 1905, I (Svdncy: Arr:hitectural Research liouncla-
50. I ht Olarion (Lonclon). 27 ()ctober 1ti9,|. p. lt.
rron, 1971), pp.202 3. ancl'l'he;Iga,28 Scptcmbcr 1886. p.6.
lxxviii ROIIIIERY UNDER ARMS
51. T'fu Tirru:s (Lrnclon), 23 C)ctober i894, p. 2.

52. 'l'ht l'heatricaL WorLd o.f 1894 (L,onclon: W. Scott, lBf)ir), 21ll ii.
1r1r.

53. Daily Tehgraph (Syclnc1,), 2 Decembcr 1895, p. ir.

54. Rcprinlcd in 'l'he liree Lancc. 10 October 1896, p. 4.

55. N{itc}rell Librarv N{S I1755.

56. The piavbill lbr Dcnham's play has been rcprintccl ;rnri is solil as a
postcr lbr tourists by thc State Arch:ivc of NSW. IIou'r'r,r'r' it is
wrongly dated 1BB0 instcacl o1 1899. For lurther cltrtails stc I'lric lr
vin- AustraLian Melodrana (S,vcincy: Hzrle & lrctnottgcr, 19ti1). pp. B1-

57. I atn srateful to Eric In'in lbr this inforrn;rtion liom his lilt:s.

58. See Holt (lorrcspondcnce. La f'robc Librar1,, Nlclbournc.

59. Doily T'elepraph (Svdnev), T.lanuary 1906. p.4.
60. Sldne_y Morning Hrald. 26 Ma,v 1908, p. 6.

61. A. Pike ancl R. Cooper, AustraLian. I'iLrn 1900 1977 (,Nlclboorne: C)x-
Ibrd Universitl' Press, 19ti0), pp. 11 12.

62. Sldney Morning Herald, B Fcbruary 1915, p. \0; T'he Age (Mclbourne).
B FeLru,rl lqll. p. 7.

63. S1dney Morning Hqald, 6 May 1915, p. 10.

64. Sylne.y llorninr! Hualtl. 10 Septcmbcr 1-q43, p. 10.

65. R.B. Walkcr. ''l'1rt- historic:il basis of Robber-y Llruler Anns.' Au.rlralian
I-ituarl' Studh, \'o1. 2. No. l,.June 1965, pp. 3-14.
66. Sec Eclsar l'enziq, ,4 Real l;lash Coar (Kenthurst: Kanuaroo, 1983).
pp. 1lt-2i; 140-,t1. R.B. !Valker (p. 8) ove--rlooks ther (iilbcrt lzrrnill
anc{ improbably, associatcs Dick and Jirn w.ith thc thoroughly vicious
Thornas ancl .John Clarke. Thc rcscuc ol .lirn b,v Dick is in Roltberl
[:nder Arntr. (ih. XXXI.

tr?. Q-uotcd in Clraham Scal, ,\'id Kelll in Popular 7-raditian (Mclbournc:

Hvlanc{ Housc, 1980), p. 102.
68. Rolf Boldrcn,oocl. Robbtl, fJnrJer Anns (Lonclon: Macmillan Papermzrc.
196:). p. 305. (Subsequent rcfcrcnces are to this cdition).
6!). 'Ihese arc
ltresen'ed in thc Historical Pictures Collcction, State Li-
brarv of Victorirt. ancl are Ibr perfirrm:rnccs give n in Aclclaiclc on 1B
Ma,v 1899 and in Hobart on 2 |anuary 1902.
ii) llohhtty [.lnder,4rrn.r, (]hs. XLI XLI\': Act III sccnc 3 ol the plal'.
71 L)i<in Boucicault, Flying &ar1. in Anerica'.s Lo.rt I'lays 1, ed. A. Nicoll
ancl I".'l'. Clloak (Bloornir)[ton: Indiana Univcrsity Press, 196'l), p.
21ll
l2 Rohbt:r1 lin.dc,4rnr-r. p. 3811.
 OEB ffi"2,tt.%
Robbery (Jnder Arms
As staged at the Princess's Theatre,
London, 22 October - 9 November 1894

ff-$

ffit!
rd

^,ia

Frorn Au:trulian Life (N'lelbournc). 2B March 1t}!X). p.lll ((iriurtesr

L:i -I'robc [,ibrar,v).
 Settings Characters

ACT ONE NORAH MARSTON

'The Shadow on the Threshold'

JIM MARSTON, her younger son
DICK MARSTON, her elder son
Scene: A hut in the ranges, early rnorning (the home of' GEORGE STOREFIELD, a young neighbour
the Marston family).
AILEEN MARSTON, Norah's daughter
ACT TWO GRACE STOREFIELD, George's sister
BEN MARSTON, Norah's husband, an ex-convict
'In the vortex'
Scene 1: Interior of a bush police station, an afternoon CAPTAIN STARLIGHT, a bushraneer
a
week later. WARRIGAL, a half-caste Aborigine, Starlight's companion
SUB-INSPECTOR GORING
Scene 2: A partial clearing in the midst of densely grassed MACIINNIS, a trooper
bush, the same evening. O'HARA, a trooper
Scene 3: The rocky rises. the next evenins. OTHER'I'ROOPERS, including JOHNSON and CORCORAN
MISS EUPHROSYNE ASPEN, George and (]race Storeheld's aunr
ACT THREE
SIR I-ERDINAND MORRINGER, Inspector o{' Police
'A woman's vengeance' DAN MORAN, a bushranger
Scene 1: The interior of 'The Prospector's Arms' Hotel on OTHER BUSHRANGERS, including DALY, BURKE,, WALL,
the Turon diggings, six months later. HULBER'| , BI-ACK JACK. WHISTLING BII-L, & PATSY
Scene 2: The Turon diggings, the same night. MR BUSTER, of Bobbrawobbra, a squattcr
JEANIE (oTJENNY), Jim's hancee (Act II) and wile (Act III)
Scene 3: Hill overlooking the Turon racecourse, the next MR CI-IFFORD, an Englishman, later a miner and lriend of Star-
duy. light
ACT FOUR DIGGERS, includine DANDY GREEN, BALLE,SDORF, DAN
ROBINSON, GEORDIE, BII,L, SAM DAWSON, AND PETER
'Deeds ol Atonement' PAUI,
Scene 1: Terrible Hollow, at the foot of Nulla Mountain, THE CHAMPION COOK OF THE MURRUMBIDGE,E
some weeks later. HIS MATE
Scene 2: The black stump, a cross-roads, the same day. A BOY, a3 bar attendant
BELLA BARNES, a barmaid
Scene 3: Georse Storefield's homestead, that evenine. KATE MORRISON, a widow, Jeanie's sister
Scene 4: A piece ofwi1d bush country, that night. ABORIGINES, including BILBAH
Scene 5: Another part of the bush, a weird ancl witch-like RACE-COURSE CROWD, including BOOKIES and SIDE-
SHOW PROPRIETORS
place, the next morning. THE LAST SHOT OF
CAPTAIN STARLIGHT. I,ONGTOM, a farrnhand on George Storelield's property
OTHER FARMHANI)S, including STEVENS and BULLOCKY
ACT FIVE BII,L
Scene 1: A prison cell in Berrima Gaol, a rrrorrrinq sorne BILLY, a blacktracker
months later. A PRISON WARDER
Sccne 2: George Storefield's horriestcarl (tlr,. s;rrrr,. rrs Act
Four scene Three), the next :tllt.r'rro, irr.
 Practical Note
The script of Robbery Under Arms published here does not ACT ONE
fulIil the usual aim of the National Theatre series which is t<r
provide a version of the play suitable for staging in the the- THE SHADOW ON THE THRESHOLD
atre of today. There are two reasons for this. The first is that
the surviving script is only one version of a play- which was "Some unborn sorrow, ripe in Fortune's womb,
written and rewritten not only to improve it artistically and Is coming towards me"
commercially but to appeal to different audiences and to re- Shakespeare (Richard ID pI, 2, 10-1 il
spond to difl'erent conditions of performance. An example of
this is the combining of the two roles of Biily the Boy and SCENE: THE HUT IN THE RANGES. EARLY
Warrigal; this was probably lorced on Dampier's company by MORNING
the difficulties of touring the Australian provinces in 1893
Bush scene: House set L (bark hut). Fence (rustic) across
during the economic depression, and may have been retained
in London because he presumed that English audiences sta{e, at back with gate, or sliprails, C. T'ree clump
would be more interested in a pseudo-Australian aboriginal R.C. Trees, saplings, Ec about sta{e. Corushed R.U.E.
than in an Irish juvenile delinquent. (Music Jor curtain. Livhts Jull up. Limelights. Papers in
The second reason for not offering a modern acting ver- ActI. Neu,tspaperfor Ceorge; WarrantJor Goring.)
sion is that successful performance today - and to some ex-
tent the wishes of the original authors - would be better NORAH MARST-ON discouered, seated at hut door,

served by an adaptation of the play thoroughly revised along L.2 E,

the lines suggested in the Introduction. The script as it
stands shows its inconsistencies and cut-and-paste comprom-
ises: Jim acquires a wife and child in less than seven months;
Warrigai is Ibrced to rush lrom one side of the stage to the
other trying to ful{il two messenger roles; Starlight's dia}ogue
while in disguise is written sometimes as if he were English
and sometimes French; characters occasionally enter or de-
part in conflict with what we have been told ol their where-
abouts or their motivations; in Act III scene 1 a sequence is
repeated, but neither version can be deleted without some
meaning being lost. These are.just some ol the flaws which a
modern audience might notice. To these must be added the
pnrblem ol the play's length and in particular Act V which is
a disappointing alierthought, and the order ol Acts II and
III, which Dampier later decided should be transposed.
These changes exceed the responsibilities of an editor to
bring the play as it has survived to public attention, particu-
larly since the original manuscript is relatively inaccessible
and difficult to decipher. The solution offered is to reproduce
the script as closely as possible to its final manuscript form,
with only minor corrections and clarifications.
EnterJIM MARSTON R.C. ruith axe on shoulder.
Note: 'Jim - 6 Jeet I inch dark hair and e1e.r. He ruas
a careless, happy-go-luck1 chap, alwalts in a good temper,
alwa1s jolQ, alualts readlt to laugh or chafJ, 0r so on
with tricks like a monkey."
Boldreruood IC h. XXVI I IJ
NORAH:Jim!
JIM: (n.C.) Well, mother. Qollt smile onJace)
NORAH: When are you going to work?
JIM: Ain't I going to work now?
NORAH: I mean, to work reg'lar for your livin' like George
Storefield.
JIM (Laughing) Oh, George? He never sees any life. He's
just like an old poley bullock, that walks up to the yoke
in the morning, and never stops hauling till he's let go at
night. This is a lree country, and I don't think a fellow
was born lor that sort of thing, and nothing else.
(Cattle Bell heari)
NORAH: This country's like any other country. A man
must work and save when he's young, il he doesn't want
to be a beggar and starve when he's old.
6 ROBBERY UNDER ARMS ACT ONE 7

JIM: But a manmust have a little fun while he's young. work and most of the cattle and horses besides unless
NORAH: Just what Dick says. Oh you're a fine pair. What rain comes but I shall be able to get a few pounds to go
one says, the other swears to. You ought to have been on with, however the season goes.
twins. DICK: Oh, if you like to bow and scrape to rich people, well
JIM(Laughing heartiQ) Not my fault we weren't. and good, but that's not my way. We have as good a
NORAH: Go along with you. right to our share of the land as they have.
(Cattle belt) (Re-enter JIA4)
NORAH: Qumping up and looking llJ R) Ah there's one of GEORGE: If we pay for the land as they do, certainly.
them cows. She'll be in the garden. (/im laughs) Ah, it's DICK: But why should we pay? The Almighty made the
no laughing matter. So mind and see that the gate's fast, land and the people too, one to live on the other. Why
then get some water from the creek, and chop some should we pay for our own? I believe in getting my share
wood. somehow.
JIM: Oh, I'm wood and water-Joey I am. (Going) GEORGE: That's a sort of argument that doesn't come out
right. How would you like another man to come and
(Liuely music till GEORGE and DICK on)
want to halve the farm with you.
(Enter GEORGE STOREFIELD R on horseback)
(Enter DICK MARSTON following)
DICK: I shouldn't mind. I should go halves with someone
who had a bigger one.
GEORGE: (Dismounting, and rying horse to Jence) Ah, lads, I'm JIM: (Laughs) My colonial.
afraid we're going to have a dry season. DICK: More money too, more horses, more sheep, a bigger
DICK: I think you're right George. We haven't had any rain house. Why should he have it, and not me.
to speak of for a couple of months, and that bit of wheat GEORGE: That's a lazy rnan's argument, not an honest
of ours is beginning to go back. The oats look better. man's.
(Unsaddling GEORGE's horse) NORAH: You're a naughty boy, Dick. Isn't he, Jim?
JIM: Bill Dawson came in from outside, yesterday, and he JIM: But he doesn't mean all he says, and very likely we'll
says things are shocking bad: all the frontage bare, and have lots of rain after all. (DICK and JIM are going olf
the water drying up. R.U.E., when NORAH calls aJter them)
NORAH: Small wood mindJim.
(Places saddle on stage and exits with horse in stable)
JIM: All right motherl (ExitJIM R.U.E.)
DICK: (Bitterly) It's always the way, as soon as a poor man's
(Music)
got a chance of a decent crop, the season turns against
him, or prices go down, so that he never gets a chance. AILEEN: (Olf L U. E., uith pail o;f milk) Hi, Dick.
GEORGE: It's as bad for the rich man, isn't it? It's God's (Then ruith the high pitched Australian rr7) Coo-ee-e!
will, and we can't make or mend matters by complain- DICK: Coo-ee! What is it?
i^g. AILEEN: Let out those milkers.
DICK: (Sulknj) But it's not as bad for the rich man. Even if DICK: Allright, Aileen. (Exit DICK R.U.E.) (Music swells)
the squatters suffer by a drought, and lose their stock,
(Enter AILEEN L.U.E. (Not seeing GEORCE, ruho is dorun
they've more stock and money in the bank, or else credit
to fall back on; while the like of us lose all we have in
R)
the world, and no one would lend us a pound to save AILEEN: Such a splendid pailful. Daisy gives eight quarts
our lives. now. Here you are mother. Porridge this morning you
GEORGE: It's not quite so bad as that. I shall lose my year's know. (Music stops)
B ROBBERY UNDER ARMS
NORAH: (Taking milk) You are a good girl, Aileen. I wish
your brothers were like you.
AILEEN: Don't you say a word against my brothers, moth-
er. They're the best and bravest and handsomest broth-
ers any girl ever had. Real currency lads, and I'm a cur-
rency lass; and proud of it.
NORAH: Ahl There's no holdin'the cornstalks.
(Exit NORAH to house L. uith milk)
AILEEN: No holding the cornstalks. Of course there isn't.
They grow, and grow, and as long as they grow straight
they're ailright, never fret. (Cattle bell and noise oJ uhip
crackint)
JIM: (Ouxide) Whoa * Molly. Steady there, Butrercup.
AILEEN: Why, there's George Storefield. (Runs to him) Oh,
George I'm so glad to see you. (Shakes iands) You're just
in time to put a set on the breakfast.
GEORGE: (R.C. Shaking hands) Aileen! All well? (Aiken rnds)
That's right. Where's Grace?
AILEEN: (L C ) Grace? She's in the dairy.
GEORGE: I've come for her.
AILEEN: Oh that's too bad. She's only been here a week
and we're such mates.
GEORGE: I really can't get on any longer without her.
AILEEN: I thought your were a don at bachelor manage-
ment.
GEORGE: I might have been before Grace came home, lor
good, but now I see how necessary it is for a house to
have a good woman for its mistress. Ah! Aileen.
AILEEN: Well, Mr Longface?
GEORGE: If you would consent to be that mistress.
AILEEN: And turn out Grace?
GEORGE: (Turning hat round neruouslt in hands) Think it over!
There's five hundred sheep, three cows, seven horses,
two carts and a wagon. And then there's the selection.
One thousand acres conditional purchase with a creek
running right through. Well cleared, and the main part
fenced and Grace loves you as a sister, and I
- I love
you.
AILEEN: As a brother.
GEORGE: No Aileen, not as a brother, as a
- as a -
AILEEN: (Laughing) Oh George, how awfully funny you do
look.
ACT ONE 9
GEORGE: You d<,r not iove me. Better say it at once, I can
bear it.
AILEEN: You'll have to, Mr Broadback. There! (Puttint her
hand in his) Let it be brother George and sister Aileen.
(Enter GRACE)
GRACE: And sister Grace. (Arm round AILEELD Always sis-
ter Grace. (Crosses right and sits on tree stump) Well George
what's the news? I'm sure you must have plenty.
GEORGE: No. I'm no gossip-monger. The only time I leel
inclined to yarn is round the camp fire, and then I gen-
erally lall asleep in the middle ol it.
GRACE: (Laughing) In the middle of the fire?
GEORGE: No - of my story. But here's the Sydney Morn-
ing Herald lull ol all the latest news. Stocks - shares -
racing reports - row in the House - bits of scandal -
(about to giue paper)
GRACE: Thank you. I'm so fond of scandal, of course .
GEORGE: I don't mean that - like my stupidity. There's
one thing tho' that will interest you both for the whole
country's ringing with it.
AILEEN: And pray what is that?
GEORGE: You'll find it in big type, like a Government
Proclamation (HoU opens paper) Here it is. (/ieals) "Rob-
bery under Arms. Another daring outrage by the notori-
ous Starlight and his gang - the Police once more baf-
fled" and so on. (Giaes AILEEN paper) There, read it. I'd
read it for you, but Aileen don't care two straws for me.
GRACE: Oh yes she does care a whole haystack for you.
AILEEN \Aside) But not that way.
GEORGE: Ah well. I'11 look at the big bay horse your lather
talks so much about.
(Exit GEORGE L.U.E.)
AILEEN: (Watching him olf and then to GRACE) Poor Georgel
There's not a better fellow this Sydney side. (Looking at
papu) Oh. This horrid bushranging!
(Enter BEN MARSTON R.Lr.E. unnoticed bI AILEEN)
NO7'E: BEN MARSTON - A square-built man - uonderfulll
for his age, and quick on his pins. lfraid qf nothins.
strong
[Boldrewood, Ch.IJ
t0 ROBBE,RY UNDER ARMS ACT ONE 11

Hair 8 beard, iron-gre1. Wears old pilot-coat. He is cutting up BEN: When will them boys learn to make money?
tobacco as he enters and fills pipe and lights it during the ensuins AILEEN: Soon enough I daresay and honestly too, I hope.
dialogue. BEN: Them make money? Bah!
AILEEN: (To GRACE) How I hare rhe very name of it, and AILEEN: There's better things than money, dad -
sometimes, I think that father
BEN: Not in this world.
- AILEEN: Bye and bye then. (With a;t'ar-ofJ look)
BEN: (Beside her) Well, what about father?
AILEEN: (Both startled Jor a moment) Nothing! I was wonder-
BEN: (,4szde) Choppin' woodl Fishin'in the waterhole! When
ing where you were. they ought to be fishers of men, as the parson cove says.

BEN: (2.C.) Thought I'd gone on the wallaby again
(AILEEIV crosses to BEN puts arm round him and
BEN: (Zoo,ting rounQ Flome's a jolly place after all. I am go-
ing to stay ever so long this time and work like an old
near-side poler. See if I don't
- Let's look at your hands
Etly. (Business) My word you've been doine your share.
GRACE: Indeed she has - it's a shame that it is with two
big brothers, she has to take an axe in her pretty little
hands and crrt.
BEN: AII that wood over there I'11 go bail I nearly broke my
neck over it.
AILEEN: How do you know I cut wood - you are
going away no one knows where and when you do come
home it's at night - Iike - like
- DICK: Hulloa there's dad.
BEN: As if I was ashamed of where I'd been. Spit it out if
that's what you mean.
AILEEN: I don't mean anything but what's kind and loving
you naughty old dad -
BEN: (7o Crace)Was your brother here just now?
GRACE: Yes Mr Marston.
(Cattk belt)
BEN: (Szspiciously) Anybody with him?
GRACE: No - no one.
BEN: (,4sila) George seems a bit mooney-like lately. Got a
lip on him like a motherless foal. He's in love, he is. I
fancy I know people in love when I sees 'em. (Chuckles)
Strange as it may 'pear I was once a fool of that kind
myself. (AlouQ What does George want?
AILEEN: Hetame for Grace.
BEN: Where's Jim and Dick. (Noise oJ chopping wood R.)
AILEEN: Jim's chopping wood. Dick's down at the bis wat-
erhole, trying for fish.
eh? (Liuely music till DICK and JIM on)
kisses him) AILEEN: (Clapping hands) Akr, here they corle. (Goes to meet
them uith GRACE)
(Enter JIM and DICK R.U.E., arm'in-arm loaingQ. JIM
with axe and bundle o.f wood. DICK with rod andJish.)
DICK: Here Aileen, take these to mother. They're just in
time lor breaklast.
AILEEN: Oh, what beauties.
JIM (Throwing doun bundle) This wood's too heavy.
GRACE: Go on - I'm young and willing. (Crace and Aileen
relieae them oJ their burdens - then both exit to hut L.)
always
BEN: (On seat L. aside) Fishers o'men - aye - Fishers
o'men.
.fIM: (rR. on stump) Well, dad. Back again?
BEN: Yes back again. (Looks at them steadilt rising as he does
so.) Seems only t'other day, as you and Jim was little
toddlin' chaps running to meet me when I came home
from work clearin' that first paddock, and tellin' me
*l--y had tea ready. (Half aside) P'raps I'd better have
stuck to the grubbin' and clearin' after all. It seemed slow
work, but it would ha' paid better in the iong run, may-
be.
JIM: Where have you been to this time, dad?
BEN: There's two reasons why some people don't mind their
own business. One is, that they haven't any business to
mind; and the other is that they haven't any mind. It's
bad lines some chaps' brains don't grow along with their
arms and legs.
DICK: (Seeing joke against JIM, nudges him, laughing, Jim is an-
noyd.)
BEN: You ask no questions and - you know the rest. Why
 t(( )ttttt,:t{\' trNt)1,)R ARMS
ACT ONE t)
rl.n'l vi,u l;tl\(. l)ltll(,t.ll by me - like my dog Crib. I
rlrrrr'l Irrlli I lti.lt:. JIM: Oh, Dick, he -
I)l( lli: (l:ilr to.f IM) Dad's a bit huff'ed about something. (Together. Thel both stop, conJused)
lll,lN: It scerns to mc as if the older people get the more mis-
DICK: Oh. Jim. he -
erable they gets. If they don,t make trouble for them_
AILEEN: There, I believe you're both in love with her, and
selves other people does it for 'em.
you're ashamed to own it. Now let me see which has the
?lCK: (To BEN) Police been worrying you again, dad?
,em ,bout best chance. Oh I know all about you and the waterhole,
BEN: (With a quick look round) Police be
he re .'
- any of Dick, but I never heard the full yarn of your rescue,
JIM: (Cheeril7) No fear. What should they want. you ex_ Jim. How was it?
plained where you bought the cattle, the last time they JIM: Oh, it's stale. It's a month ago. I only caught her
horse, and there wasn't a shear on the station, from the
were here, and that satisfied them, didn,t it?
ringer to the tarboy but would have done the same. (Goes
(Caule bell up.ttage to C, then returns and sits L fu hut)
DICK: (Aside) Wish it had been me. Don't you let him stall
BEN: (Griml2) That satisfied 'em. (Aside) 7'he1 was the you olf that way, Aileen. It was a big thing, and il he's
duffbrs, not me. (AlouQ But yer see, since then
DICK: What since then, - too modest, I'11 tell you.
dad?
BEN: Nothin', nothin'. Don't you bother your head about it. JIM: Oh don't!
It ain'r rhc best parr ol yer. (AILEEIV sits on stump, R.)
J_tV, (fa DICI) (Laughing) That's a nasty jar Ibr you, Dick. DICK: But I will. This was how it was. You see, and
BEN: (C/zzrrkles to himselJ. This is a habit oJ his.) (Aside) Why Jim
me had been over at the Dead Finish Hotel, having a bit
n-ot put it straight to 'em now. (Aloue Look here. (.X C
You're strong, likety lads; it's time you made more than
) ol'a spree with some chaps that had been shearing, and
were knocking down their cheques, when, just as we
your tucker and il I thought you had half the pluck I had
were mounting to return home, who should we see tear-
at your age - I'd say to yer
- ing across the Pretty Plain, just in front the Hotel, but
(Enter AILEEN Jrom hut L.) Grace,. on her new thoroughbred mare that George
bought her. The brute had bolted, it was easy to see, but
DICK &.JIM: What dad?
we didn't think so much about that, for we knew that
BEN: (Seaing AILEEA\ Don't ask questions.
Grace was all thcre on horseback and it was only a ques-
(BEN strolls up, liuhts his pipe, looks rountl and exit, R.U.E.) tion of time. Pull rrare - Pull Gr:rce - when all of a
sudden, one ol the shearers who knew the place well,
AILEEN: (Q (Adaancing to ./IM and DICK\ Grace savs she shouted, "My oath, she's heading straight lbr tire Troop-
won't go, at any rate till she's had her breakfast.
cr's Downl'all."
JIM: (/?.C.)
AILEEN: (Who has Jollorued eaerl ruord with intente intert:t, starts
& Grace eoine?
up) What? That dreadful precipice -
DICK: (L.C.)
AILEEN: Yes, George has come for hcr. Ahl (Chaffint thnn) DICK: Me and Jim starts off like sky-ror:kets but Jirn was on
Peerless and rne only on Pat-a-cake, so you mav guess
It's a sad blow, isn't it, and I don,t know whiih of ym
how he lorged ahead. "He'li never catch her in time"
two feels it most. (l,ooks roguishQ at them, laughine) you.,
shouted the shearers who had mounted, and were follow-
Dick, who pulled her out of the waterhole when your
ing but Jim was gaining on her every stride. f'he well-
were boy and girl together, or you, .Jim who saved her
bred jade of a mare goes as if she wanted to win the Cup
lile the other day.
but we can see that Jim is riding lor his liIe, or rather
14 ROBBERY UNDER ARMS ACT ONE, t5

for Grace's. "By thunder, they'll both be over smashed to anything that was ever iapped in horsehide.
matchwood" shouted a shearer; "they must be close up .fIM: Swims like a musk-duck.
now. They can't stop at that pace." But Jim's neck and DICK: Tracks Iike a myall blackfellow.
neck stride for stride. (AILEEN rises with excitement) "Stick JIM: Jumps like a red kangaroo (Imitating)
to her, Jim old man" I shouted. "By Jove they're over." DICK: And shows them a clean pair of heels - these police
No, he's reaching for her rein. It's no use. Yes, now, - every time.
now!! He whips her out of the saddle just as the mare GEORGE: Well, I must say he's a bit of a flyer. But you
goes full tilt over the precipice, then, swings his own two shouldn't set him up as an idol to worship. There's
horse round on his haunches, right on the very brink. nothing half as good, lads, there's nothing pays like be-
ing right and square, working hard for the food you eat,
(Enter GRACE and GEORGE L.U.E.) able to look all the world in the face, and afraid of no-
Bravo, Jim Marston (takes Jim by arm and whirls him roune body.
She's saved. By the Lord well done! Hurraht (7'hrows up DICK: George, old man, when you get thro' that fencing
his hat and cro.sses R and then picks up paper and looks oaer it) contract, take a turn at local preaching - You're just cut
out lor it.
(AILEEN crosses L. and claps hands excitedly)
GRACE: (2.C.) Yes, that's exactly how it was, and I shall (/IM laughs heartiQ)
never, never, forget my noble preserver Dick. (Shakes AILEEN: You're too rough on George.
hands with./IA.[) DICK: He's rough on us.
AILEEN: (Z ) Oh Grace, you mean Jim. GRACE: He only advises you for your good. He only wants
GRACE: Of course I mean Jim. But I was thinking of Dick to be your friend. Don't you George?
and the waterhole. GEORGE: Why, yes. And some day they'll see it.
JIM: (Aside) Always Dick - ah well - (aloud) Yes, Dick
would have done the same, Dick would have done it bet- (Music stops)
terr GRACE: (Takint his arm) George, I want you to see Aileen's
(Caule belt) new dairy which these boys - (DICK and JIM object in
dumb shoru to the title "boys') Oh I mean, these men have
GRACE: (Coming down) Nct one could have done it better. built for her.
You saved me from a horrible death and I shall think of
you as a brave and noble fellow all the days of my lile. (Business - DICK slaps JIMs chest - JIM returns it)
DICK: (Changing subject - looking at them kind oJ jeatously) GEORGE: Show it to me yourself, Aileen.
What's all this about Starlight? (Indicating pape) AILEEN: No, Dick will trot you round.
(\T'ARLICHT\ music p. p.) GRACE: We've other fish to fry.
DICK: But motheCs doing them.
GEORGE: You must ask Aileen. She had the paper. Every-
one is talking abour it. (GRACE smacks his face playful\)
DICK: Have they caught him? .JIM: Come along then. Dick, your arm, sir. And yours lorr
GEORGE: Not yet. George.
DICK: And they won't (throwing paper down) the muddle- (Exeunt GEORGE, DICK andJIM, L.U.E.)
headed duffers. My word he is a winner that Starlight.
JIM: He is so. GRACE: George always talks about you when at home.
GEORGE: Why lads, I believe you admire him. AILEEN: He's wrong in thinking so much of me or I'm
DICK: And who wouldn't. A man that can ride anything; wrong in thinking so little of him.
16 ROBBERY UNDER ARMS ONE
ACT 17

GRACE: (S.ings) "Where ere you roam, oh think of me STARLIGHT: Stariight, tut tut tut. They seem to talk a
And of the loved ones far away good deal about the f'ellow in these parts. I heard he had
When you have sailed across the sea crossed the Queensland border. The troopers will have
My thoughts shall ever be ol rhee" hard work to follow him all that distance.
AILEEN: I hope they'll catch him tho', don't you?
(STARLIGHT's music till on) STARLIGHT: Heml
(AILEEN opens paper and reads - shaking her head and tap- AILEEN: (Repeats) I hope they'll catch him don't you?
ping her;l:oot impatientQ, as iJ annoyd at ruhat she reads) STARLIGHT: Oh yes and hang him too, I suppose?
AILEEN: No; not so cruel as that lor they tell me, with all
(Enter STARLIGHT, R.Ll.8.) (Remains at gate) his Iaults he never kills anyone, and he's very Iree with
STARLIGHT: I beg your pardon; does Mr Marston, Mr his money to the poor.
Benjamin Marston live near here? STARLIGHT: Oh, the rascal has good qualities, has he? I
GRACE: He couldn't live nearer. He iives lzarr. thought he was an unutterable villain - a sort ol Robin
STARLIGHT: Thank you. He was a mate of mine Ballibee - very much Robbin' - Hood. By the way, you'd make
way. a charming Maid Marian.
AILEEN: (Looks up) (Aside) A rnate o1'fathers? AILEEN: I don't understand you. What do you mean?
STARLIGHT (Coming thro'the eate) Is he at home? STARLIGHT: (C.) Nothing particular Mam'selle or perhaps
GRACE: No, but he's not lar off. I'11 coo-ee lor hirn. (About Iought to say Madzrm.
to do so) AILEEN: Oh, I'm not married.
STARLIGHT: No, no, no. Don't do that. Don't strain that SI'ARLIGHT'. I am glad of that.
lovely voice so cruelly. AII,EEN: (/i C ) (Smiks) My name's Aileen.
GRACE: lr's my own voice. at any ratH. STARLIGHT: Aileen - Aileen. My sister's name. Strange
STARLIGHT: No! Such a treasure belongs to society at - I was whistling Aileen Aroon as I came here. Aileen!
1arge. It is a pretty name. My name's Frank.
AILEEN: Well. I'm sure. AILE,EN: That's a tolcrably nice name too.
GRACE: Mr Marston's across the paddock. I'il tell him you STARI-IGHT: They'd go well together. Aileen and Frank -
arc here. (Running olJ) Frank and Aileen. Let us be lriends.
STARLIGHT: Can I wait tiil you corne biick. AILEEN: (Huitating) Well - you are a stranger and you -
GRACE: Certainly. (Exits quickQ at back and off R) might be -
S:I'ARLIGHT: A very bad man?
(AILEEN interested in paper looks up occasionalll catching AILEEN: Oh, no, no. I don't think that. You <otrlrln't lrt'
STARLIGHT's eye)
very bad.
STARLIGHT: I've carnped out lbr three nights and the STARLIGHT: Why?
track here's been none too easy to follow. I'11 sit down il AILEEN: Your face is so good - and your' \'r,i(( is s,' q, rr
ycru don't nind. (Takes out pipi) tle. If you were ever arrested for anythine tht: IVlirqistlrrlr'
AILEEN: (Smiks) I wonder who he is. would let you go.
STARLIGHT: A pretty girl. What a picturesque place this STARLIGHT: You think he would.
is. Lonely isn't it? AILEEN: I am sure he would.
AILE,EN: We don't find it lonely STARLIGHf': f'hen - *hy czrn't we be friends.
- we've too much to do.
SI'ARLIGHT: I interrupt you - you are reading * don't (ST-ARLIGHT holds out hanQ
mind . Something very interestine?
me
AILEEN: Something very tcrrible. Abour Starlight thc bu- AILEEN: We can. (The1 shake hands) Ooht You've sprained
shranger. (Cros.tes risht and sits on tree stump') my wrist.
18 ROBBERY UNDF]R ARMS
STARLIGHT: (With flask) I'rn so sorry. Let me rub
whisky on it.
AILEEN: (C.) Is whisky good for sprains?
STARLIGHT: (,R.C.) Very good. Will you allow me?
AILEEN: No, thank you.
STARLIGHT: Then you will excuse me if I (drinks
Jlask)
AILEEN: Did you sprain your throat? !'LARLIGHT
up his face) (Laughing) That's one of Jim's jokes.
STARLIGHT: Who'sJim?
AILEEN: Dick's brother.
STARLIGHT: And may I ask, who is Dick?
AILEEN: Jim's brother.
STARLIGHT: Oh, Jim's Dick's brother and Dick's Jim's
brother - Ji-, Dick. But who are they?
AILEEN: M1 brothers.
STARLIGHT: I should like to be your brother.
AILEEN: Like to be my brother?
STARLIGHT: No, nol Nol On second thoughts I should
not like to be your brother - You said - Mr Marston
would be here directly.
AILEEN: Did I?
STARLIGHT: I thought so.
AILEEN: Would you like to look at the paper?
STARLIGHT: I should. I have not seen a newspaper ior
days.
AILEEN: (Handing paper) George brought it.
STARLIGHT: Another brother?
AILEEN: No a very dear friend. (Goes up)
STARLIGHT: (Looks ouer paper * starts) Pardon me. You
were reading this paragraph. What do you think ol it?
AILEEN: Oh I hate bushransers. They're horrid. Worse
than dingoes.
STARLIGHT: But the dingo must live, as well as the coliie
or the sheep either. He's not a bad sort, old dingo, and
he has a high old time of it while it lasts.
AILEEN: 'Till he's shot, or trappcd, or poisoncd, as he al-
ways is, some day. I wonder any man can bc content to
live a wicked life, and die a shameful death. (Titrns
arua1)
STARLIGHT: (Glancing at AILEEN, uith suious
Humph! We'lI change the sub.ject.
ACT ONE
some (Caule belt)
(Enter BEN, L.U.E. and GRACE)
(BEN comes down to STARLIGHT'and shakes hands heartiQ)
BEN: (2.C.) Ah, here y'are then.
;t'rom STARLIGHT: Glad to see you, Ben.
BEN: Made chums already with my daughter.
screrus
STARLIGHT (L. aside) His daughter!
(Enter DICK, JIM and GEORGE L.U.E )
GRACE: Neat dairy isn't it George.
BEN: (Za others) George, Grace, boys. This is my partikler
mate. Mr -
STARLIGHT : (Whispers) Bereslbrd.
BEN: Mr Bereslord.
DICK: What, dad, is he a mate of yours?
BEN: I shouid think he was. Saw me through that fever, up
Ballabri way. Found me all alone in the humpy and
nursed me like a woman.
JIM: He's a eood sort - my Colonial.
AILEEN: Now we're real lriends. (Shakes hands again)
STARLIGHT: Thank you. Friends are not too plentiful in
this world. Any man would have done the same Ben. I
was fortunate to arrive at an opportune moment that was
all. Your dad makes too much of a few trifline atten-
tions.
BEN: Not a bit of it. I should have been a dead man but for
you. (All shake hands utith S7'ARLIGHT, and express pleasure
al meeting hin) I met Mr Beresford again near Sawpit
Gulley. He's travellin' in these parts.
ST'ARLIGHT: What's that?
BEN: I say you're traveilin' in these parts.
STARLIGHT: Ohl Ah! Yes. I'm humping my bluey. Pick-
ing up Colonial Experience and all that sort of thing.
QIM laughs heartily)
BEN: So I asked him to run over to our shantv.
AILEEN: He's very welcome.
ktok) (Read1 gas stoae and bacon L.2.E.)
oicr: He is, my wordl
JIM: He is so, my Colonial.
 t{( )tilil,){\' trNt)1,)r AIrMS ACT ONE '21

(,\'l'/ lt l,l( ; I l'l' ltotrt.t hi.t tlumL.t, qr:lt,in.q ll. C.) (Exeunt to hut)
GEORGE: (7'o S'I'ARLIGH'I) Any relation to the Beresfords (Music segue)
o{'Booyong?
(WARRIGAL jumps oaer Jence R.U.E. then he listens cautious-
STARLIGHT (Crosses to GEORGE) Haven't that honour. I
can't say I have any relations in Australia at the present \, ear to ground - starts. Then goes to hut and then door, giues
time. a signal (imitation o;f dingo) - repeats signa[)
GRACE: Well, Mr Beresford, what do you think of what (Enter hurriedQ BEN Jrom hut ruithout hat and piece oJ bread in
you've seen so far? hand * eating. Music stops.)
STARLIGHT (Euidentllt alluding to ladies) Well, what could I
think? Charming, charming indeed. You Australians are BEN: (Ealing) Can't a cove have his feed? What's up Warri-
most hospitable - I like your free and easy way of liv- gal?
ing. One man's as good as another. WARRIGAL: Felier yarraman come up longa Black Gulley.
GEORGE: If he's honest. One feller shoe, very near ofl - too much big one
STARLIGHT: Certainly - if he is honest. plieteman, mine thinkit.
BEN: Then ciear out smart through the bush and give
(lVoise oJ bacon Jrlin.g L.2.8. Smell peruades stage - ,JIM another signal il they really are troopers.
sniffs and smiles) WARRIGAL: (Points to hut) Hirn yan away.
NORAH: (Within house) Breakfast is ready. BEN: I'll see to him alright. Oll you go.
BEN: Come on, Beresford. (Coing to hut) Come in, all of WARRIGAL: Likit boomerang - back soon.
yott. (Exit L.) (Exit WARRIGAL R.U.E.)
(Exit GEORGE and GRACE - to hut L.) BEN: Can't beat that black varmint much. (Goes to door oJ hut
DICK (R) and calls) Mr Bereslbrd. Just come here a minute.
(Business JIM and prepare to race)

DICK: (Holding .Jim back) Now, fair start. One, two, three. (Re-enter S7-ARLIGHT Jrom hut without hat - closing door
(/umps ahead and exit to hut, .JIM folloruing.) carefully)

(When all ofJ except AILEEN and STARLIGHT, music) STARLIGHT: What is it?
BEN: Warrigal tells me there are troopers in the neighbour-
STARLIGHT: (/?.C.) I shall never Ibrget this, our Iirst hoqd.
meeting.
AILEEN: Won't you? (Aside) Nor L (I,l/ARR(GAL repmts signal, llJ R.U.E.)
STARLIGHT: Give me something to remember it by - a (Business, BEN and STARLIGHT go up, and look ofJ R.)
flower.
AILEEN: If you reaiiy wish it, there. (Giue bul) STARLIGHT: It's Goring. The smartest and most unscru-
STARLIGHT (Holding it up) "This bud of love by summer's pulous man in the Ibrce.
ripening breath, BEN: He's a regular terror. What's he after, I wonder?
May prove a beauteous flow'r when next we meet." S'I'ARLIGHT: We shall soon know.
It shall never leave me. (Exeunt L.U.E.)
AILEEN: Oh, nonsense.
NORAH: (Within) Aileen! We're waiting breaklast. (Music till police all on)
AILE,EN: They're waiting. Come and help, mate. GORING: (O-fJ R U E.) Leave the horses therel
STARLIGHT: Helprnate? So mote it be.
(Enter GORING on horseback then MAGINNIS, O'HARA and
22 ROBBERY UNDER ARMS AC'I'ONE 23

a number of troopers. O'HARA "aer1 stern and ofJ'icial"; MA- MAGINNIS: We might.
G1NN1S "a genial kind-hearted man') O'HARA: Wid a chance o' sharin' the f500 that's on his
head.
GORING: (2.) Maginnis! MAGINNIS: Right ye are I
MAGINNIS: (/?. C.) Sor!
GORING: You stand there. (Indicating R.) O'Haral (|tloisu of laughing Jackass and other birds. WARRICALs sis
O'HARA: (2.C.) Sor! nals repeated)
GORING: You stand there. (Indicating L )
O'HARA: Maginnis!
(The1 assume positions, R. A L.) MAGINNIS: O'Hara?
O'HARA: D'ye hear that?
GORING: Don't take your eyes from that door, and don't MAGINNIS: I du.
move an inch from that spot. Acquit yourselves like
O'HARA: There's some quare poultry in these parts.
men, tho' you are new-chums. I think we shall catch the
MAGINNIS: There is that.
old bird sitting this time.
(|1/ARRIGAL, who has crept on a big bush
unseen couered b7
(Laugh heard inside hut)
ruhich he carries lhrows stffid-stones at MAGINNIS hitting him
They're all inside, I fancy; but I'll make sure outside on back)
first. The rest of you, right-about-turn, and follow me.
MAGINNIS : (Starting) O'Hara !

(Exit GORING L.U.E. Jollowed fut troopers) O'HARA: Maginnis?

MAGINNIS: Did you see that?
O'HARA: Maginnis!
O'HARA: What?
MAGINNIS: O'Hara.
MAGINNIS: A stone shtruck me.
O'HARA: Are ye listnin'.
O'HARA: Where?
MAGINNIS: I am that.
MAGINNIS: In the small o'the back.
O'HARA: We're not to take our eyes off of that door. O'HARA: Pooh! Possurri.
(MAGINNIS looks rounQ MAGINNIS: I tell ye it did. It nigh on dishlocated my varti-
brae.
And we're not to move an inch from where we are stand-
ing. Maginnisl (WA,RRIGAL throws and hits O'HARA)
MAGINNIS: O'Hara! O'HARA: Maginnisl
O'HARA: What's the warrant for? MAGINNIS: O'Hara?
MAGINNIS: Cattle-duffin'in the lirst degree. O'HARA: Did you haive anything at me?
O'HARA: Is it Ibr old Ben Marston? MAGINNIS: Mel No.
MAGINNIS: The same. O'HARA: Well, something hit me.
O'HARA: He'Il be aisy managed. What's the reward? MAGINNIS: Where.
MAGINNIS: Filty quid. O'HARA: (BashJull;y) Never mind. Anyway, it was in the re-
O'HARA: An'will the sub-Inspector get it all? gion of the brace-buttons.
MAGINNIS: He will that. MAGINNIS: Bah.
O'HARA: An' won't we have the fingerin' of a trifle? O'HARA: Wouldn't ye rather be back in ould Connemara
MAGINNIS: Divil a ha'penny. than standin'here to be shot at.
O'HARA: An' we might be wid the others alter that Star- MAGINNIS: Faith, I would that. It's not six months since
light. we came to Australia and jined the foorce, and my
2+ ROBBERY UNDER ARMS
digestions entoireiy rooined wid the hurried meals we've
had to put up wid.
O'HARA: An' sure I'm losin'my sight. Every mornin'whin I
wake up, my eyes is shtuck togither that fast, it takes
half an hour's hot, warm, fomentiations to get 'em open.
MAGINNIS: It's Sandy Blight you've got.
(Noise of hooJs
- as tJ horses stampeding)
(Enter GORING L.U.E.)
GORING: What the devil's the matter with our
(GORING whistles. Enterfour troopers L.U.E.)
Go to the horses, or they'il give us away.
(Exeunt troopers R.U.E. Jollou,ed b1 MAGINNIS
O'HARA, shoulder to shoulder.)
(Laugh by characters in hut)
(So/rzs) O1d Ben's in there, 1br certainty
- and I shan't
have much trouble. (Looks in at door) I'here's the girl I
saw the other day, and took such a lancy to - my style
to a T. She snubbed me then, but I've a better card to
play to-day. (Raires to shed R.)
(Enter AILEEN Jrom hut L.)
AILEEN: I can't stay in there any longer and laugh and talk.
What a handsome lellow - such eyes - such a smile.
GORING: (SteppingJorwar@ Meaning me, Miss?
AILEEN: (2.C.) You! Here again?
GORING: (C.) l,ooks like it my beauty - Father about?
AILEEN: What do you want with him?
GORING: Give rne a kiss and I'11 te1l you.
AILEEN: How dare yo:ul (Aside) For father's sake, I must
not make this man our enemy.
GOIRNG: Come, don't be so high and mighty. There are
many worse {'ellows in these parts, than Phil Goring.
AILEEN: Mr Goring -
GORING: Sub-Inspector Goring, if' you please, and on official
business.
AILEEN: Inspector Goring, then -
GORING: Much better.
AILEEN: What have you against my Iather?
ACT ONE 25
GORING: Cattle-stealing, that's all.
AILEEN: (Alarmel) Oh, no! Take care what you say. I'm
sure he can't be guilty. He is an old man and -
GORING: And devilish smart lor his age. Come, where is
he?
AILEEN: (Aside) It may be true. If I could but warn him.
GORING: Is he in there'! (Pointing to hut)
AILEEN: No, he's not. On my oath he's not.
GORING: Look here, between ourselves. I know he's here-
abouts, and I mean to nab him. He'ii get seven years at
horses?
least. There's a reward too - that'll come in handy. But
whisper. If you'Il be nice and kind and loving, in a word,
il you'll bc Mrs Goring - not standing on any cermony,
you know - I'11 - I'll give him a chance to get clear off
and - (Aside) and pop on him afterwards.
AILEEN: I've heard enough - no more - no more.
GORING: Pooh! Come, a kiss to seal the bargainl
AILIIEN: Don't touch me - Don't touch me - I'll scream
for help!
GORING: And bring the old man out here to be nabbed.
You'll never do that. Come, kiss me. (He seizes her. Strug'
qle)
,AILESN: I-et me alone - or it will be the worse Ibr you
(Breaks awa1t, boxes his ears)
GORING: You vixen.
AILEEN: Coward - coward your every look is an insult.
(Enter STARLIGHT- L.U.E. Siezes GORING throws him
n)
AILEEN: Oh, Mr Bereslbrd!
STARLIGHT: I)on't tremble little one.
GORING: You shall repent that blow to the longest day you
live.
STARLIGHT: Threatened men live long.
GORING: You'll find this a bad day's work. (To AILEEN;
My girl, you shall sufler Ibr this. I'11 never rest tiil you
and yours are hounded out of the district.
STARLIGHT: If you are wise - you'll keep a civil tongue.
You are a disgrace to your uniform. It's scoundrels like
you that rnake honest men turn rogues. What is your
name? Who are you that you dare insult this lady?
GORING: That lady. ()lcl Marston's daughter. I'll soon show
26 ROBBERY UNDER ARMS ACT ONE 27

you who I arn. (Whi*ks) blackfellow? And who are you (7'o S7-ARLIGHT) that
you dare to oppose Her Majesty's Ollicers in the execu-
(Enter MAGINNIS and O'HARA R.U.E., running - thel get
to R. corner)
tion of their duty? Let's have a good look at you. (Crosses
to STARLIGHT - up C.) Starlight the Bushranger!
O'HARA: An ye plaze, sor, somebody's turned our horses
(Omnes staggered. AILEEN almost Jainting, GRACE alarmed,
loose and just as we were chasin' 'em -
MAGINNIS: That somebody nollled our carbines - Alleyes on STARLIGHT;for the moment.)

(Music, hurried, till Act)

(WARRIGAL crosses ruith carbines) (Business)
GORING: This comes of trusting to raw recruits. (Crosses to (GORING crosses dorun to extreme right, and makes sign to
troopers 'Arrest him". As he turns, DICK and lM block him,
corner) Never mind. I have my barker. (Crosses to door,
as s uming Jighting au i tudes. )
bursts it o1:en) Now then. Come out, Come out, all of
yo:ul (Goes back R) DICK: Stand by him Jim. He stood by father.
(Enter GRACE, DICK, .JIM and NORAH Jrom hut.
GORING: You will interlere, will you. Do you know that by
siding with this man you place yourselves in the power of
Surprised and anxious
- m€n haae liats ofJ and look as iJ just
the law and will share his punishment?
risen Jrom table.)
DICK: Yes we know.
GORING: (To troopers) Search the hut. JIM: We know. (Business shaping ap) We know.
(MAGINNIS and O'HARA exeunt t0 hut L.) STARLIGHT: He's right lads. Stand back, and don't inter-
fere. I can fight my ou,n battie.
JIM: What's up. (DICK and./IM retire to L.)
DICK: What's the row. (Almost simultaneousll)
GEORGE: Anything wrong. (AILEEN and GRACE appeal to the bols and get them oaer to
STARLIGHT: (L.C.) That man behaved like a coward L. corner.)
your sister and I gave him a lesson.
(WARRIGAL and BEN creep on, R.Lf.E. with trooper's guns
(DICK andJIM cross to GORING, R.) and remain concealed behind trees, or stumps.)
DICK: Insult my sister. GORING: Captain Starlight, you're in a warm corner.
JIM: Curse you meddling police - you think you're the STARLIGHT: Am I? I can get out oi it.
Kings of this country. GORING: (Crosses to troopers) Can you? Cut him down il he
GORING: (/?.) You whelps had better not give tongue. The attempts to run. Ready menl Arrest himll
old fox is run to earth.
(GORING, MAGINNIS and O'HARA drau swords and ad-
JIM: What's that? aance toutards S7'A RLIGHT)
DICK: What do you mean?
GORING: What I sayl (Crosses to C.) I hold here a warrant STARLIGHT: (Drawing reuolaer and pointing it at GORING)
for the arrest of your father Benjamin Marston, on a Bail up!!!
charge of cattle-stealing, and I mean to enforce it.
(Ring Act on word)
(Enter MAGINNIS and O'HARA,;from hut)
(GORING holds up hands. WARRIGAL cooers MAGINNIS,
O'HARA: Nobody there. (Crosses to R. corner) BEN couers O'HARA. Thel collapse.)
MAGINNIS: Divil a sowl. (Crosses to R. corner)
GORING: Got away, has he, but not far. Who was that
END of ACT ONE
2B ROBBERY UNDER ARMS AC'I''fWO
IN THE YORTEX
REN STARLIGHT
Vii:e is a nronster of so liightlul mien,
GEORGE & NORAH As, to be hated, nccds but to be seen;
Yet, seen too oft, familiar with her l-ai:e,
WARRIGAI- GORING
We lirst endure , then pity, then embrace.
Pope [Essa7 on Man, 11,1.217-220)
O'HARA AILEEN & GRACtr

DrcK &.lrM SCENE 1

MAGINNIS
SCENE: INT-ERIOR OF A BUSH POLICE SI'ATION
(FRONT SCENE) Table and 2 chairs L.C. on canuas
to draw of. Pens and ink. Charge book and neutspaper
uith paragraph written in, r.tn table. Maps, oficial docu-
ments, notices on Jlat, box-in piece R, u-tith door. Practi-
cable door R.F. Chair R. on canaas to draw of.

(Music)
(MAGf NNIS and O'HARA, discouered. O'HARA
standing on thair R oJ table, jxing up sheet, on which
prominent words are "STARLIGHT' - {1000 reward"
Ec-
O'HARA: Maginnis.
MAGINNIS: ()'Hara.
O'HARA: Look at that now. That's something like zr rcward.
I1000. Starlight's pricc is rising in the market.
MAGINNIS: Faith, that's because he makes himself so
scarcb. 'T'is a tidy bit o' money indade, and not to tre
fingcrtd in ajiflry.
O'HARA: Yerra wait a bit, me man. Sooner or later wc']1
snap the handcuffs on Mr Starlight.
MAGINNIS: I don't think it - ifl1 be much easicr {br a
neeclle to go into the eye ol a camel.
O'HARA: The inspector swears he'll have him yet.
MAGINNIS: Ah, iI'swearin'11 do it, Gorine'll get him. He's
done nothin' but swear, an swear since Stzirlight droppecl
across us a week ago.
O'HARA: That was the dav we nearly captured the d - l.
MAGINNIS: l'll never lirrget that day, O'Hara (Bus. rubbing
30 ROBRERY UNDER ARMS ACT TWO SCENE ONE 31

him.relJ in recollection oJ uhere the stone struck him in Act 1) MAGINNIS: (/i. C. ) (With chair) Be seated mam.
O'HARA: Maginnis. O'HARA: I'll take the charge.
MAGINNIS: O'Hara. Did ye hear. Oh! the pity of it. The MISS A: Where are r:ty eiasses?
Marston boys are on the job now. I'm sorry {br that d'ye MAGINNIS: What's the case, mam?
mind. MISS A: (fumbling in reticule) They're not in a case. They're
O'HARA: Maginnis! - Oh, here they are. (With eyeglasses which she rubs with
MACTNNIS: O'Hara. handkerchief and drops. MAGINNIS picks them up.) Thank
O'HARA: Ye're too solt for the service. yorl. (In her neruousness she does not put them on, but drops
MAGINNIS: Am I. I've an'eart. them in bag.)
O'HARA: A what. O'HARA: Now mam, an ye plaze . In the first place, what is
MAGINNIS: An'eart that leels for another. and I don't like your baptismal and sponsorial appellation?
to see gossoons like them go wrong. MISS A: Eh?
O'HARA: What's your name?
('I'imid knock at D.F.) MISS A: 'fhank you. Yes. Why didn't you say so belore -
O'HARA: See who's there. Euphrosyne Aspen.
MAGINNIS: My 'ezrrt - it may be Mary Ann (looks out oJ (MAGINNIS and O'HARA both staggered. MAGINNIS utith
windoza as knock repeateQ No, it's not Mary Ann, it's a la- hand to jaru.)
dy. (Opens door)
O'HARA: An ye plaze mum, would ye mind sayin it agin,
(Enter MISS ASPEN) and say it aisy.
Mind the step ma'am. MISS A: Euphrosyne Aspen.
O'HARA: How do you spell it? Here, Maginnis, come and
(NOTE: MISS ASPEN, a ladl oJ uncertain o{e, is uery neruou\. write it down.
and extremelt short- siehted.) MAGINNIS: Do your own work. Put it down in bits.
MISS A: (Aside) I thought I'd never find the coach olfice. (Io O'HARA: I suppose I must have a try at it. (Bus, tryinu pen,
MAGII\.NIS u.tho ofers chair) Thank you. (/umps up, screams and cleanins it on hair) (Spells as he writes) H-U-hu. F-R-O-
and runs across R. MAGINNIS crosses C. in qfright. S-T-Y Frosty. A-P-P-L-E Apple. You Frosty Apple!
O'HARA aerl Jriuhtened ) MISS A: That's not my name. (Highu indignant)
MISS A: Oh, my poor nerves. Its nothing, nothing I assure O'HARA: I beg your pardon mum. That's what you said.
you. (Re-seats hersel;f, and repeats scream. MISS A: I never said Frosty Apple.
Jumping up on chair,
and holding skirts tight round ankles. MAGINNIS crosses R, O'HARA: Ye must have said it, or how could I have it in
and looks about stage. O'HARA gets 0n table u,ith hammer. the book. Now mam, in the next place the date of your
MAGINNIS jnds wm-Leaf on stase .) nativity.
MAGINNIS: It's a gum leaf. MISS A: I beg your pardon.
MISS A: Oh dear. Oh dear. I thought it was a snake . O'HARA: The date ol your nativity. What's your age.
MISS A: Is that necessary?
(O'HARA and MAGINNIS disgusted) O'HARA: Ccrtainly.
Where are my glasses? (Fumbks in reticule) I am so very MISS A: T'wenty-eight next birthday.
ncar sighted. I can scarcely see the gentlemen. (O'HARA and MAGINNIS laugh aside)
O'HARA: She's come to lay an inlormation agin some one, I
suppose. (Seats himselJ at table, dips pen in ink, opens charge O'HARA: Now mzrm, rnarried or sinele?
book) MISS A: Singlt: :rs l;rr as Five Corners please, inside.
32 ROBBERY UNDER ARMS
MAGINNIS: What the divil's she drivin' at?
O'HARA: Now Mum. The charge is?
MISS A: What is the charge Please?
O'HARA: Come now, that's lor You to say -
MISS A: Thank you. You're very kind, but I've no idea'
O'HARA: (Slamming book - aerl annoyd) Nonsense! What are
ye givin' us.
fr,tebtNNfS: Shl Don't be 'ard on her; 'ave an 'eart'
MISS A: (Takes 15 note out oJ purse) ('I'akes out glasses and puts
them oi) There is a f5 note. Take it out of that'
(As she
hanrls note to MAGINNIS' O'HARA makes mouement to ld it
and shorus great tlisappointm€nt as MAGINNIS stows it
MISS A: (Looking straight at O'HARA) Good gracious' police-
ment iLookin! ot U,lCtwNtSl Constables! Where am I?
O'HARA: (Angrre(t) Purty innocence, pretendine yez don't
know this is the Police Olice'
MISS A: Oh my. I thought it was the Coach Office'
(Enter SIR FERDINAND MORRINGER and GORING
D.F. Both troopers start to attention)
SIR F: Why, Miss Aspen, this r-r an honour'
MISS A: Ott, Si. Feidinand. (Shakes hands) lt seems I'm in
the wrong place. I wanted to book a seat for Five Clor-
ners.
SIR F: That's easily arranged. Maginnisl
MAGINNIS: SiTI
SIR F: Show the lady to the Coach o{hce'
MAGINNIS: (Saluting) Yes, sor' This way mum'
MISS A: Thank You. (Exit D.F')
(MAGII{NIS exit aJter MISS ASPEN' Giuts knowing wink
b'A,qA,S who is makine signs to him Jor 15 note )
MISS A:(Comes back foiowed b1 MAGINNI$ Sir Ferdinand
have you seen mY nePhew latelY?
SIR F: George Storefield?
MISS A: Yes yes - Is he well?
(SIR FERDINAI{D nods his head smiling)
MISS A: How nice - and doing well?
SiR F: I hear that he's to be made aJ'P'
MISS A: F{ow nice. (Goins) Thank you - thank you ('Io
MAGINNIS) My nephew George is to be made a ']'P'
How nice. @xn R.I.E.)
AC'I TWO SCtrNE ONE 33
SIR F: (Seated L o;f 7'ahk) O'Hara.
O'HARA: Maginnis. (Correcting himselJ) Sor. Sor.
SIR F: There's a lad loafing about the stables who says he
wants to see me. Bring him here.
O'HARA: (Brishteninu up and saluting) Yes Sor. (Exix quikQ)
SIR l-: Let us see what the Sydney Morning Herald says.
(Reads)
"The Great Cattle Robbery"
"It will bc remembered that a thousand head of Mr
Hood's cattle was driven off and sold in Adelaide some
time ago by the notorious Starlight and his gang."
away\
GORING: It was the smartest bit of cattle duffing ever
known in Australi:r.
SIR F: (Continues reading) "The men disappeared altcr thc sale
and it was thought that they had quitted the country. It
appears however that they were near the Meddin Moun-
tains on Saturday." What has been done?
GORING: I haven't let the grass grow under my I'eet.
SIR F: (Rising greatQ agitatel) You found their tracks?
GORING: Yes we Ibund their tracks and -
SIR F: Wtll - wcll -
GORING: Nearly caught them at Dilligah.
SIR F: (Seating himselfl The old story - (disappointeQ.
GORING: It was not my fault. My plans werc well laid. I
scattered my men but the Iellows cleared, warned ncr
doubt by one ol their bush telegraphs. But I got in a
snap shot at Starlight -
SIR f: Hal
GORING: He reeled in his saddle and I thought I had him.
SIR F: Well, weli.
at
GORING: But he pulled himsell togcther and went off like a
flash on his horse Rainbow.
SIR F: You said Dilligah! Let me see.
(Music, liuej till WARRIGAL on)
(Enter WARRIGAL, D.F. brought in roughl2 b1 O'HARA)
MEMO. WARRIGAL dre.rsed in ragged pair o;f moleskin.t a
good deal too lon4 Jor him but kept straight b1 a strap round the
u:aist. An old cabbage tree hat, and blue serge shirt. Odd boots
- lne rust) spur - stick instead oJ uthip - remoaes hat.
O'HARA: (Laughing at WARRIGAZ) Only one spur. What
the divil's the eood o' th:rt.
34 ROBBERY UNDER ARMS ACT TWO SCENE ONE 35
WARRIGAL: One side o'Yarraman go t'other side go too. like it this. (Ciues a uerl loud whistle, tahich makes SIR FER-
SIR F: (Turning rounQ Well, my lad, what is it. Who are DINAND and GORING start, and brings O'HARA to door
you? uerl smartQ.)
WARRIGAL: Mine Budgeree Billy. (Crossas D.Z.) Who you O'HARA: (Enterine smartly) Did you whistle sor?
- you boss p'leeceman? SIR F: No, it was the boy. (Motions him to exit)
SIR F: I'm Sir Ferdinand Morringer, the chiefof Police. O'HARA: (Aside, going) The boy was it. (To WARRIGAL) I
WARRIGAL: (Points to GORING) Dis felter mate alonga wish I had the handlin' of em.
you?
SIR F: That is Sub-Inspector Goring. You can speak before (rl/ARRIGAL business ruith spur)
him. (Exit O'HARA)
WARRIGAL: (Pointing to O'HARA) No fear
- speak it longa
too much p'leeceman. SIR F: (to WARRIGAZ) Go on.
SIR F: Very well. (Motions to O'HARA) You can go. Remain WARRIGAL: Then when white feller gib it another whistle
outside until called. like it this, (about to whistle again)
SIR F: (Raising hand) Stopt Imagine the whistle.
(O'HARA salutes and exit, ruith look at WARRIGAL who tries WARRIGAL: Then gib 'em this bit of paper all right. Star-
to get Bill of wall b7 Jlapping it uith hat, recedes as GORING Iight yan away - mine bail (shaking head) go to cross-
approaches) (GORINC back to table) roads - mine come here * see boss p'leeceman.
SIR F: (Seating himselJ L. oJ tabk, and crossing lzz-s /egs) Now SIR F: And you did well to come. Here's a sovereign for
then, my iad speak up and iook sharp. you. (Hands him a soaereign) Give me that paper. (Warrigal
WARRIGAL: AIl right - mine teli you - mine yakker does to\
aionga pub at Bundah. WARRIGAL'. (Crosses to R cnrner and biting coin) My crikey -
a soverin. (Examines it and puts it in pocket ruhile SIR FER-
(Music) DINAND and GORING conaerse)
GORING: (GreatQ interested) Twelve miles from here. SIR F: (Reading) "Not the Rocky Rises, but the Devil's Pass.
WARRIGAL: All right - Dis mornin - Starlight. Plans changed." Near there?
SIR F & GORING (Both startled) Starlight! GORING: Twenty miles further on, but there's a short cut
WARRIGAL: Starlight and him felier Yarraman. by leaving the road.
GORING: (To SIR FERDINAND) With their horses. SIR F: Good! Ride to the cross roads. Carry out the instruc-
SIR F: (Smilins) I know what he means. 'tions Starlight gave you and mind not a word to anyone
WARRIGAL: Starlight got blood longa shirt. that you've been he1e.
GORING: (Smiles an.d looks at Sir Ferdinanfi I nlarked him WARRIGAL: No fear Cockey. (Showing slaereign) When you
then. get it more soverin?
WARRIGAL: (Nods) My word him swear longa you, Gorin! SIR F: If your inlbrmation proves correct, you shall have
GORING: .Mr Goring. twenly more sovereigns lomorrow.
WARRIGAL: Baal him say Mister - Him say Gorin d - WARRIGAL: Baal Gammon?
n ugly. SIR F: Baal Gammon.
GORING: Oh he said that did he. WARRIGAL: All right - mine you along berry quick.
WARRIGAL: Yohi * Starlight gib it to mine - five shillin Good byc old Gorin.
GORING: (Annoyd, makes a dash at him with ruhip. \4/ARRI-
- take bit o' paper (Business) all right mine gib it bime CAL is too quick Jbr him and exit quickQ, laughing)
by - down longa cross roads - he tell me wait byme
by minc see six white leller come along and then whistle SIR F: Smart lad that, Goring.
GORING: (Aside) A damned sight too smart.
36 ROBBERY UNDER ARMS ACT TWO SCF],NE TWO 37

SIR F: Warn the Escort - you and your troopers can take BEN: (/?.C.) Al1 clear!
the short cut and trap the gang at the d - ls pass. STARLIGHI': Warrigal. Did you give that note to Sir Fer-
GORING: Depend upon it sir - they're after tonight's coach dinand?
and your friend Miss Aspen will be in it. WARRIGAL: My word. Mine make big fool big }:oss
SIR F: Has the coach gone? p'liceeman *
GORING: (Goes to window)Yes. STARLIGHT: Go to the needle rock. and let me know who
SIR F: That's awkward. passes the corner. Are you afraid?
GORING: Rely upon it sir, we'll break up the gang. We've WARRIGAL: My word! Warrigal 'fraid o' nothin! Starlight
got them now. They're in a circle and'll never break say go, Warrigal go. Starlieht say die, mine thinkit War-
through it. Every police station shall be warned. rigal die. (Exit L.2.E.)
SIR F: Wel1, Boot and Saddle, and good luck to you. (They STARLIGHT: Marston. Why don't you tel1 Dick andJim to
shake hands) clear out and leave us.
GORING: (Looking at watch) By this time tomorrow Sir REN: Not me - and they wouldn't go if I did tell 'em
- the
they'Il either be in Berrima Gaol or deadl (Exit D in \ calves is branded sarre as the old bull - it's in the
blood.
(Exit SIR FERDINAND L.LE.) STARLIGHT: Don't you think that Devil's limb Warrigal
(Pause) with Moran and his crowd are enough for this precious
trade of ours?
(Buule Calt) BEN: No - We've got too many strangerr in our mob as it is
(Segue to STARLIGHT\ music tn open Scene 2) and there's somc with us as wants boilin' down bad.
STARLIGHT: Some day Ben you'll wish you'd lct your sons
END OF SCENE 1
go home. If they were my sons I'd hang myself before I'd
drag them into the dirt with me - but there you're as
(Lighx out on change; chanse scene 0n stroke of wne) obstinate as a mule.
BEN: I know I am * you might just as well try to stop a
coach when it's running down hill with the brake off as
try to chanee me when my mind's made up. Them boys
SCENE 2 stays with us - sink or swim.
SCENE'A ltartial clearing in the midst oJ denselt srassed bush STARLIGHT: It's a d - shame. Send them to me - for
land. (Idea to be giaen that police can't penetrate here.) Log to act instructions.
as seal, C. Dense ;t'ern.r, Jallen timber and a riotous groruth oJ BEN: No preachine or barneying to 'em mind.
flouers and herbage. Balsamic Jorest odors.
STARLIGHT: Hold your tongue. Go.
TIME: A southern spring aJternoon. (Exit BEN R.2.8. erumbling)
Light.r up. Red limes till dialogue. STARLIGHT: /i.) Why wasn't I knockecl on the
(Crosses
head when I was born, like a blind puppy (biind enough,
Music till picture ruell discouered. heaven knows), rather than that I should live - livc to
(ST'A RL IGH 7- discoaered C.) involve others, and those othe rs Aileen's brothers.
(Crosses L.)
(I,I/ARRIGAL Qing at his Jeet - haaing taken olJ coat)
(Enter DICK and.JIIQ
(Enter BEN MARSTON R.2.E.)
Ah, lads, sit down, I want ro talk to you. (The1 sit on lo.q)
STARLIGHT: (To Ben) All, clear by thc lower road?
38 ROBBERY UNDER ARMS ACTTWO SCENE "fWO 39

You came into this cursed business out of a spirit of chi- STARLIGHT: There's a heavy stake on that throw - lives,
valry to help me. women's happiness -
DICK: (C.) And pay off old scores about Aileen. (DICK throas)
STARLIGHT (L.C.) Well then, to avenge the insult offered It's woman.
to your sister - but now, for that very sister's sake, and
your mother's, why not give it best. Now is the time to QIM and DICK ouerjoyeQQTARLIGHT- grieueQ
turn back. For when once you've gone in regularly for DICK: We are with you heart and hand, body and soul -
the devil's work and wages, you'll find there is no turning through thick and thin - live or die; ain't we Jim?
back. See, here's a bundle of notes. Never mind how ma-
JIM: That's our dart, my word.
ny - don't stay to count them - oblige me by taking STARLIGHT (After pause, taking a hand of each) Your young
them. Get down to the Turon - you'll be quite sal-e enthusiasm has mastered me. Friends, comrades, broth-
once you get in the thick of a mining crowd - work ers, we'll stand or we'Il fall together.
hard, keep steady and the d - I himself couldn't pick WARRIGAL: (Without L. 2. E)(Giues signat)
you out - come lads clear. STARLIGHT: Back to your posts.
DICK: And leave you and Dad and the others, just when
we're wanted with a big.job on hand. What do you say (Music, piano till "track
- wallablt" thenJ. till AILEEN ttn)

Jim? (Exeunt DICK andJIM, R.2.8.)

JIM: What you mean, Dick -
DICK: Not if we know it, eh? (Enter WARRIGAL L. 2. E.)
JIM: Never! My word. STARLIGHT: What is it?
STARLIGHT: Remember lads, though it may sound like WARRIGAL: Missee belonga them feiler, come alonga
Satan rcproving sin, I tell you, the time will come when road.
you'll call yourselves fools, born idiots, for doing any- STARLIGHT: Aileenl Help her oIf her horse. She can't ride
thing in this worid that puts your freedom in jeopardy. up here. Show her the track
And what for? What for? - a bit of loolish pride or - off you go -
WARRIGAL: QuicL. Likit Wallaby. My word.
vanity or passion. A short taste of what looks like plea-
sure against months and years ol weariness and dull half (Exit L.)
life in a prison - with maybe a dog's death at the end. STARLIGHT: What can bring her here. Is she too to be
DICK: Why don't you take your own advice - isn't your life drawn within this vortex of crime? Oh God, let me play
worth mending or saving? out my grim tragedy but keep her pure soul scatheless.
STARLIGHT: Dick - if you ask me whether my life is (Crosses Z.) Take care there, little one. More to the left.
worth mending or saving, I tell you most distinctly that Why, you jump like a rock wallaby. Be careful. (Helping
it is not. It's like the last coin in the gambler's purse. It her oaer rakes, Jerns, and bushes in L.2.E.)
must be thrown on the tabie with the rest. (Profers notu) AILEEN: (Entering) Careful? To a girl born and bred in the
DICK: We don't quit you. Put up the notes. They won't bush.
tempt us. STARLIGHT: As merry as ever, littlc one?
STARLIGHT: See here iads, at Col - school whenever we AILEEN: No I'm not, but the fresh air, and the gallop on
were in doubt - we used to toss up to decide the mat- old 'Possum have brightened me up a bit.
ter. STARLIGHT: What has brought you here?
DICK: Right you are. (To JIA.[) If rt's head we go to work - AILEEN: Didn't I tel1 you - old'Possum - I could back a
honest. If it's won-ran we stay with Starlight and Dad. colt just caught, I believe, but he's just like an old arm-
(T'ake.r out shilling)
+O ROBBERY UNDL,R ARMS
chair. He and this brought me here. (Shouts letter)
STARLIGHf': A letter - for me?
AILEEN: For a Mr Bereslbrd. Do you know him?
STARLIGHT: (Sadl) Too well. (Takes letter) From England.
From my mother.
(Music)
AILEEN: Your mother?
STARLIGHT: The one iink that binds me to the dear old
English home. God bless her white hair.
AILEEN: (2.C.) Ah Frank. A mother - well, a mother's
mother all the world over.
STARI-IGH-I': (L.)(brushing eys) Little one. You and I are
pals. We won't have any secrets between us. You shall
read this to me. (Hesitates) That is, if -
AILEEN: If I can read writing eh? Don't you lret Mr Schoi-
ar; Father Doyie taught me at the bush school.
(AILEEN sit.r on log C.)
AILEEN: (reads) "My own darline Frank. How thanklul I
am that my prayers have been heard and that the adver-
tisements I caused to be inserted in newspapers in all
parts of the world have at last borne this welcome fruit.
Rest assured that your secret will be safe with me. You
are alive, and I can but trust, weli. That must content
me lor the present. But I look forward to the day when,
with character cleared, you will resume your rightful
place in society."
STARLIGHT: Ah dear mother, that will never be. (Aside)
AILEEN: (Reads) "When you left Engiand, bearing the stain
of another's guilt, you nearly broke my heart."
STARLIGHT: Poor mother.
AILEEN: "What sell sacrifice. I knew you were innocent,
and that was my only consolation."
STARLIGHT: (Takes letter and reads) "In a new country like
Australia there must be many temptations and my hope
is that failing the anchor of your own home you will
meet with some true pure woman, whose heart may
prove a resting place for yours." Aiieen!
AILEEN: Frank. (Ofers her handi)
STARLIGHT: (Takes her hands, and stooping, kisses them.)
AILEEN: You, a gentleman, and I only a bush girl.
ACT TWO SCENETWO 41
STARLIGHT: Only the dearest, sweetest, truest, purest,
best little blossorn in all Austraiia.
(Work li.qhx. Sun disappears. Red light Jades. Then Amber.
Then purple. Then mixed color:. 7'hen delicate pink. Then Green
till moon rises)
AILEEN: Oh Frank, its Iike a dream. (Music slops) Oh if I
were only a man I would go everywhere. I have never
been anywhere or seen anything, not even a church, a
shop window, a soldier, or the sea - begging its pardon
a for putting it last. But oh how splendid it must be to be
rich; no, not that altogether, but to be able to go where
you liked, and have enough, not to be troubled about
money.
STARLIGHT: To be free, with a mind at ease. It doesn't
seem much does it and yet, how we lools and madmen
thrust it lrom us by a single act of folly, hardly crime.
That come alter. (Looks oaer letter, AILEEN watches him)
AILEEN: (Paust Jor husiness) The sun is going down behind
those great old trees. How ail the lovely colors are fading
away. (Pause Jbr business) Lile seems so much like that. A
little brightness, then grey twilight, night, and darkness
so soon afier.
STARLIGHT: But now and again there's a star and you
mustn't lorget that glorious old luminary, the moon.
We're her votaries, you know.
AILEEN: Frank. Give up these cross doings.
STARLIGHT: You don't know what you ask.
AILEI,N: But I do. For your mother's sake, il not for mine.
And ohl Frank, my poor brothers - save them, save
yours€lf. As for father, I'm afraid to turn to him. A wild
bul1, half way down a range is a likelier try on. But
promise tne you'll stop it. Go away somewhere and take
rhe Loys with you.
STARLIGHT: And would you follow them?
AILEEN: To the world's end.
STARLIGHT: You have conquered, as the good must al-
ways do.
AILEEN: You have made me so happy.
(Whistle outside R. 2. E.)
STARLIGHT: (Calls Z.) Warrigall
+2 ROBBERY UNDER ARMS ACT TWO SCENE TWO +3

(Enter WARRIGAL)
.|IM: That's where the shoe Pinches.
STARLIGHT (To AILEELD Go now. Stay at the township DICK: Goring's down on us and no mistake ever since that
tonight. Return home tomorrow, and within a week vou day you came to see Dad at our shanty.
shall hear from mc. S'I'ARLIGHT: But we are not going to be caught like rats in
a trap.
(Whistk outside R.2.E. repeate[)
(Enter WARRIGAL L.)
AILEEN: I don't like those signals. They
(Aside) mean dan-
ger. I'11 not go home. I'll get a fresh horse. WARRIGAL: P'leeteman close up.
STARLIGHT (Turning to her) Now goodbye. STARLIGH'|: On, and ride lor your lives. Warrigal, keep
AILEEN: Goodbye. (Business. STARLIGHT about to kiss her) close to my heels.
No, not before the boy. (WARRIGAL grins and shows his (Exeunt omnes R.)
teeth) My love to Dick and Jim and father. Don,t foreet
your prornise. (Enter O'HARA and MAGINNIS in disguire as prosp?ctort.
MAGINNIS craruling. L.2.E. Comic business - gettine
(Exeunt AILEEN and WARRICAL L.2.E.) pricked b1 bushes etc. MACINNIS crosses to C. O'HARA to R.
STARLIGHT: Forget my promise (Sits head between hands) MAGINNIS sits up on spur and jumps up uith a yll.)
But how, how shail I keep it. Tonight we stick up the O'HARA: Maginnis.
mail coach and the gold escort. But tomorrow. Tomor- MAGINNIS: O'Hara?
row. O'HARA: Snakes?
(WARRICAL repeats whistle) MAGINNIS: No, spikes. (.Sits on log C. and slal1s his own;face,
as tJ killing a mosquito.)
(Enter hurriedfu, I4/ARRICAL ruith suitch in hand, JIM, O'HARA: What's up now.
DICK, and BEN R.2.E.) MAGINNIS: Mosquitos.
STARLIGHT: What's the matrer? O'HARA: Maginnis.
WARRIGAL: (ScarceQ able to speak for want oJ breath) My word MAGINNIS: O'F{ara.
you be quick, you away mine think it O'HARA: (Tracking) They've been here in force.
p'leeceman come alonga track. MAGINNIS: I hope they're not about now.
BEN: (fi.
to STARLIGHq What's to be done? O'HARA: Maginnis. (Beckoning him closer)
STARLIGHT: (L. to WARRIGAZ) Their horses must be
MAGINNIS: O'Hara. (Going to him)
blown? O'HARA: If we could only drop across 'em when they were
WARRIGAL: My word. blind drunk or fast asieep.
STARLIGHT: But ours are fresh. Run and take off the hob- MAGINNIS: Ah, that's true strategy. f'he Force'll be proud
bles, Warrigal. of us yet.
(Exit WARRIGAL L.2.E.) (Enter GORING L.2.E.)

STARLIGHT: Goring asain it scems. He'd better be care- GORING: That cursed half-caste led us a nice dance. Ha!
ful. He'll find he's following my trail once roo often. What's that? The breaking of branches. (Looks of R.)
JIM: Goring says he's only doing his duty. There they go. Back to your horses men, and join the
STARLIGHT: I quarrel with no man for doing his duty, others. We'll catch them yet.
but it's more spite than duty with Phil Goring. (Exeunt omnes L. Comic scufie between MAGINNIS and
DICK: Yes, he's gone on Aileen and she won't look at him. O'HARA, .fo lknuins I lVG olf)
GO R
 +4 ROBBERY UNDER ARMS ACT TWO SCENE THREE, +5

(Music)
END OF SCENE 2.
(Lights all out Jor chanee. Change at .qln.q. Gas or electric all (Enter DICK, .IIM, BEN, WARRIGAL, R.U.E. DICK
ItalJ-dt,wn. Green remains on durinq act.1 comesdown C. Others remain at back.)
MORAN: Well Dick, you young limb of Satan. So you've
took to the Queen's highway. I though you and Jim was
goin' to jine the Methodies or the Sons of Temperance at
the Turon, you both look so thundering square on it.
SCENE 3 DICK: What odds is it to you what I do.
MORAN: You'd better set up a night school, Dick, and ect
SCENE: "THE ROCKY RISES" Full sunlight deepening after- Billy and some of the other flash kiddies to come. They
wards into nisht. might turn ovcr a new leaf in timc.
Iguana runs up tree R.2. E. Crickets, .frogs, eaening DICK: I{' you'll stand up, Mor-an, I'll niake you laugh t}re
bids. wrong side of your mouth.
Bell-birds and Magpies heard. Kansaroot jump acrots MORAN: Come on. ('fakes olf his coat) I'd like to have a
stage. smack at ye before ye go into the church. (The1 are about
lVoise oJJackasses, Mopoke etc. Log C. Smatt tog lqft on to jght ruhen BEN comes down and separates them rough.j)
Jrom last scene C. Log L. oJ larse tree just cut down. BEN: Stow that. As old as I am I'11 give some ol'you a ham-
(Enter MORAN, DALY,
mering. You're nice sort of chaps to stick up a mail
BURKE, WALL, HUL- coach, ain't yer. (All laugh and row ends)
BERT, BLACK JACK, I,I/HIS'LLING BILL,
L.U.E.) DALY: It's jeaious you are. (7'o MORAN)
MORAN: Never rnind what I am. You'll have to take me
DALY: (fi.) Pretty, ain't it, hereabouts. Ibr Captain rhis trip.
MORAN: (C.) Oh, damned pretty. DALY: Let's do it reg'lar then, by vote.
BURKE: (2.) Them coves oughter ro be hcre by now. ts..]ACK: I votes for Moran to captain us. He's a bushman
What's the time? like ourselves and not a half bred swell.
DALY: (Producing 3 utatches) Quarter past rwenty minutes BEN: You go back to the sprines and feed the pigs, Johnny,
-
to - live minutes to - these here squatters, tickers don,t that's what you're bred lbr.
run neck and neck. DALY: (Cros.re.r to L.) I says Starlight.
MORAN: Dry up with your stolen watches. (Bushrangers uote in turn, "57'ARLIGH'1"' and .MORAN',
DALY: You didn't get yours in no jewellers. crossing to R and L respectiuej as thel aote.)
MORAN: See here. If they don't rurn up, we'll pull off this
job ourselves. DALY: The votes is level. Well, Dan Moran, who does you
DALY: Oh, we can't do without Starlight. vote lbr?
MORAN: Curse Starlight. Who's Starlight? A stuck up MORAN: For Dan Moran to bc sure .

white-handed soft- spoken ladies' man. DICK: (Aduancing C) And I for Starlight.
DALY: He's all thar rill his dander's up and then he,s a born JIM: (2.C.) Starlight.
d - 1. Even you, Moran, are frightened of him. BEN: (2.) Starlight.
MORAN: Me I'ear'd of him? Il I'd my way I,d shoot him so WARRIGAL: (L ) My word, Starlight.l (Shotaing teeth and
jumpine)
full of hoies, his skin wouldn't hold his principles.
DALY: That settles it. (To STARLIGHT uho enters L.U E.)
(Most oJ them laugh) Starlight, you're duly elected captain. (Omnes except MOR-
AN cheer and throw up hat.r.)
+6 ROBBE,RY UNDER ARMS ACT TWO SCENE THREE +7

STARLIGHT: Thank you lads, thank you. If you're fools CLIFFORD: (ToJenry) Feel fatigued, Miss?
enough to risk your lives and liberties {br a thousand JENNY: (CheerfulL) Not a bit. I was only too glad to ger out
ounces of gold a man, I'm fool enough to show you the of that stully coach. The walk to the top of the range was
way. But mind, no quarrelling. Even the Forty Thieves quite refreshing.
came to grief by "Jars" (Omnes laugh) That's an old 'un (DICK
isn't it. (Omnes laugh) Well you're-determined to go on
and JIM hidden fu trees peer out)

with this - CLIFFORD: ('fo Jennl) I shall make my way to rhe Turon
OMNES: "Go on" - "Go on" - "You bet" (E etc.) diggings in a week or two.
MORAN: Do you want to back out? JENNY: Everyone seems to be going there.
STARLIGHT: What's that? CLIFFORD: Do you know the Turon Miss?
MORAN: Do you want to back out. JENNY: My sister has the principal hotei there. Her name is
STARLIGHT: Moranl I take command. Il any man diso- Morrison.
beys me, I'11 shoot him iike a dog. You don't know me (D(CK at back clutches.JIMS arm as he is adaancing)
yet, Dan Moran, perhaps you wili some day. Go on.
MORAN: (Retires up, grumbling) JIM: It's Jennyl
WARRIGAL: (Who has been looking a//i.) Hist Coach. DICK: It's a bad job she is here.
(Omnes go up and look of R.U.E.)
JIM: Poor girl if she knew.
DICK: She'll never know if you keep on your mask and hold
STARLIGHT: Ah! They're changing horses at the lbot of your tongue.
the rise. Black Jack, where are you? Cut through the JIM: Who is that with her?
shrub and stampede the troopers' horses while they're DICK: A lellow passenger. Don't be jealous.
having the usual drink. MISS A: Oh how lonely. I shouldn't iike to be here by -y-
self.
(Exit BLACK.IACK R. 1. E.) BUXTER: (L C ) No, ma'am, but with me by your side,
Now lads lets fix your numbers. (Indicating) You No. 1. you've nothing to I'ear.
You No. 2. You 3, you 4, you 5. (E etc.) MISS A: How good of you - you name is?
BUXTER: Buxter. The Buxter of Bobbrawobbra. That's my
WARRIGAL: (R.U.E.) Coach stop longa gully. station you know. Warorma, way. (Indicates Jennl) Your
STARLIGHT: The passengers are alighting. That's to re- daughter, I presume?
lieve the horses. It's a stiff puil up the hill. They're com- MISS A: My daughter. No sir. I never set eyes on the young
ing this way. On with yor,rr masks lads - you know person before today - and can't you see that I'm only a
your places - and don't Ibrget your numbers.
girl myself.
(Music) BUXTER: (Apologises and ofers Jlask and sandwich to MISS AS-
PEr.o
(All bushrangers retire, R A L)
JENNY: (7-o CLIFFOT?D) It was too bad to put all the gold
(Laughter and talking outside) in our coach.just because the escort cart broke down.
BUXTER: Ma'am, between ourselves, I've got a pretty tidy
(Enter R.U.E. MISS ASPEN, MR BUXTER, .JENNY, lump sum upon me. Sold a couple of thousand sheep
MR CLIFFORD and others. One man with portmanteau) down at the township and got the proceeds in notes,
BUXTER: (Helping MISS ASPEN t0 seat on /og) There, mam. ma'am, in notes. (Produces bundle o;f notes)
(Mops Jace with handkerchiefl
(During this and the follouing, one or tuto heads o.f bushran.qers
MISS A: (Q Thank you, thank you. I'm out of breath. Oh seen as iJ oaerhearint)
dear. We shall never get to Five Corners.
4I] ROBBERY UNDER ARMS
MISS A: Dear me, how nice.
DICK: Does Starlight know Jenny?
JIM: No. They've never met.
MISS A: But what a temptation lor anyone.
BUXTER: Oh, as to that. I'm armed, ma'am. I'm armed.
(Shous reuoloer)
MISS A: Oh don't! Put it away - the nasty thing.
BUXTER: (With reuctluer) No danger, I assure you. Armed
with that I am more than a match for a dozen bushran-
gers. A dozen, madam - adozen.
JENNY: (Laughing) What a fire-eater! (Crosses to BUXTER).
Do you know Sir, they do say there are bushrangers on
this track.
MISS A: Yes, I heard some talk about Starlight.
BUXT'ER: Poohl Poohl (Snaps jneers) Who's Starlight.
SI'ARLIGHT (Who has preaious\ entered and remained at back)
Up with your hands!!
(Enter all bu.rhrawers Jrom dffirent entrances)
(Collapse oJ passensers ruho all Cet L.)
STARLIGHT: Nos 1 & 7, take away their revolvers. No. 3,
trouble Mr Buxter of Bobbrawobbra for those notes. No.
5, overhaul that portmanteau. Stand in a row there,
don't move iI'you value your lives.
(Bushrangers obel orders, so do the passengers)
(During this, MORAN has taken .JENNY'S purse and
trosses lt)er and takes MISS ASPEN\ aaluables)
MORAN: (To MISS ASPEN uerlt rctughQ) Shell out - your
watch and chain - purse and rings - quick or you'll be
sorfy.
MISS A: (7-rembling, hands oaer articb namet[)
My hands shake so.
JENNY: Dcn't rob me. FIow shall I be able to get to my
.journey's end. I haven't a penny.
STARLIGHT: I haven't touched your money.
JENNY: (Pointing to MORAA\ That man there has taken my
purse.
STARLIGHT: Give this lady back her purse and return that
Iady her watch and rines.
MORAN: No fear.
SCF]NE'fHRIiti
ACT TWO 41)
SI'ARLIGHT: Give them back or I'll put a bullct thnrugh
you. We don't rob women. No. 3 where are Mr lluxtcr's
notes? Oblige me with your purse miss.
(Business. STARLIGHT' gets JENNYI purse and puts seueral
of MR BUXT'ER'S notes in it. Then returns it to JENNI)
JENNY: (Seeing notes) Oh thank you. Thank you.
(Enter BLACK.IACIq
BI,ACK J: (To STARLIGHT) I've loosed the trooper's horses
and the troopers rushed afier them but they'll never
catch them this side of the Warroo.
WARRIGAL: (At side) Hist! Coachl
SI'ARLIGHT: Rightl May I trouble you, ladies, to take
your seats as il nothing had happened. (Ladies do so)
Thank you. And men, hands down, face towards that
black stump over there, il you betray us by word or
look, you'll cach o{'you be covered by a revolver, and
you can guess the rest. To your places, men, you know
what you have to do.
(Omnes retire. Various entranus)
(Noise o;f coach altproaching R.U.E. Cracking of uthips, ac.)
(Coach uith lighted lamps enters R.fI.E., drawn b1 Jour horses
coaered with Joam)
STARLIGHT: Bail upll (All bushrangers appear, seueral shats
then jred) Qutck to thc horses' heads. Out with the gold boxes
- out with the mail bags. (Some bushrangers run to horses'
heati. Others couer driuer uith reuolaers. DALY gets mail bags
out, BEN MARST-ON takes lamp from coach, goes R. and look
through all letters, putting them back aJter openin.g th.em, and put-
I can't be quick. ting notes, cheques and bills into JIMI leather bas.) Now then
No. 5 what are you doing?
(Bushrangers carrl gold boxesof R.)
(To passengers) All aboard. (MR BUXT-ER and MR CLIF-
FORD and others rezs,4) Ladies frrstt (Passengers hustled into
roar,t) No. 3 assist the ladies. You'll find the mail bags
uncler the big tree to the leli of the main track on your
next trip. (Coach door closerl A,7l's clear that road.
(AILEEI\I, mounted, dashes on to stage.from [,.U.8. tc ]t.C.)
50 ROBBERY UNDE,R ARMS ACl'1'HREE
AILEEN: The troopers! The troopersl
STARLIGHT: On guard boys; just in time. NOTE: An interval of 6 months is supposed to elapse be-
tweenActs2&.3.
(All get to R. oJ' stage)
(Enter GORIlrrG, ruith drawn suord and troopers L.I.E.) A WOMAN'S VENGEANCE
GORING: Surrender!! (GORING raises sword STAR- "Heaven has no rage like love to hatred turned,
LIGHT jres - sword Jalls) Nor hell a furv like a woman scorned."
SI'ARLIGHT: Never! Touch a trigger and the Inspector's a Congreve fTfu Mourning Bride, IIl , 8l
dead man.
(Bushrangers couer police with guns, reuoluers and etc.) SCENE 1

PICTURE SCENE: The Diseines at the 7'uron. Interior oJ "The Prospector's

Arms" uith bar and etc. R. Gaur$ decorations. Built eu-
(RrNG AC7', ON PrC7'-LlRE) identQ oJ rueatherbt,ard and saluanised iron. Table G I
chairs R. 'Tabb I 2 chairs L. upstage. I'able G 2
thairs L. downstage. Biscuits on R. table. Barmaids seen
END Of ACT TWO seraing at outer bar. Papers in Act 3: Newspaper Jor
WARRIGAL," letters in enuelopes Jor SI'ARLIGHT;
.rlip o;f paper Jor O'HARA with description o;f cattle.
STARLIGHT O'HARA
BUSHRANGERS GORING TROOPERS (Music to open)
DICK JIM MAGINNIS (Lighx Jult up)
R. L.
(Concertina played fu digeer as curtain rise.r. Ha$ stop
uhen dialogue begins)

Discouered'.

DANDY GREEN - High boots, utell hlacked. "Lincoln:hire man."

- on hlacking."
"used to spend pounds and pounds
BALLESDORF - Old Prussian .roldier who had fou.qht again.st
"Bone1",' and outned haf a dozen crushing machines.
DAN ROBINSON - The man uho lticked up the 70 lb nugget.
GEORDIE BILL From "Cann-y Neuttastle"
SAM DAWSON - OJ White Hills.
PETER PAUL - the Canadian.
THE CHAMPION COOK OF T'HE MURRUMBIDGEE 8
HIS MATE-
O'IIARA U MAGINNIS - seated at table R.
D(CK AIM - discoaered at L. tahle
DIGGERS grouped around counter, drinking.
52 ROBBERY UNDER ARMS ACT THRFlli S(ll')Nl'l ( )NI'l lrll
BALLERSDORF: (,41 counter) Der doast vas, "Good healths (DICK and JIM as diggers, splashul tuil.lt ntrtrl. llanlAr'rthrr'f
to mein freund Robinson, vat lounted der 70 lb nugget".
OMNES: (Drinkine) Hurrahl
tied round their heads - considerabl alterul in (tltltltnttttt. \il
ting at L. table)
GREEN: Eh, 'twere a big foind & Dan's sheouted laike a
mon. Let's have anoother drink (seizes bottk). Here's his DICK: We are getting on hrst rate. Rubbed ofl the rust ol'
health. our bush life and becoming quite civilized.
BALLERSDORF: (Ia*ing bottle) Don't you pe so quick mit JIM: There isn't a more steady going, hard i,r'orking, huppy
dot bottles. lami1y in the colony than we arc now - Ha! hal ha! I
MAGINNIS: O'Haral begin to believe we've never done anything in our lives
O'HARA: Maginnisl we could be made to suffer for.
MAGINNIS: That's a drop out of the late iamented land- DICK: I can't. I wake up with a start, and my thoughts go
Iord's bottle. back to Terrible Hollow, and that night after the attack
O'HARA: Some of the stuff that made Mrs Morrison a wid- on the Gold Escort - Starlight with the blood dripping
dy. from his horse's shoulder - the half'caste with his hawk's
MAGINNIS: Yes, he did go it, did Morrison. eye and glittering teeth and father, with his gloomy lace
O'HARA: He did that, Maginnis. and heavy words. I wonder whether it's all a dream, and
whether you and I, Jim, have been in any of the cross
(Distant Bugle calk) work.
MAGINNIS: Murder, there's the boot and saddle again. Oh JIM: Oh we were in it, right enough, but no one recogniscs
the Divil's in it - and there's the race ball - and we'll us here.
be out of it. DICK: Except Mrs Morrison. Who'd have thought ol her
O'HARA: Mrs Morrison started it. being on the l-uron?
MAGINNIS: She did that - an' a mighty Iine dancer she is JIM: Oh, Kate! never mind her. Jenny's my wife - and
too. (Waltzes round by himselfl Mrs Morrison's that lbnd o1'her sister there's no fear.
O'HARA: Maginnisl DICK: (With emphasr) When Mrs Morrison finds out, as she
MAGINNIS: O'Hara. is sure to do some day, that I'm in love with Gracie,
O'IIARA: Duty belbre pleasure. there'll be trouble.
(Exeunt MAGINNIS A O'HARA)
JIM: Don't you believc it. She could hardly strike at us with-
out hurting Jenny. But anyhow you shor.rldn't have
CHAMPION COOK: (Goins to bar) I'm the champion Cook amused yourself by making love to her as you did years
of the Murrumbidgee. ago.
MATE: You are, Jack, you are. DICK: That was before she married Morrison and I didn't
COOK: I'rn the Champion Cook of the Murrumbidgee. think she took it serious. Besides, a man cloesn't aiways
MATE: And I'm his mate. marry the girl he flirts with.
(Business and fight as arrangeQ (STARLIGHT's music till on)

(Enter Trool:ers) (Enter SIR FERDINAND MORRINGER, CLIFFORD and

TROOPER: What's all this. Mrs Morrison'll have to keep
better order, or she'll iose her licence.
(Trooper.r clear room and exit)
S7-ARLIGHT - much disguised. SIR FERDINAND and
CLIFFORD cross to R. table. STARLIGHT seeing DICK
pauses b1 thern and giues them a card, then crosses to
and JIM
SIR FERDINAND and CLIF'FORD)
5+ ROBBERY UNDER ARMS AC'I''fHRIili SCl,lNl'l ( )Nl'l
STARLIGHT (In assumed uoice) I really couldn'r resisr the DICK: (With newspaper) Starlight ia.t t'ttlt'tt'tl ltis lt,tsr'l{;ritr
temptation o1'foilowing you when you passed our claim. bow in the Grand Handicap unclt:r tltt' tt:ttttt' ol l):rrlirr'
I hadn't time to change my working clothes, but I put on JIM: Phew! Isn't that risky?
a clean pair of boots. DICK: Oh I don't know.
SIR F: So you two fellows have settleil down to hard work. R.2.li.
(BOY takes utine and 3 gLasses on tray to Room Noitt'
STARLIGHT: Oui. Only natural you know. Everyone
oJ billiards occasionall2 ;from room)
seems to work and we have what you call chum in
together. JIM We'd better go and spruce ourselves up a bit, Dick.
SIR F: Did you corle out in the same ship? DICK: (Risine) Right Jim.
CLII'FORD: No - when I firsr mer Monsieur Haughton I (Enter GEORGE STOREFIELD)
had lost mysell in the beastly bush and bai .love, I shall
nevah forget how he doctah'd my best horse. GEORGE: Why Dick - it's you is it?
STARLIGHT: Oh. It was a little what you cali wrinkle I DICK: (Looks round in alarm) Our names here are .John and
pick up in la Belle France. Will you join me in a glass of William Henderson.
wine? GEORGE: (laughs) I understand - well you have changed a
goodish bit and you too Ji- - William - didn't expect
SIR F & CLIFFORD: With pleasure. to flnd you here. Are you as lull of mischief as ever?
How is your wife and the baby?
STARLIGHT: Garcon, a bottle of Moselle. You can bring it JIM: Jenny's as happy as the day is long and the baby's a
into the billiard roont. (Looks at DICK as he exits) wonder. We are ail .jolly aren't we Dick - John.
DICK: That we are - as mother used to say, what one says
(Exeunt S7-ARLIGHT, SIR FERDINAIVD and CLIFFORD
R.2. E.)
the other swears to. Hal ha! ha! (Hands on each others
shoulders)
DICK: (ReadingJiom card to !1.[S "Be on the hill at the dress- GEORGE: Ah lads. Still together, that's right, and don't for-
ing tent, just before the race . Put all the rrroney you can get you've another brother, and one who wili stand by
on Darkie." you, fair weather and foul. God bless you, I wish you
JIM: Shh. Do you think Mrs Morrison has seen through well.
St:rrlight's disguise? DICK: We know it, George old I'ellow. (About to exit)
DICK: She's knowing enough Ibr anything. CHAMPIQN COOK: (Intercepting them)'Suse me sir. '1ow me
'troduce m'shelf. I'm the Champion Cook o' the Mur-
(Enter WARRIGAL D.L.)
rumbidgee.
JIM: Warrigal. (Finger to lips) MATE: (Doun L) And I'm his mate.
WARRIGAL: Mine think it this paper longa you Moran
- JIM: Oh, you're his mate, are you. Well, the sooner the
come longa road. (Hands neruspafter to DICK and goes to Cook boiis his mate, the better. (Giues MATE a shoue and
back'1 exit with DICK. MATE collides ruith COOK and both Jall.
DICK: Moran - ware hawk. 'I'hey pick themselaes up.)
(Enter CHAMPION COOK and MAT-E and some
CHAMPION COOK: I'm the Champion Cook of the Mur-
dissers. rumbidgee.
Thel go lo counter and drink)
MATE: And I'm his mate.
(Enter MORAN partQ disguised, goes to counter) CHAMPION COOK: You've inshultcd my mate. (Exit
COOK and MATE grumbling)
(\4.ARR[GAL exits unseen b1t MORAN uia door in Jlat L) MORAN: Mr John and William Henderson - hem - Dick
 .,
56 ROBBE,RY UNDER ARMS A(l'l''l'lll{l'lll s( il'lNl'l ( )Nl'l '

and Jim you'll give me a Iiver or I'll know the reason MORAN: (Comine dowrt) ()urst lltt Mrtlsl.ttr lrtt lr',tr rlrli ,rll
why. (Exirs) gang. 'lhink they'll lcarl a <1trit'l lili , rLr tlr.r'.
(Enter STARLIGHT R.LI E, .qoes to barmairl) (Enter GORING L.C. and 2 trooPtrs)
STARLIGHT': Permittey moi ro pay you lbr the wine. (pa1s GEORGE: Good day, Inspector. (,Exils)
barmaiQ Merci. (Suing GEORGE) Ah, Storelield, ler me GORING: (With;t'orced smile) Pardon my intrusirrtt. Yott lolrl
thank you lbr your good oflices. me to remind you about the troopers' back pay.
GEORGE: Don't thank me. Thank the pure, sweet girl who SIR F: Oh, you rnean the Monaro men.
has thrown herself away on you. GORING: It's a large sum.
STARLIGHT: (Bites his tips and controls himselJ, then ofers his MORAN: (Aside) A large sum, eh?
hand ruhich GEORGE refuses) Won't you shake hands? GORING: And I thought -
GEORGE: No, nor yet. I appreciate fully the efforts you SIR F: I'11 take charge of it myself and drive over there to-
have made in the right direction, the honest life you morrow.
have led of late
- but pardon me if, knowing what I do, GORING: You may meet with bushrangers.
I still have doubts at the lasting nature of so sudden a SIR F: The money will be safe enough under the seat - I'11
relbrmation. I'm but a dull fellow at the best to timcs, take a trooper with me and travel armed and as Starlight
but I love truth and honour none the less. (Crassas Z) and the Marston's have broken with Moran and his
STARLIGHT: Granred that a1l you know of me is bad. But gang) we shall be more ttran a match lor the scoundrels'
what you do not know are the circumstances which led MORAN: (Aside) Will you? We shall see - Thank you,
me to become a man with a price upon his head Miss. and exits)
- his
very lil'e hanging upon a thread. No one can regret more
(Pockets change

than I do the position in which I find myself. (Exit harmaiQ

GEORGE: Prove that in the luture and the first rnan to rake (Business. At signalJrom GORING trttoper.s Jbllow MORA^D
you by the hand and call you lriend will be George
Storeheid. (Enter STARLIGHT)
MORAN: (Re-enter.r and crosses tn barmait[) Change this fiver Sf'ARLIGHT: (STARLIGHT- seeing SIR FERDINAND is not
lbr me Miss (barmaid does so). alone\Pardon me, Sir Ferdinand. (Going)
(Enter SIR FERDINAND) SIR F: Don't go. It's nothing that you may not hear. f'here's
a rumour afloat that certain well-known bushrangers are
in camp and we must take active measures to secure
Storefield. Do you know Monsieur Haughton? them.
STARI-IGHT: We have met before. (Exits Door in Flar STARLIGHT: I suppose you'll be able to trace them easily
R 2.E.) enough.
GEORGE: (Acquiesces) Oh, by rhe way shall you want the SIR F: Yes. They're a recurrent worry, though. A good deal
buggy and horses tornorrow? like mosquitoes. You may brush them away a dozen
SIR- F: Yes, to drive over to the Monaro, to take the troop- times. and back they come again.
ers their back pay. It's a large sum. GORING: Until finally you get them in the righl spot and
MORAN: (Aside) A large sum, eh? then (u,ith aplsropriate acliaz) smash them.
SIR F: It's a rough road, and not ovcr-well dehnecl. Is the STARI-IGHT: Deah me.
buggy a1l right? GORING: There'Il be less dilfrculty with this lot, since I hear
GEORGE: Oh yes. they've quite abandonccl bushranging and settled down
SIR F: 'I'hanks. Well good-bye, Storefield. (The;t shake hanrls. as <iiggers.
SIn pERDINAND going R.2.8., GEORGE .qoin.q L.O.)
58 ROBBT]RY UNDER ARMS
STARI-IGHT: Then why not leave them alone?
GORING: (Horrtfied) Leave them alone?
STARLIGHT: Yes. I should think it would strike even you,
a professional thief-catcher, (GORING starts, and is about
to interrupt, but STARLIGHT restrains him b;y an impressiae
gesture) that in merciiessly hounding down the criminal
who has repented and reformed, you either drive him to
worse deeds, or render him by your persecution, an ob-
.jcct worthy of the truest pity?
SIR F: Why, Haughton, you're growing quite eloquent.
You'd make a first- class barrister.
STARLIGHT: (Taking chair and siuine R oJ L tabte). No, I
don't think that Sir l'erdinand, but I am in earnest, and
earnestness goes a long way nowadays. We'll suppose
Ibr the sake ol argument - that these men, of whom -
you speak, by their own acts of course, have placed
themselves upon your biack list. They manage to elude
your vigilance and bury themselves here on the Turon.
We wili suppose that one of these marries, a child is
born to him. He works hard lrom daylight to dark, he is
contented, hrppy - when one day the hand of the law
issues from the shadow, and he hears the fatal words.,,I
arrest you". Now, r,r,hat does that mean?
SIR F: It means that we have done our duty.
STARLIGHI': But, in doing rhat duty, what do you do?
You bring disgrace upon an innocent woman, and prob-
ably cause the child to take the wrong road. As to the
man himself, herded again with the vilest of criminais,
the very heart is eaten out oI'him and he paces up and
down his prison cell like a wild beast, calling aloud for
the liberty that you have deprived him of, shedding tears
of agony, until at last he dashes his brains out against
the wall, and that's the end!
SIR F: A vivid word-picture, Monsieur, but what you speak
ol'is the nemesis of crime - the chiet'part of the punish-
ment. Men should think of that before they begin.
STARLIGHT: I know all that. I know that, sooner or later,
crime brings about its own punishment. But surely in
this boasted civilization of ours, when a man is trying to
earn his living honestly, why deny him the right to work
out his own redemption?
AC't' 'l'l IRl,ll,i :i( ll,lNl,l ( )Nll 5r)
SIR F: My dear I'ellow, once a crirrrirt:rl, irlw;tys rt tlirtrirtltl
- he ncver repents.
STARLIGHT: Oh yes he docs. I could show you an in-
stance now.
SIR F & GORING: (Eageru) Where?
STARLIGHT: (Pause) In la bellc France. I adhere to my ar-
gument.
GORING: I would have no mercy. I believe that the majori-
ty of criminals ought to be hanged. It's the only way you
can make sure they won't do it again. Some men can
stand anything but the rope. Prison walls don't lrighten
them; but Jack Ketch does. They can't garnmon /zzzn.
SIR F: Oh, pardon me; I should have introduced you. Ins-
pector Goring - Monsieur Haughton.
GORING: I can't reca1l your name, but your eyes and voice
are strangely familiar. Where have we met before?
SI'ARLIGHT: Probably at the Melbourne Club. I met a
number of Sydney people there - and very good lellows
they were too.
SIR P: Curious. I had the same idea
-
GORING: These resemblances are very awkward things.
SIR F: I don't suppose our friend is wanted by the police -
eh Goring?
STARLIGHT: That would be a capital 1oke. (Laughs)
SIR F: A capital joke. (Laughs)
STARLIGHT: (C.) (Aside) Phewl A close shave. Garcon,
some lrandy. Bring the bottle. (Bo1 does so)
SIR F: I wouldn't take too much of that stuff il I were you.
(.Exeunt SIR FERDINAND into billiard room and GORIIIIG
L.C. saluting)
STARLIGHI': (Speaking as thel go) Perhaps you're right.
(Aside) If you were me, you would. (Crosses to table and
sits) (In natural aoira) Drink, not drink, with a pricerset
upon my head, and a {ire burning in my heart, night
and day. How could I live if I didn't drink. When I
think of what I rnight have been, and what I am; with a
score ol men ayc, and women too, who are waiting to
sell my blood and pocket the money. Drink, not drink -
Nol I promised Aileen. Take the stuff away. (With letter
60 ROBBI]RY UNDER ARMS
from pocket book) Here's my talisman - Aileen's last letter,
and here's one for Dick frorn Crace I ought to have giv-
en him when he was here. Ah, I shall have to go down
to Specimen Gully after all. (Puts letter back and in replacinu
Aileen's letter drops Grace's utithout noticing it. Returns, leans
asainst bar, and lights pipe.)
(Enter KATE)
Sf'ARLIGHT: I don't know whar ails mc today. I can't
shake off the I'eelins of.depression. It can't be the fear of
detection. Even the lynx- eyed Goring was deceived.
KATE: Captain Starlight.
STARLIGHT: (Starts, looks R.2.8. and then in assumed aoice)
off
Pardon me - you mistake yoursell
- (Goin{
KATE: (Z) Don't go, I wanr to speak to you.
STARLIGHT: To me - what is it?
KATE: Surely you have not forgotten Kate.
Sf'ARLIGHT: (Disguisiw uoice) Kate? Which Kate? There
are so many Kares.
KATE: Come, come, it won't do. You may impose 1ip6n
others - even the astute Inspector Goring. A very good
disguise, but not lrom me, not from me.
STARLIGH-I' (Aside) I must temporise with her for the sake
of Dick and Jim. (In natural uoice) Y,lell, Mrs Morrison,
what is tt? (Laughins)
KAI'E: That's better. You know Richard Marston prol'essed
to be lbnd ol me once.
STARLIGHT: Does he say rhat he dislikes you now?
KATE: No, he doesn't say so, but he seems a changed man.
Not like he used to be. I saw him just now. I coo-eed to
him; he looked round, but hurried away before I couid
overtake him.
STARLIGHT: Very bad lbrm on Dick's part.
KATE: Why does he try to avoid me? Find out the rcason
- Dick will tell you anything. I know I behaved badly
to him once. But I had cause, you know I had. But we
won't talk of the past. That's all over. l'm a rich widow
now, and iI' Dick would only say the word, I'm his and
his on1y, as long as I live.
STARLIGHT: Well, I'11 tell you what I'11 do. I'll have a talk
with Dick and let you know the result. Meanwhile, be
silent as to my presence on this field, not lor my own
ACT ]'HRI.]!] SCE,NF] ONI.] 6I
sake but for the sake ol Dick and Jim Marston. 1'hcy arc
leading an honest lile - don't spoil it. If I am takcn, it
means death, death on the scaffold and they would havt:
to share that late with me. Now, I don't want that. I
don't want any harm to happen to those boys. For I love
them, I love them - be silent, Kate.
KATE: I wi1l, I will. Tell me one thing belore you go. Is
there any other woman Dick cares for more than me?
STARLIGHT: Another woman? You may rest assured that
he does not care Ibr anv other woman. (Aside) Except
Grace. What nonsense Kate. I'11 see Dick and teli him
what you say - so long Kate. (Exit)
(Music)
KA'|E: Oh, ii Dick were to Play me lalse now I'd - (sae.r
note - pounces on it. Clalls "Starlight". Ahout to exit to due it to
him, reads "Richard Marston') A woman's handwriting -
who can it be from? (Opens note) (Reads) "Dear Dick,
Your own ever devoted love and promised ra,'ife, Grace
Storefield." His promised wilel
(Re-enter STARLfGHT)
(Music pp)
S'|ARLIGHT: It would not do lbr that letter to {all into Mrs
Morrison's hands - it must be here somewhere. (Zoots
Jor it)
about
KATE: Har"e you lost anything? (Aduancing)
STARLIGHf': Yes, a letter -
KATE: { have luund ir.
STARLIGHT: Thank yo:u (Holds out handJor it)
KAI'E: I have read the letter.
STARLIGHT: You have rcad the letter - did you dare.
KA'|E: (Raising uoice) I opened that letter - you havc lied to
me - deceived me, but as heaven macle me you shall
have cause, just cause to {'ear me.
(Enter SIR FERDINAND and CLIFFORD Jrom R.2.E.)
SIR F: What is the matter?
assumed uoice) Nothing, nothing. A
STARLIGHT: (1"
difl'erence o1'opinion - that is all. (Aside) Danger ahead.
KATE: (7'o SIR FERDINAND) Would you like to knor,l'
where Starlight and fhe Marstons are?
62 ROBBL,RY UNDER ARMS S(:I,,NI,, r) r,i
SIR F: Would I not - no end of warrants out lor them *
SCENE: THE TURON l)l(;(;lN(;S ItY Nl(lll'l
ancl that lellow Starlight, a remarkable man. I'd sive
(Perfurated illuminated s.(ttr - l..t'/ .qrrtrtru t)
anything to place the handcuffs on him.
STARLIGHT: Perhaps I am de trop. "The GoLd-.field clearl2 marked out b1t h.undrt:ds of ttrnftf itt'.: tltrtt
were still red and showed bright in the darkened sk1. 'l'hr tour:t:
lMusir tu cll and stgut lrt liutly till clturgol
oJ'the riaer nas marked b1 them, in and out, as most oJ the .rha/'
SIR F': Oh no. lou diggings had ;t'olloued the riaer flats. Far back the fire.t
STARLIGHT: Parclon rne - but who is this Captain Star- glou,ed against the black.t'orest....The moon. shone on the uater in
lighti' the deeper reaches oJ the riuer....Lines 0.f tents....Now and then a
SIR F: A cattie stealer, mail robber, trushranger, whose ex-
ploits have extended over the three colonies. Mrs Morri-
dog ruould bark - nou a reuoluer....Claims and ruindlasses,
pumps a.nd water ruheels."
son I am aliaid is too sanguine. I don't believe the lellow
ever will be taken. [Boldrewood, Ch.XXXl
STARLICIH'f : (AsideS Not alive. (Aloutl) Comc Cliflbrd -
Concertina heard at opening oJ .tcene and occa.rionalll dur-
we shall be late.
ing scene, as iJ from one of the tents.
KATE: Stay.
STARLIGHI': Why should I stay? You can settle yciur busi- (Enter ./IM (change clotlus) and.JENNY carrying babl
ness with Sir Ferdinancl. in her arm.s L.1.E)
KATE: Not without you.
STARLIGH-I: Anything to please a lady - but I have ar- you've not been up to the hotel to scc your sistcr
ranged to take Clifford to Specimen Guliy to havc what JIM: Jcnny
lately. Shc'll be gettine into one of her tantrums.
yr.,u call a jolly time coming wiz the husband o1'your sis-
tcr.Jcnny - wiil you join us? .]ENNY: Oh no she won't, not with me . She knows I've baby
to look aIicr.
KATE: No, no, I cannot.
f IM: Let me carry him, you must be tircd.
SIR F: Mrs Morrison.'I am anxious to hear.
STARLIGHT: (A.ride) Would you break your sister's heart? JENNY: Don't disturb him - he's nir:e and warm and corn-
lbrtable.
SIR F: Cornc, come where are these mcn, the
Marstons and Starlight'l JIM: Lct me kiss him then. (Doe.t .so i.n comical walt, pretendin,q
to nearlt la him Jall. ./enryt .rtarts)
KATE: I don't know. (Drops letter, STARLIGHTpicks tt up)
SIR F: Mrs l\,Iorrison (Ha{ laughing) You are rnaking a lbol JENNY: You'great big ciumsy thing you. I'11 never trust you
with baby again.
ol me.
S'I'ARLIGHT: A lbol ol'you? Why, its the 1st ol'April. .JIM: (Wiqins lbrehlarf I thought hc was a goner.
(DICK outsidt calls)
(Busine.ts with letter)
DICK: William - Wi1liam.
END OF SCENE 1 JIM:Who's he calling.
JENNY: Why/an of course. You silly.
JIM: Oh ves, I'm Willizrm -.li- -
DICK: (Enters. changed cktthes) Whv didn't you wait till I
lighted my pipe. Holcl on.Jirn - its out aqain - gile
rne a match.
(r2 ROISBI]RY UNDER ARMS SCENE 2 63

Sll{Ir': Would I not

- no end of warrants out for them -
and that lellow Starlight, a remarkable man. I,d givc SCENE: THE TURON DIGGINGS BY NIGHT.
anything to place the handcuffs on him. (Perforated illuminated scene - lst grooaes)
STARLIGHT: Perhaps I am de rrop. "T'he Gold-Jield clearlt marked out b1 hundreds oJ campJires that
(Mutit suell onrl stgut to liuell tilt cltungc) were still red and showed bright in the darkened sk1. The course
oJ the riuer toas marked b1 them, in and out, as most oJ the shal
SIR F: Oh no.
STARLIGHT: Pardon rne - but who is this Captain lou d.iggings had Jollowed the riter flats. Far back the fires
Star- glotaerl against the blackJorest....7-he moon shone on the aater in
Iight-r'
the deeper reaches oJ the riter....Lines oJ tents....Nout and then a
SIR F: A cattle steaier, mail robber, bushranger, whose ex-
ploits have extended over the three colonies. Mrs Morri-
dog uould bark - noru a reuoluer....Claims and windlas.te.r,
pumps and uater uheels."
son I am afraid is too sanguine. I don't believe the fellow
ever will be taken. fBoldrewood, Ch.XXXl
S'I'ARLIGHT (A.side) Not a1ive. (Atoud) Comc Cliflbrd
we shall be late.
- Concertina henrd at opening oJ scene and occasionalll dur-
KATE: Stay. ing scene, as iJJrom one oJ the tents.
STARLIGHT: Why should I stay? You can settie your busi- (Enter -/IM (change clothes) and JENNY carrying babl
ness with Sir Ferdinand. in her arms L. 1.E)
KATE: Not without you.
S'1'ARLIGH-f: Anything to please a lady
- but I have ar-
ranged to take Clilford to Specimen Gully to havc what .fIM: Jcnnv you'r,e not been up to the hotel to sre vour sister
you call a jolly time coming wiz the husband of your sis- lately. She'Il be getting into onc ol hcr tantrums.
ter Jenny * wiil you join us? JtrNNY: Oh no she won't, not with me. She knows I've baby
KATE: No, no, I cannot. to look alter.
SIR F: Mrs Morrison,'I am anxious ro hear. JIM: Let me carry hirn, you must be tircd.
STARLIGHT: (Aside) Would you break )/our sister's heart? -|ENNY; Don't disturb him - he's nice and warnr and com-
SIR F: Come, come where are the se me n, the fortabic.
Marstons and Starlight? jIM: Let rrre kiss hirn thcn. (Does so in comical uay, pretending
KAf'E: I don't krutw. (Drops leuer, STARLIGHT picks it up) to nearj let him Jall. .Jenn1 starts)
SIR F: Mrs lVlorrison (HatJ laughing) You are rriakins a Ibol JENNY: You great big clumsy thing you. I'11 never trust you
of rne . with baby again.
STARI,IGHT: A fool o1'you? Why, its the 1sr o{.Aprit. JIM (Wiping.foreheal) I thought he was a qoner.

(Business with letter')

(.DICK outside calls)
DICK: William - William.
END OF SCF]NE 1
JIM: Who's he calling.
rNhy
JENNY: ltou o1'course. You silly.
.|IM: Oh yes, I'm William - Ji- -
DICK: (Enters, chanstd clothes) Why clicln't you w'iLil till I
lighted my pipe. Holcl on Ji- - its out aqzrin - {ir',
rne a match.
6+ ROBBERY UNDER ARMS ACT THREE, SCENE TWO 65

(/IM crosses and eiaes match to him)
Ha! hal Have you been telling Jenny that you were one
of the crowd that stuck up the mail coach when she was
in it?
JIM: Not me - but even if I had she's so good bless her
she'd have forgiven me. Women are very olten too for-
giving to the men they love.
JENNY: What are you two whispering about?
DICK: Ji- - William - was saying that anyhow women
O'HARA: Go on. How can a bullock be a cow - and we've
been doing dismounted nightwork lor weeks. I am tired
av it - il I lir.'e in this country twenty years, I'11 be dead
in hall the time.
MAGINNIS: O'Hara. Australia's no place for a poor man
unless he has plenty o'money. An that Goring's no eart'
O'HARA: Many's the time I leel inclined to say "Goring be
MISS A:(Outside Z) I can't tind the turning (Screams)

are better than meri. O'HARA: Maginnis!

MAGINNIS: O'Hara.
JENNY: And so thcv are better than men - except rny Jim
O'HARA: D'ye hear that swate voice.
- William, hal ha! He's as kind and laithful as a - a MAGINNIS: I do that.
good woman.
.JIM: My colonial. There's a lot in that isn't there Dick - O'HARA: It's your 28 year old'un.
MAGINNIS: Altcr her f5 note.
John hal ha! hal .|enny you're a darline and your heart's
as pure as a quartz crystal. (Kisses her) O'HARA: Sh. Not a word.
DICK: (Turns his hack) My pipe's out again. (JIM and.JEN- (Both prelend to be lookinc earnestQ at .rk1)
NY exit) (DICK looks round) Therc the1, are and runnins
too. Jim's got the baby. They don't want me but I want Enter MISS ASPEN. She has specs on. She bumps against
them. O'HARA L. who does not moae.)

(O'HARA enters R.1.E MISS A: How lbrtunate. A constable.

)
O'HARA: (Grufi1) Well, mum.
O'HARA: And I r,r,ant you. MAGINNIS: What can we troopers do lor ve.
DICK: (Sternly) What for? MISS A: (Looking at MAGINNI$ Ah, I recoqnize you.
O'HARA: Nothin' - a bit of lun that's aIl. Ha! ha! ha! Where's my f5 note.
DICK: Oh, olcourse . Hzr! hal hal . (Exits R 1.E)
(O'HARA executes a pas seul, in L. corner)
(Enter MAGINNIS L 1.E. meeting as i;f.on beat)
MAGINNIS: What thc divil are you jigging at. (To MISS
O'HARA: (Has slip tyf papu in hand). Maginnis. ' /"!PEA,) I save it to the gentleman over there Ma';rm.
MAGINNIS: O'Hara. (Indicating O'HARA)
O'HARA: Look it here. I'm not eoing to stand this sort av' MISS A: Where's my 15 note. (74 O'Hara)
work. O'HARA: An ye plaze rna'am, I havc it not.
MAGINNIS: What's wrons anvway. MACIINNIS: It's in Chancery, rnttnt.
O'HARA: Thc Inspector's put this into my hand a while MISS A: (To O'HARA) Hcre, tltis rtrittt Ir;rs :t l-!t ttolt' ttl
ago. (Showing paper reads) "A two year old baldy cow and rnine, and won't return it. I eivt' lrirrl irr t lt;tt r3t '

a motheriess cail branded M on the hindquarters" lind ()'HARA crosses to MAGINNIS)

em sez he find 'em sez he. O'HARA: Maginnis.
N,{AGINNIS: O'Haral MAGINNIS: O'Hara.
O'HARA: Maginnis. O'HARA: (With hand on MAGINNIS's shouldtr.t) Yott'tt' tttt
Iv{AGINNIS: I saw a builock wid a rope tied round his prisoner. It's the first zrrrest I'r'e made sincc I'r'c bcctr itt
horns near the creek yoncler mavbe tha-t's the one ire the lbrce . (7'akes him l,)
r,r, ti( )tiBI,)(y uNl)ljlt ARMS ACT THREE SCENE THREE 67
\l,rttr't ll.1 lilil(;,41, L. dressed as a uoman.)
O'HARA: Flyers!
NIISS A: (Ll'ho ltas mislaid her glasses) I've lost my way. We
:rlrivt:rl todzry so as to be present at the races, and I went (Exeunt O'HARA €d MAGINNIS jolfulQ R)
out to post a letter and (Concertina heard)
-
(WARRIGAL scratches his head. MISS ASPEN mistakes the (Enter MISS ASPEN R, screaming. She throws herself into
action and takes his arm) GORINC\ arms)
Oh thank you. Thank you. MISS A: Oh, save me, save rne. (Goes into hlsterics)
(Exeunt MISS ASPEN and WARRIGAL) GORING: Why, what's the matter?
MISS A: That woman was a man!!
O'HARA: Maginnis, you're out on bail.
MAGINNIS: (Crosses to R) I am that. Hullo, where,s Miss (Business GORING and MISS ASPEN. Exeunt L.)
Frosty Apple. (Music liuely till scene changed.)
O'HARA: She's gone, and maybe she'll forget all about her
fiver. END OF SCENE 2

MAGINNIS: Oh, the rocky roads to Dublin. (The1 sin,q anrl

dancc. with 1011

(Enter GORII{G R) SCENE 3

GORING: Maginnis & O'Haral SCENE:I1iI/ oaerlooking Race-Course on one side, diggings on the
(The1 stop dancing suddenlt and come to attention) other.
Practicable tent R. 3. E.
What were you doing? Eaerltbodl ol' L.U.E. making a great noise as Scene
oPens.
O'HARA: Nothin', sor.
GORING: You were dancing. Lights Jull up.
O'HARA: No, sir. (WARRIGAL (disguised as {in) di.rcooered, tosether
GORING: I say you were. ruith 4 or 5 abori,qinals. T-he1t are all. squatting on,qrountl
O'HARA: Well sor, maybe we was. Just aising our minds
wid a bir o' divarsion. .L)
GORING: Welve no time for diuarsion. Go to the stables, Enter crowd. Aborigiral.r rnit tttitlt rnttorl. (irt,ttvl t,ttt
and be ready to start at a moment's notice. sists oJ big sunburnt tru:n u,itlt lnurrl: rtnrl t,',1 trlA t,tslt, t
O'HARA: Il ye plaze sir. Can we have good horses this time round their zuaists utilh a sltruf Attifi' ttr rr't'tt/t', t \lttt l, ttt
sor? them, and broad-leaattd.fi:1.t. ltt!.t ttrr . lir,'rt,ltttt,'tt' ll,tlr,trt'
GORING: Aren't they good enough? Germans, Spaniards, Orrr:k; arrl ,'lrrtt'rrrtutt l'ltr'1',tr'' 't
O'HARA: The bushrangers are always better mounted than droll strange fierce /ottkir.g rnttur/, .r,tttt,' 11t1ll1 ftrr At rtrtrl
we are sor. shouels, tin dishes U etc. Vtry ft'tt) t()ottt('tt.
MAGINNIS: An that's the reason we never catch up to ,em. (Enter DICK and.JIM, .rPrutul uP).
O'HARA: And they've better guns than we have sor.
MAGINNIS: An that's the reason we never hit ,cm sor. DICK: I say, you know who's to be herc totlay:'
GORING: ()h well, pick out the besr horses. They must be JIM: Yes. Georee Storefield is to bring Ailcen.
rcqul:rt lly, r's. DICK: And Grace. They all arrivcd last night.
JIM: Now look here, about Grace.
 t(( )1ilil ti \ ( rNt)1,]{ ,\l{\ts ACT THREE SCENE THREE 69

I)l( il.,,.\lrorrt ( ir,rrcr' @fCK and JIM go up, in ?arnest conu?rsation and exeunt to
tent)
.f lM: \',,rr lirrow w,'ll (.n()uqlr. l'rrr not blind. Why don't you
ask lrcr- t() t))arry y<tu ancl settle it once. (Enter GEORGE and AILEEN on horseback L.U.E.)
DICK: How could l, one ol'thc Marston's, ask an angel like
Grace to be my wife. It's bad cnough ro let her know I GEORGE: There, Aileen, I've kept my promise.
love her. AILEEN: (2. Gives him her hand) George, I'm not ungrare-
ful. I feel, all you have done for the boys and lor -
JIM: T'hat's rough on me andJenny but. GEORGE: Don't talk of him, or you'll make me war.er in
DICK: I'd give all I ever had in the world if I could go to
Grace and say "Hcre I am, Richard Marston, without a my cndeavour to shield you and vours. (The1 exit)
penny in the world, but I can look every man in the (Shouts q;lf stage)
face, and we'll work our \,vay alone the road oJ' lil'e,
cheerful and loving together." But I can't say it, Jim (NOTE: Shouts consist oJ the Jollowing: "Old Aunt Sally", "4
- shots a shilling" "Fairest game on the course" "Pop it on"
that's the devil of rt. (Pause. See.t WARRIG,,IZ) Hulio,
here's a black cloud lbr a sunny day. "I'll bet on Hotspur" "Make your game" "C'rect card o'
WARRIGAL (Aduancins) Gib it siccapence. the races" "10 to 1 Darkie" "3 to 1 Hotspur" "I lay the
field" & etc.)
JIM: Look at the stays and bustle. (Laughs)
WARRIGAL: You no got it siccapencc, gibit a trepcnny bit. (Enter GRACE L)
JIM: Get out. GRACE: (Z ) What a glorious day and what a lively scene.
WARRICAL: Gilr ir siccapencc.
DICK: There you are. (Throu.t coin) Get away. (Enter DICK and,/IM;t'rom tent)
WARRIGAL: Gibit bit o'bacca, budgery.
BILtsAH: Len it olc pipc. GRACE: What! Dick and Jim.
WARRIGAI-: Gibit poor Mary siccapence DICK: How glad I am to see you.
- my worcl.
BILBAH: Gib it siccapence. (Snatches it.from WARRIGAL) GRACE: Aileen has ridden over, and is somcwhere with
WARRIGAL: (To BILBAI, Whaflbr. Too much yabber lor.r- George. Your mother's more cheerful than she's becn
since - what happened. It nearly brcaks her hezrrt tho'
sa you. Crack irn cobra. Wht\c feller bin git it to rnine.
Come an you git it, mine bie one collzrh lonea you. that you and Jim should be so much liorn hornt:, lrut sht:
DICK: Clear out, or I'll - thinks her prayers havc bt:cn lrnswr:rt:<l n()w lllilt y()u'r'('
WARRIGAL: (In natural roice) (Aside to DICI] Mittcr Dick. leading a new life.
DICK: Why, bless rne , it's Warrigal. DICK: Poor mothcr, shr:'s ha<l rr Ir;rlrl lirrrt'ol il il cvr.r rrrrl'
one had in this lilc. anrl norrt'ol it lrcr l;rrrlt.
.]IM: Warrigal, by all that's wonderlul. GRACE: Some people gel purtislrcrl lirr tlrt' sins ,,(lrcr ,,,nr
WARRIGAI-: Sh. Pleeteman no likit Warriqal, Warrigal ncr
likit pleetenian. My word, Starlight got Rainbow, Warri- mit. Perhaps its made up to tht rrr irr llrc rrcxl rvorlrl llrrt
gal got Yarraman fcrr you. Dick, Jim, lonea mi mi there, Dick and Jim -
(Points R U.E.) DICK: (Looks rountl John and Willi;rrrr.
DICK: Horses ready {br us il wc should want them. Yes I GRACE: I'm so proud you're doing wcll, irrrrl rlo yorr lirr,,w,
see. Go zrnd stand by them. Aileen's eyes are twice as bright latt:ly.
WARRIGAL: My word. (Exit R.lt E.) (Enter MISS ASPEN L and GEORGE R)
(Enter Croutd, a.nd Exettnt uariou-r entranrcs) 'lherc's Miss Aspen. Don't let her see you.
N{AN: 'Erc y':rrt:, <''r'cct czrrd races. }{cre y'arc sir MISS A: Such a rough crowd, my dear, I shouldn't wonrlt'r'
(Exit) il there were actually bushraneers amongst them.
'to l{()Blil,)tY uNl)[I{ ARMS THREE
ACT THREE SCF]NE 71

(lRA(ll,l: ()lr, Atrrrty, t.vcr since your coach experience you STARLIGHT: I have met and talked with him and he
do nothing but talk about bushrangers. doesn't even suspect who I am, and there's no one else to
attract GEORCE\ attention; he goes to them.) lear (the1 go uP).
@fCK and JIM
DICK: I say, get her out of the way. (Enter KATE L, sees them)

GEORGE: What, Grace? KATE: Starlight, with Aileen Marston. Dick, and with her.
DICK: No, no, the old lady. 'Tis true then, and I would have saved them, but not
GEORGE: (Laughing) Oh very wel\. (Comes doutn) now. I'11 hunt up Inspector Goring. Your lovers shall
MISS A: (Goes towards DICK and !A.[) (7'hey turn their backs) sleep in gaol this night, they shall.
Well, I'm sure they're no gentlemen.
GEORGE: Aunt, there's a much better view over here. (Exit L.1.E.)
(Ofers arm, and indicates R.) AILEEN: I hope Rainbow will win.
MISS A: On your stalwart arm, Georee, I fear nothing. STARLIGHT: But he is not Rainbow now. but Darkie .

(Exeunt GEORGE and MISS ASPEN R) (DICK and JIM (Enter SIR FERDINAND and CLIFFORD L.U.E.)
come down)
SIR F: Ah, Monsieur, you stole a march on us.
(Enter AILEEN on horse-back R) S'|ARLIGHT: (Excuses himsef and crosses to SIR FERDI-
(DICK andJIM exchange greetinss u,ith her) NAND. DICK crosses to AILEEI\) A lady, you know.
SIR F: I admire your taste. The prettiest girl on the course.
GRACE: Aileen! You're looking charming. I wonder who she is. What's her name?
JIM: The commissioner's drag drove up just now and who S]'ARLIGHT: Marton, or Marston or some such name.
do you think was in ir. SIR F: By Jove , that's Aileen Marston. She's a sister of Dick
AILEEN: (Looking olf anxiousQ) Why it's Frank. (Goes to meet and Jim the bushrangers, regular out-&-outers. There's a
him) thousand on each of their heads.
(Enter STARLIGHT- L. 3. E.) STARLIGHT: Good gracious! You don't say so. What a
most extraordinary country this is. You meet with sur-
(DICK and lM about to rush and shake hands with him, tuhen prises every day.
GRACE interposes)
CLIFFORD: Most surprising surprises dcar boy.
GRACE: Dick and Jim be sensible. (To DICK) Two's com- SIR F:,It's a pity Goring isn't hcre. Ht: rnight slrittlow tht.
pany, you ought to know. girl.
(DICK and GRACE retire up conuersing) (Enter GEORGE and MISS ASI'|':N)

JIM: The Captain and Aileen How cl'ye do, Storelield.

- Dick and Gracie - well,
they don't want me. GEORGE: (Calling) Grace, this is Sir I"t'r<lirr;rrrtl M,,t titt,',t

(Raires R.) SIR F: Ah, a sister of yours? Delightcrl, I'rtt stttt'.

GEORGE: Mr Clifford. (Mutual bous. 7'hty u'all :lrtrr'lt' ,,ll ,,,,t
AILEEN: Frank, my dear Frank. uersirLt.)
STARLIGHT: Aileen, my darline (takes her hand U come
down). (MISS ASPEN has gushed at STARLIGHT)
AILEEN: Frank, while you remain herc, you are in danser. STARLIGHT: I trust that we shall meet again. (l'urn.t l,)
Inspector Corine - MISS A: (Eyeglasses to elte) Dcar me, it's the bushranger. 'l'ht'
same figure and voice, but he's grown a beard.
72 ROBBERY UNDER ARMS ACI'l"l'lll{1,)l,l s(il,lNl,l 'l'lll{l'll" ii
STARLIGHT: She rrcognizes me. say we've takcn the v:rlutr ol ;r lr:rlllrt'rrrry ll()lrl illlv()lr(,
;ind yet we are to be hunted clown.
(DICK and JIM, seeing all is not right, exeunt quicklt
R.U.E,) JIM: Great F{eaven, what is it? Il'cel a rank t'ow:tttl wltt'tt I
think olJenny. Don't tell me we have got to cut antl rurt
MISS A: I'm sure it's the bushranger. I must tell Sir Ferdi- lrom here.
nand. DICK: It looks like it. If it hasn't quite come to that yet, it's
AILEEN: Oh, Miss Aspen. I want to speak to you. not lar off.
(AILEEN Jollows MISS ASPEN round on horse. Business 6 .JIM: (Wiping Jorehead with hand) What's to be done?
DICK: Starlight says we are to clear out directly the race is
exeunt)
over.
(Bell of L.U E. Shouts "10 to 1" Darkie I etc.) .|IM: But who has given us away?
DICK: Perhaps your wife's sister.
(All re-enter except STARLIGHT', DICK and./Il[)
.|IM: Mrs Morrison!
SIR F: There's the bell. DICK: I only say perhaps but she's just the woman to tear
GEORGE: We'd better go down to the stand. up to the police camp and let it all out belore her temPer
cools - and then regret what she did all her life after-
(All pai c, s1/i FERDINAND and MISS ASPEN, wards.
GEORGE and GRACE and exeunt L.U.E.)
JIM: I'm not goins to leave without saying goodbyc to my
(Returning) (Crosses to STARLIGHT) Inspector Goring is wife and child - no - if I get riddlcd with bullets I'11 go
on the course hunting up his men. I believe you are in home and hoid them in my arms once more.
(Exit JIAtr;
imminent danger. Let the Marston boys know this. (Bell and shouts of L)
(Exit L) (Enter horses and jockels led b1 trainers, R.U.E. and of
STARLIGHT: I ought to leave the course at once. But I've L.U.E., I'I.ARRIGAL and Aboriginals crrtss, uith comic busi-
sworn to see the race through, and see it through I will. ness. )

(DICK andJIM rush on R U.E.) (Re-enter DICK utith Rainbow, and STARLIGHT Jrom tent
in colors)
JIM: Denton is dead drunk.
STARLIGHT: Is that all. STARLIGHl': Where's Jim?
DICK: Isn't it enough? He'il never be able to ride. Who's to DICK: He's gone home to see Jenny and the baby.
ride Rain - I mean Darkie. STARLIGHT: PoorJim.
STARLIGHT: I will. (To DICK aside) The game's nearly up (Exeunt DICK with Rainbou) (STARLIGHT' is Jollowing)
my 1ad. Break it to Jim. Goring's back again. He lbund
he was on a lalse scent. He's looking lor us now. We (Enter KATE L.U.E.) (Stop., STARLIGHT)
must quit the field the instant the race is over. Look to STARLIGHT: I can't wait now. Dick will see you at the
Rainbow. After you have told poor Jim come and help Hotel. Take care.
me on with the colors.
(Exit L.U.E.)
(Exit to tent)
KATE: (In aJrenzl oJtemper) Take care? Why eh? I take care.
DICK: at STARLIGHT'\ words).f im there's some-
(Staggered
It's you Capt. Starlight, and Dick Marston who should
thing up. 'I-hcy won't leave us alone. We have worked take care. See mc at the Hotel, will you. I don't think so.
hard zrnd honest lor the best part of a year, n() one can
7+ ROBBERY UNDER ARMS AC-t"fHl{t,)l,t sCt,tNt,t Iilt{t,I: /'t
I can't find Goring, but I can Sir Ferdinand. (Looks of L) AILEEN: Hat (Seizes her, Jbrces uuttty pi.ttol, trtrl l/trott'.t hrr rltttt'rt
Aileen Marston's coming here. /?)

(Exit to tent R.2.E.) (Enter CORING, MAGINNIS and O'HARA f. f.E.)

(Entcr AILEEN. out o! breath L. u.E.S GORING: Search that tent. (Exeunt to tent R.2.E.)
AILEEN: Am I in time? The man he fears most, Goring, (Enter STARLIGHT, DICK and JIM L.U.E.)
has returned, and is talking with Sir Ferdinand. I heard
STARLIGHT: Well Jim, I'd better get rid of the colors (Ga-
them mention "Starlight" and "The Marstons". I must
ing to tent)
warn him. (Goes to tent) Frank, Frank, are you there?
AILEEN: (2. Q No, no. The troopers are there. You are dis-
KATE: No, he is not here. That gallant lover of yours. Star-
covered. Fly!
light the mail-robber. Starlight the cattle-thie{'. Starlight STARLIGHT: Dick, take care of Rainbow. (DICK gallops of
the Bushranger.
R.U.E.) I'11 meet you if I live at Terrible Hollow. God
of' and belt)
(Shouts oJ "Theltre bless you.
See, there he is, riding his stolen horse in a race the (Exit STARLIGHT R. I. E.)
stakes of which will be death. Death to him and his ac- (Re-enter GORING, MAGINNIS and O'HARA ;from tent.
complices. Jockeys at back. Crowd I etc. Murmurs.)
AILEEN: (Q What do you mean? (GORING has STARLIGHT\ oaercoat, which he leJt in tent)
KATE: (R O I mean thar I have been deceived by your
brother, wronged, and I am going straight to the Chiel GORING: They've been there, but gone. Where are they
of the Police to - now?
AILEEN: To what? KATE: I'11 tell you.
KATE: To denounce them, to give them up. AILEEN: (Reaolaer to KATE\ head) Do, and I'll kill you!
AILEEN: (Seizing [er) Never, you shall not. Whoever you (Enter Troopers, Mounted)
are. Woman by your words, devil by your actions, you
shall not. TABLEAU: Crowd coming back with shouts and murmurs.
KATE: And who will prevent me? Kept back by Troopers as SIR FERDINAND enters and
AILEEN: I - I, his betrothed wife. crosses to AILEEN to see what is the matter. MISS AS-
PFIN laints in his arms.
(Shouts oJ "Darkie ruins')

See, he has won his race. END of ACT THREE

KATE: And lost his liberty. (Business) Let me pass.
AILEEN: I wiil not. Love and hate, is it? Well, love shall TROOPERS MOUNTED
conquer. Try your strength with mine if you dare. Stand MOB GORING
back.
KATE: (Trying to pass) Pshaw! JOCKEYS
AILEEN: Back, back, I say.
SIR F. AILEEN
(Shouts and cheers)
MISS ASPEN KATE
KATE: If I can't denounce them, Starlight shall never be
yours. (Draws reaolaer) O'HARA
MAGINNIS
t'6 RO}]BE,RY UNDE,R ARMS A(t'l' Ir( )ttli
SCENE I

I)EIIDS OI,- AI'ONEMENT

2rrrl Picture
'Therc is a rosc-lipped scraph sits on high,
Pistol taken lrom A1LEEN by GORING. KAI'E on Who cver bt--nds his holy ear to earth,
srouncl in tears. 1r, p";L rhr vuirr rrl lrenircnce; to (itt(.h
Hcr solcrnn siehs, to tune them to his harp
Up to thc throne of Grace.',
N{ason

.I.ERRIRI,E
SCE,NE: HOLI,OW. zlt the lbot oI NuIIa
Mountain.
"In one ua1 the u;hait: uallty looks as iJ it had bccn an arn o_f'tht:
:ea al .rornt time or other, a hit lifu S1dnl.y Harbour in sh.apt,
u;ith onc print:ipal taile1, anrl no rnd o.f .trnall corer an,/ sullits
run.ning ryfJ'Jrctrn it, and uinditte ahout in all directions. Etn thc
-ranrl.ston.e uall.s h1 ult.ich the u,thole affair grcat and srnal/ aa-s
hr:rnrned in, zaas -iu.rt lifu tlu t;lifJ's about Soutlt Head. T'lu:rt: utere
linc: too, ttn the .facc oJ' thern, -just li/;t u;here the u;aun hnd
un.rhrrl mark.s an.d. lu;el.t on. thc sut rock. Opposite, the uallqy utns
narrlla, and one cauld .su the santlstone prec|pitts that utalled il
in, a sort o;f yllou;ish, white colour, all tishtud up uith the ray.t
of' the mornirts .run, lookirLg lil;e sold touers a{ainst the h.eault
qrcen .fitre.tl l.inber at thr: ;[oot of thern. Rirdr u,t:rt: calling an.d
u;hislline antl thcre uas a littb spring that fi\\ drip, dri\t, ouer u
rough rock ba:in al.l r0uertti utith Jsn71."

[Boldrcuood, CtL. XXIIJ

(.Lights hall'dou;n Red light, as il'.lr.orrt.ftrt, Il)

(MORAN, BLACK .JACK anrl WHIS'|'LLYG ttILL
di..tcot,t:rtd l),ire ur,..ftrn.r srnoking; other.t ;itting 0n. th.eir
heel.r, natitte Jashnn. 7'uto rou.qh .staftle s in rot.k, R. (1.
,\IR FEIIDINANI) in sittins l:0.;ition tiul ta staplr:t
u:ith rau, hirlt: thon.q.r, hts head rlrooping-fbru;ard as if'he
ucre in a .f aintin,g condition. Lime/i..qht full on St tt
ltl,)RDINAIiD.)
78 ROBBERY UNDER ARMS n( l'l l'( )t ll{ s( :l"N l" ( )l\ l'

(Enter DALY to beuin)
MORAN: Found the money?
DALY: No signs of it. Are you sure he had it in the buggy?
MORAN: Certain; I heard him say, "The money'l1 be safe
enoush under the seat. I shall go armed and as Starlight
and the Marston's have broken with Moran and
gang, Ishall be more than a match for the scoundrels."
DALY: He made a rnistake there.
MORAN: He did so. For Dan Moran & Co. have
him and the trooper that came along with him.
DALY: But not belore he killed one of our men.
MORAN: (Shaking hb jst at SIR FERDINAND) Yes, curse
him, and hid the money.
DALY: How are you going to make him tell us where he's
put it?
MORAN: You'Il see soon enough. (Goes to SIR FERDINAND
and rouses him roughQ uith whip) Here, rouse up. (Kicks
him)
(SIR FERDINAND struggles to his feet)
MORAN: Oh yer can't snap them green-hidc lashings much.
SIR F: (Ha( dazel) Where am I?
MORAN: You're in Terrible Hollow. You don't seern to re-
member me Sir Ferdinand Morringer.
SIR F: No, I don't think I do.
MORAN: Weren't you at Berrima Gaol? Ah, now we're
coming to it. You don't recollect getting Dan Moran sev-
en days'solitary on bread and water, lor what you called
MORAN: Are you goinu lo (t'll rrrt wlrcrc tlr,rt urrl'\'r.,
SIR F: Nol
MORAN: How's that fire? (Indicatine /i)
R..|ACK: Rurnine well.
MORAN: That's right. I may want it directly
DALY: What for?
his MORAN: To roast this proud gentleman here, as bites his
lip and won't speak.
DALY: What! Burn him alive? You'll never do that.
nabbed MORAN: Won't I? Do you hear, mister? Roast yer. That's
what I'm goin' to do with ye. How'll yer like that?
SIR F: I don't suppose I shal1 flinch. Most Englishmen know
how to die when their time comes.
MORAN: Bring the trooper here.
(2 bushrangers exeunt R.2.8. and bring MAGINNIS who is
bound, to R.C.)
Now therr. What did he (lpointing to SIR FERDINAND)
do with the money?
SIR F: Don't teil him Maginnis.
MAGINNIS: I'm not going to sor. Does he take me lbr an
infbrmer?
SIR F: Good. Say what you will, do what you will, Moran,
you'Il never make true men betray their trust.
MAGINNIS: No, I'll be shot if he does.
MORAN: You1l be shot il'you don't. (Slaps thigh) Now look
here trooper. He's booked; but I'll eive you a chance Ibr
your 1ife. Srvear that you'll never reveal the whereabouts
of thi,s place and shoot your boss there .

disobedience to orders, and insolence. MAGINNIS: Sure I don't know the track here at all. Didn't
SIR F: Yes, I do recall the circumstance. you blindfold me? Shoot my boss? How can I shoot him
MORAN: Now, rny turn's come. (Strikes him fult in the face wid my arms tied.
with clenched Jtst) How do you like that? MORAN: Loosen his right arm a bit.
(.Rangers murmur. Rising to their feet) (2 bushrangers do so)

DALY: You're too rough - you should have a little consid- MAGINNIS: (Feeling Jor reuoluer) Where's my pistol; you ttrk
eration. it frorn me.
MORAN: I'il give him about as much consideration as a pig MORAN: Give him Tazrr pistol Daly.
gets lrom a pork butcher. MAGINNIS: (Aside) Flurroo! I'11 pepper them wid their own
pepper box.
(SIR FERDINAND remains silent, biting lips with supftressed
passian)
 !l
B0 ROBIIERY UNDITIR ARMS
(DALY reluctantly takes pistol -from belt, and is about to hand it S'I'ARLI(;ll'l': (,\)rrrl,r) l)t,ttr ',.tt llr,rr \\rll :"rr rl. rrrr ' j'
vor?
to MAGINNIS)
SIR F': What is it:'
MORAN: Flold onto him, Black Jack, and see that he points SI'ARLIGHT: Yc-rur horscs lrtt tt:ttl\. s.t,l,ll,,l .ur,l l,rr,ll,,l
it fair at the swell cove's head. Is it straight? .Jurnp on thcir bzrr:ks anci ridt' awity lrt'1,t. NI,t,ttt:' r',,rrr,
DALY: Dead on. rallies.
MORAN: Now Mr Trooper, pul1 the trigger. SIR F: Starlight, you're a white man. I'll duly rcport llris;rl
(MAGINNIS shake.r heaQ
heaclquarters, and believe me when I say that by vo'.rr'
conciuct tonight, yriu have won rny decpest cratituclcr,
MORAN: Pull the trigger, and I'11 let you so lrcc. nay rnorc, rnv respect ancl my reg:rrd. Whatever rnay be
N{AGINNIS: You'll let me go? your luture carccr, whatever the fate your wild 1ile may
MORAN: I will. cnd in, rest assured that thcre is one who rvi11 always
MAGINNIS: You wr.rn't. for I won't do it. think o1'you as a liiend.
SIR F: Maginnis, I'd rather clic by your hanrl than that vilc S'I'ARLIGHI': But pursue rnc as an enemv.
wrctch's. Go on, eo onl SIR F: Wel1, that is my cluty; but I lancf il I saw vou coln-
MACIINNIS: Go an is it? Fzrith I'd like to go an to the next ins one r'vay, I should look anothcr.
tou'nship.
(Exit L.2.E. after raising his hat ttt AILEE^D
MORAN: Shoot him belore I count three, or I'11 fix you with
one barrel and him with the ncxt. (5.1fi FERDINAND MAGINNIS: (Crossing L. and cttming to saLute) Ancl the next
compres.sing lips, MAGINNIS re.toluteQ shaking hi.r heatl) Nctw tirrre I see you, I won't look at you at all. (SaLutes rtnd exit.s
then. Onc! - twol - (Single shot - strikins MORAN\ L.2. E.)
At same moment, LIAGINNIS breaks
utri.rt. IIis pistol -fall.r.
(Enter IIEN R.2.li.)
aual and corers JACK and DALI)
MORAN: Curse it, who fireC that shot? BEN: Dan's got away.
STARLIGHa': (Entering R.1.E. .foLhued b1 WARRIGAL) I SI'ARLIGHT: And you iet him go.
did, you bloodthirsty murcle ring dog. I)o you want BEN: Wcll vou see - o1d timcs.
another? S'fARLIGHT: Ah h,e11. the \\'orst Ir.ran in the world hzrs his
(Enter DICK,.FA,I, BEN, and AILEEN, C.Gn.) lriends. anci the best his enernies.
(Entcr WARRIGAI, out of breath)
(DICK SIR FERDINAND and picking up hi.s hat
reLeases
giats it him. lM releases MAGINNIO (Bushransers disappear) WARRIGAL: Whcre you think Moran ancl hirn lellow rnatc
gone?
SIR F: Whocvcr you are, I owe you my life. OMNFIS: Where?
MORAN: Captain Starlight. (Stagger.r off, repeatine his name. WARICiAL: Stick up station long;zr Mitta Storefield.
Exit R.1.E.) OMNES: Storefield's stationi)
(|N.ARRIGAL watchins S'I'ARI-IGH7-, ()es net)tr ttfl hirn) AILEEN: Gcorgc is away l}om home.
S'IARLIGHT: Q-uick - alter him, tsen. JIM: (2.C.) And that Mrs Morrison's been took on therc as
houscke e per, ancl maybe she's plal,ing into NIoran's
(BEN exit) (WARIIIGAL at signal Jrom S'l'ARl.fGH7'Jbl- hands.
louL.r him) iIICK: Kzrte thr:rc: in le:rt{uc r,r,ith Moran. J leavcn alonc
to vrha.t it:ngths ht'r jt'a1ous rnaclness m:1v not lfo,
kno-rnrs
SIR F: Star'lighti 'lhen it appcars I'rn no trcttcr oll'thzrn I r,r'hen linkecl "rviih Nrloc'r,n s .,vilcl- hc:r-st thirst fcr hiood.
w,as befirrt:.
AIi-EEN: (fr) Th:it clr"t::itllirl nr:rtr thlti's s1,vor$ lL) be rt:venqeri
82 ROBRERY UNDER ARMS A( t'l
)trl( s( tl.t\l l\\( )
lf( I I

upon us all. Grace in his powerl How tcrrlliel. (Much (Llttrrrtttrs (ttt(l ltttt!'lt\ lt,,tr,l,,ll li )

otercorne)
DICK: Better lbr Grace 1o clic than be at that rnan's mcrcy. (Entcr llOli;1 N ,rrt,/ iruttl
( I ltt llt !'ttt) ( l /t t/'' 1 1
runs to R\
JIM: When's it to be?
WARRIGAL: 1'onight.
S'I'ARLIGHI': Jim cut round by thc billabong, head them MORAN: What's that? Oh, only the stockricltrt's. Wt trt t:rlttl
of|. (Exit .Jfllt) Bcn, you know, jump down -f oe's paddock trouble about thcm. Biack Jack, you ancl thc otltt:r's prrslr
- stop thcm there. (Exit BEN) Warrigal, saddle Rain- on ahead, and lead them a devil of:r dancc.
ltow. (Exit I4/A RRIGAL)
AILEEN: Il vou go, I'll go u,ith you. (Enter MRS MORRISON R meetine bushrangtr.s, tpho ercunt
STARLIGHT: No. no. 1?)

AILEEN: But I insist. I'd bc no true Australian girl il I NIORAN: Ah, Mrs Morrison, just in time. It's a rum \\'orld
didn't. this. Only to think as you should corne dou'n to lle
STARLIGH'I: Thc lives o1'rncn, ancl what's more thc ho- housekerepe-r to Storcliclcls.
nour of womcn is at stake. There's clzrnqer rny girl - but KATE: Yxs. (HalJ'a.rirlr) Servant to the Pe()plc I hate.
you shall share it with us. Let me see
(]corse the last tirne we heard ol him? - Whcrc \vas NIORAN: Wc11, 1,ou shouldn't put a1l ).our monev on onc
horse. It rvas a risky spec.
AILEEN: At the township. KATE: A jealous woman rlocsn't think of risk she only
STARLIGHT: He'll ncver set back to the homestezrcl in time thinks ol revcnge. Yt:s, it was that cursecl racc that ru-
but thcre zire tracks in the Mallee scrub known only to ined mc, but I'rr-r nr,rt the only one in thc lr'orlcl that's
the blacks anci halfcastes like Warrieal and we may aet bccn ruined by a horse-race, ancl I tlon't suppose I shal1
thcre belbre the.n. (Omne.t turn uf) sla{,a) You can.jump on be the 1ast.
Reiinbow. Aileen. (A.r they exit) N{ORAN: \{cll, rvhat's the gzrrne to bci)
(.cLO:;E IN) KAT'E: Morzrn. I clon't likc the busincss.
M()RAN: You I'relps rne ancl I liclps 1,otr. Oncr: I puts this
END OF SCENE 1
job through, u,c'11 spot L)ick N{arston zreait'r, and ,vou
shall r'vork out \,our littlc clerrl' on hirrt to the bittcr cnd.
SC]I,]NIi 2
KA'l'll: You sr.vear tr.r help mc.
NIOR.{N: My wordl 'l'hcy'r"e trod on rrre, zrtrcl shall 1icl mr"
SCL,NE: "The Black Stump" tccth.
KATII: Thcn listen. Therer :rrc only a lerrv tnen norv alrortt
("It aas a rum lookin{ spot. but neryhod.y knru.t it
the padclocks :rnrl stablcs.
for rniles around. Thcre utas n.othing lib it anlutlure lv{()RAN: 1'hat's allright. '1'hcy'11 cle:rr c,lircctly. ()ne ol rnv
hanrly. There u:ere 2 or 3 rctatls l.ed up to it, and
mntcs has eone acr()ss to the five rlile padclot:k with a
crossed there
- on.e .from Bathurst, one to 'I-uron, box ol rnatches. 'I'hcrc'll be :i big firc break out and -
and another -rtraight into the.forest cuuntrl, u;lich lerl
KA'I'hl: Well, you arc a brute, :rnd no rnistakc.
range b.y range to Nulla Mountain. The "st.urnft" had
NlORAN: 'I'hank vou lirr the cornplimcnt. Now', vou go
been a tremendous old iron.bark tree; nobodl kneu'
back and kecp thcrn \\'omen c:rsy in their mincis till r'r'tr
hotr old, but it had hnrl it.s top bllu'n o.1f in a thurL-
takes up thc runnin'. Here, you ain't so clashed proucl
derttorm, and the curritrs had lishted so manl .fires
no\\'. :irc vou? Clir"e trs :r. kiss be fbre vou go.
asainst it: roots, that it had been killed at last, and
KA'I'E: You. (Strike.t hin'y
the sirles Lt)ere as ttlack a.t a stearner's funnel.')
NIORAN: (Raisrs butt nrJ ol u'hip an.d ahoul to :.trike KATE) I'11
fBoldrewood, Ch.XLruJ \( lllr )('li - \'()ll -
84 ROBBE,RY UNDER ARMS SCENE 3 85

KATE: (Fating hitn, seize.r ahip, draus it throush his .fingers and SCENE:THE HOMESTEAD (George Storclield's) 7'zr,'o
lashes him seueral times) Don't try th:it game on with rnc,
s'tory houst, set R o;f stage, comJortahle surroundin{-r,
Dan Moran - it's played out - (.'I'hrow.r uhip at MOR- tterandah oaerhung u'ith trai/in,q cretper. tr imsrtn
AN s Jcet and exit R']r
Hammnck, rustit seal L, uttterbag under
flowr'rs.
MORAN: Must grin and bcar it I suppose. I ain't thc first 'L,trartt)rth,
ttne armthair R.C. Palings cros.s.stagt
man nor yet the last to be lashed by a woman, though Jrom R to LlE - Gate C - Barn U etc. L. At
niost ol'em does the lashing with their tonques. I'11 pay the back betuueen the .;tahles and the house strtun
her out lbr this - I can wait. This ain't bccn a luckv uith .rtrau;. A carl or uLagon wi.th heap oJ utool-
day Ibr me. First, m1, pistols knocked out o' my hancl packs. On side oJ' u)as!!t)n "Star oJ the South" paint-
and niy knuckles barked by Starlight, and then I ects cd.
bruised all over with a whip by a hanery woman, curse (GRACE plalting piano in house at openina of
her. Oh, my cyes, won't I make things livelv up at .sctnt)
Stur.field's ronighr. (M1S1l ASPEN halJ atleep in chair)
(Exit R) 'fTMFl: EVENING
(Enter WARRIGAL L)
(Enter GRACE, .fram house')
WARRIGAL: ('l'rackinr business) NIy u,ord, plenty big I'e1ler
CRACII: What a lovclycveningand how still it is. Scarcelv a
sit down longa here. Bcen yan that way. One track krnga ol'air. (Murmur.s in distance L.U.E ) What's tliat?
breath
there. Moran yarraman - mine know hirn. Turn 'im (Wakes MfSS ASPEN Aunty, aunty.
foot like it cow. (Finds uthere MORAN moaed round uhen MISS A: (.Screams) Oh, (]rac:ie, gir1, what a lright you s2rvc
KATE whipped him') Moran - my word him make big n're. And I'd just lallen ofl into a little cloze.
I'ellow corrobberee long a here * lour rnore track lollow
GRACE: A little doze? Why, you've had a good 2 hours
up. (Trackina busine.r.r and Exit R)
s1ccp.
DICK: (Calls out.ritle Z) Hobblc the horses.(Enter DICK and./IMy MISS A: Oh, hor'v can you? I u'as thinking not slccpins -
Where's Warrigal? you had no right to rouse nle r.tP so suclclenlv when ,vott
IM: Lookine lbr tracks. We'cl better u:alk to the house.
.f
know my hezrrt's afl'et:tcd.
DICK: Yes, or they'll think we want to stick up the place. GRACE: I'm so sorry, Auntic. I know people ouglit to takc
F.rcryrhinq scr.ms quier .
things qasy when they arrive at your time ol 1il'c.
JIM: We're here belore Moran's 1ot alier ali. MISS A: My tirne o1'lile indectl. What do You mcan child?
(Enter WARRIGAL R) (Enter LONG TOM hurriedQ L.U E. - take.t qf hat)

DICK: Find any tracks, Warr1,? GRACE: Anything wrons'forn?

WARRIGAL: My worcll Plenty big fcl1er. Debbel - debbel. TOM: Bushfirc back of thc live-rnilc N{iss.
that leller Moran. (,MISS ASPEN greatQ alarme[)
JIM: Curse it, are we too late? Let's push on.
DICK: V'le mu.rt wait lor the Captain. Warrigal, crecp to- GRACE: And my brother's away. Thc scrub is Pretty thick
wards the house and learn zill you can. there. isn't itl'
WARRIGAL: Yohil mine go ionga scrub likit snake. (Exil TOM: Ycs, Miss.
t)\ GRACIL,: I knou'. Call Stcvens and Bullocky Bill lrorl the
DICK: T'here's somcthins moving by the ant hill over there. stockyard. Do thc best you can.
(,Extunt
TOM: I r.vill that, Miss. (Exil L.U.E.)
DI()K anri ,tlM {,)
I}{D i--F SC!]NF, 2
8b RO}IBL,R\'UNI)ER ARMS A(ll' lr()tlli s( I \l l lllrl I

MISS A: ()h, r'vhv havc you sent ali the rnen;rw;rv. Suppost: (BLACK.IAC:K i.t trttftirtrl )t)tttttl li) lltt it,t!"'t1 rtll lt' "'r"'i' '

anvthinc shoulcl happcn here, rvhat rt,oulc{ bccorne ol nrc. to GRACE, then.stize: lti:rttl. (ili.ll,l' /trtrt',ttt,l :ltttttl't l"i'l'\
(Men\' uoice.t heard utithout - "It'.; the -ltue-rnilc paddock I utc') MORAN: (7-o KA7'E aside) Any rttctt ;tlr.ttl llt' 1't' tt't ' '

(Enter KA7'E MORRISON) KATE: (Aside to MORAN No, tro.

GRACE: (Sees KA'IEspeak tt) MORAN) N4ts l\l"t ri:"rr 'rrr
KA'I'E: I hopc thcy have not ]nissed ne (a.side). ,vou in leaguc rvith thcse men?
N{ISS A: Oh, do I'ou think thcrc's zrnr, danger Il'orn bushran- KATE: Me, Miss? (Aside to MORA^, Bullv nrc.
gcrs i' MORAN: t)ry up, all ol 1'61. l7-u KATE;,A'nd clotr't tort Qivc
(]ItACFl: Oh no, clo you Mrs Morrison? me :rnv bothcr, or a bullct'Il settlc you. (]o ancl collt:t t

KA'I'E: Certainll. not. the plate nnd thinqs, reaclv lbr us. (70 2 bushrangtrs) Ytttt
GRACE: I rvish Georee rvas back though. go w'ith lrcr. (T'hey r/o .io) Rlack.Jack, sct lire to the tr:rrrr
KATE: What wzrs that shoutine.just norv, rniss? and stables.
GRACL,: A lire has broken out at rhe Iir.c-rnile padclock. I'r'e GRACE: Don't do that. l'Iicre's a valualrlc horst: therc.
sent all thc nrr:n thcrc. MORAN: It won't be uf lruch value st,<-,n. Go on.f ack. !Ve'll
N{ISS A: Ancl I arn unprotectctl. Oh clear - roast it alivc. (Eril RI-ACK.JACK l..Li.E ) (fo M1SX,a5
(Dog barks of L. I . E.) PEN u:ho is alntost Jainting) Nou' then, get out the grog,
old rvcrrnan. (Llpscts chair sht i.s sitlin,g in'|
!'ido
seerns stranecly restless (Cros.re.t L) N{ISS A: Olcl woman?t (Exit uLd|gnantl.y to house)
GRACIE: There zrre one or tr,vo suspicious lookine men ovcr MORAN: (To GRA(IE) Yc.ru've got pluck gal. I like vor-r'
rherc b1 thr lr nr r'. (lonrc :rncl play us a tune. (Dra.gs her inl,o houst).
MISS A: ()h clezrr.
GRACE: Quick intc, the house. (7'hq exit) PAUSE (Piano hrurd)
N4ORAN: (linttring Jrlrn L 1.E.) Bail upl (Firinu .l) .rhots) (Bushrangers in hnuse , calling, 'Pass rotLnd the bottle' Git'e us
sorne nlore uhis@' E etc)
(Other bushlansers -foll0u MORAN on, and get dou'n L)
(Enter IIARRIGAL. 'l'ratkin.q husiness, Jiom L.1.E to C )
(M1,\5 ASPEN streatns in houst:)

(Shat./ired lrom door of' houst. llan.fall.r clutchins.fcnce carryin.q

\\'ARRIGAL: Mimc track 'irn herc. Morzur yarrzrntan rtrlr
'im hair l( )nqt I rr(
au:ay paltng.)
.

MORAN: (Speaks in.side) Play up, nly gal -

NI()RAN: Curse it, Patsy's clone Ibr. WARRICIAL: (Slarls) My worcll Moranl Him big onc whiP-
(.).t[tn remote hnn carelitlly olf L) paroo. Hirn drinkit whisk1.. Him D1q 0n( caolah. Starlight
r:r:rck 'im cobra longa nullzr null:r, rny worcll
()h that's the q:rrne is it. Look sh:rrp vou cl ls.
- (ExitC. UL)
(Entert tatu.follou:ed L,y others makin{ toutards hou.re. G|IAC)L)
MORAN: (In house) Clorne hcrc. Clraccy eir1. Corne here I
entcrs. .followed @ KATE and MISS ASPEN u:lto lalts in
say. Then Ietch hcr, you Daly. (,MI'!S ASPEN .tcreams)
chair. GRACE has sun or reuolaer in hand)
St()p rllat ,,ld wotnetr scr( alninq.
GRACE: Horv dare you come here. Go away bclirre rriy
brothcr returns. (GRACE rushes out folktwed h1 MORAN u:ho seizt-r her rrtu,gh.-

NI()RAN: lAduancing) Not if we knor,r,it. We arc uoing in U)

thcrer. MORAN: (HalJ drun/;) I'vc got yer, nriss, and I mcans to
GRACE: You arc goinq out there. (Points pistol)
 r
i

8U R()BBI,IRY UNDFIR r\11\1S I AC l lr( )trli s( tl Nl, I lllr I I rlr

kccp ver. Yer thought vou was soin' to rnarry one o' I and so, I am surt: r.r'ill Miss St,,r,lt, l,l \rr'l "lr. I'rr l' r

clinancl (.all stare) il 1'ou irrrrl (lt;t( tottttri rrr,rrr \\lr" I rr1'
{
tlrcrl me.rlv-rnouthed Marstons, but you'rc not. When I I
le:rves, you'll be p:rrt o'mv swrlg, d'\,e see. (Euery nme he 1)ose is a policrcman in plain tlolltt s \rtll ir'tllt 'ltffr,ttltt "
lte truist.s h.er utri.st.s and uidentl1 patrts her)'l'here's
.rf:teal;.r strain lattghing) hacl not crlmc, goo<lttt'ss ottlv littorr'; rrlt'tl
plcnty o' bush parsons or we can do without one 1br the woulci havtr bccornc o1' rne . Goocl r[;tv, Sit l"t rrlirr'rrr'l
nlattcr o' that. (81 this time GRACE is Jorced on her knee: Thank ,vou, thank v()o. (Businrss and exit kt hou:t:)
and sobhin.q)
(A red glart oll'L U.E.)
KATE: (linttriw./ront hou.se, stizes MORAN, puthes hinr doun R)
I)an Moran, lcave the eirl :rlone. S]'ARLIGH]': D - n it.'l'hev h:tver sct lirt: to thc st:rblcs.
MORAN: Whzrt d'vc sar..? Ar-c therc any horses thcre?
KA'I'E: What clo I sa,v? I'vc ber:n your accomplice until nor,r,, GRACL,: 'I'he Ilarb.
but bad as I am, I'rn a woman, and I'11 not stand br- and STARLIGHI': QLrick.iirn - Ben - Warrigal.
see one of my own sc-x insultcd bv a scoundrel likc vou.
(DICK lblloruht')
(.Lifts ()RACE ufi and passcs her oatr L C;RACE rurLs offl
N,I()RAN: Not a bit ol rt. (T-hrous KAT'li dou,n R) Oul of' rnv No, no. Dick. Sta,v rvith rrte. 'I'hose llrutes lllav rcturn.
r,r,ay. (,Lxils aftu GRACE .follou;ed hy KATE) (Rt-enttrs trith All,FlEN:'l'he blankets.
the tuLo unrnen slru{{ling) Non, boys up n,ith the sw,aq :rncl GRACL,: I kncrn'rvhcre ttrcv arc. (.Thc/- exit into httu-rc. KA'I-E
oll wc g<'t. (Bushrangers tntt:r;f'ront house and Dall has su;ag) llat 6Jitxpprnnd)
(-lrat:e nrv gal, you shall nur.er leave rnc. Corne (sei:r.r
(STARLIGH'|' an.cl DICK cross L.l.E lookin,g off and .tetin,q
Iter). (.A look of dissust, ntisery and ra{€ clmcs into her.face. She
to thtir pistols)
-rlrut{les to.fret: herstlf. Finding her:truggles arc in uairr., s}u:
.qiue.t orte l0ng piercing stream) (Rt-utttr AILEEN and GRA1E u:ith hlankdsl
(Entur S'I-ARLI(;HT, DICK, .JIM, IIEN, and AILEEN) GRACIE: '1'he buckets arc in thc sl'rccl.
AILEL,N: Is therc plentv o1 \'v.iter:)
(.57'ARLIGH'l' seize: I,IORAN b.y thrctat, .rlrukc.r lnrn. strun{lcs
GRACE: The tzrrrks arc 1ull.
him, anrj throu,s him dorun L.)
('l'hcyexitUUl,)
(DICK takcs CIRACE in ltis arm.t an.d u:sistud by AILEEN
crlt:t-s to chair R -- GRACE .fainting) (.5TA.RLIC;HT ond DI(IK utt L 1.E.)
STARLICIHT': Hor'r, rlare you touch hcr, you corvarcllv clog. (Entur GEORGE and men be{rimed u;ith .rrnol;c'1
('l'o bushrangtr.r, u:ho are dorun. l) And vou too, you black-
CIEORCIE: The bushfirc's well oul. Wliat's happenctl hcrt:1'
quarcls. to stand bv ;rncl scc thal bmte instrlt hclplcss -l'he stabie's been in llatnes ancl it's not oul.
wonren. You clcservc to be shot, thc krt ol vou. Pir:k up
WAI{RIGAI': (Enters) Oh ,ves it is, r'ou bet.
that carrion zrncl r:lear.
(AILEEN enters LenrJin! hor.se taith bandage oa$ c))es. GRACE
(BLiSIIRANGERS make mot,ement as iJ' t0 attatk but are hurriedu ta GEORGE)
cross,:s
stoppul hy _/Ill. BEN and WAITRIGAL utho takes the sack
corrtainin,q llrc ru:ag.from IIUSHRANGER anrl hit.r htm or,ttr tlLe CIRACII: Oh ()eorgc, I'nr so glacl vou'r'e t:ottre.
hearl with it. Ilu.rhranwr: t:xeunt, takins .\IORAN u:ith therr) JlNl: (Remouts banda,gt .f'rom horse and a-fter patttng il, hands it to
onl: of nen u,tho take.s it ol[1 How'it trcrntrlcs, P(x)r old 1cl-
(Enter A,tISS ,ISPEN lrom houst)
1ow.
MISS A: Oh clear, I'r,e lost rnv glasses. (Looks ruund.t'or them) GEORGtr: Mcn, get vourselvcs a tot ol runt. You ciesen'c it.
(7'o ,\7'AIILIGHT) I should be qratelll to vou al1 rny lile, (,\,[tn exettnL cheerin.q) (7'o C]RACE) 'fhank hcaven it's ntr
 II
t
:
,i

j
i

90 ROI]BERY UNI)ER AI{MS A(l'l'lr()tlli S( lllNl' l( )l ll

worse. (.See S7-ARLIC;H'I' and DICK ruho ertters f,.1.8) bccn a good gal t() tll(t - yott ttlrr,.r,,', \\'r",,rr{ ,r,l
Starlightl Why, I thought you were a hundrcd miles oll' your mother's been a goocl \,\,'()tllittt, ;tlttl .t t',,,,,1 tr tl,
and out of reach of the law. tell her I saicl so - I'd no call ttt clo llrt tlrirrris l'r, ,1,,tt,
S-I'ARLIGH'1': Moran's becn here, and vou knorv what that
- it's becn rough on her. anr-l Lltt y()r.l ltttt. trtt ti;tl
means. zLncl if it'll c1o her any good, tell her I'rn tlrtsltt'tl sollr'.
GEORGE: I can suess. You hcarcl somehow of his inten- Kiss your old cl:rd. (Asidi) Like as not you won't so(r lriirr
tions and - again.
S'I'ARLIGIfT: We did our best. STARLIGHT: Ben, whatcver my sins have bcen, I've beern
(WARR|GAL lie.r doutn at back oJ'stage. Ilead on the sat:k con-
true to you and ,vours, and il rvc get ciear, and Aileen
taining saag, tyes on S7'ARLIGH'I' all the tirnt')
and I meet again across thc scas as I hope wc shall, thc
neu, liIi: rnav partly atone lilr the old one.
(GEORGE shakes hands all round)
STARLIGH'I': I'ND OF SCENF] 3
Szry nothing, our clutv's donc and we rnust
go'
GEORGE: \\rherc? SCF]NE 4
S'I'ARLIGHT: Air, that's the puzzle . All roads arc closec{ to
us. (FRONT SCENE)
GEORGE: one. Captain, why not so ro Willaroon.
A11 bLrt
OMNES: Willarc,ronl (7-he itfiamed uisage oJ MORAN is -reert at
back - he has tu,to of his men uith hirn
SCIINE:A piccc ol'wilcl bush countrv.
- oJtu a tecond or huo
thel disappear) (Enier bushran{ers MORAN'.I gan{
- - .(trUttttg
STARI-IGHT: I{'r,r,.c coulcl, rve would and t}rank God upon PAI'SY on an improrised litter made o.f gum sa'
our knees. plintr E ctc. 'I'he_y put i.t doutn in order tr.t make a
GEORGE: I'11 gir.e you a line across the Queenslancl borcler. changt in. tht rrLen rurrying it.)
From there you can ride over to'l'ownsville, ancl it's easy
to szril lrom therc to thc lslands. BI-ACK.]: Patsv's bagged.
AILEEN: Oh, if it we re only possible. DALY: No dzishr:d I'ear. Il we can get him dort'n to Hurnpy
STARLIGHT: L;rds, you liear George. Wliat do you say? Jack's he'll pull round.
DICK & JIM : Wc'll r)ake a dash lirr Wiliaroon i1'you (Ru.rinr:.s.s. 't'hey r:xit R)
wi11. (Enter O'HARA Joilouted hy MAGINNIS L'y
(IRACE: I'll wait for you Dick il it's all nry lili. O'I'IARA: Nlaeinnis.
DICIK: Clracie, I'11 pay vou lor your iove by ner.er doinu MAGINNIS: O'Hara.
another crooked thine as iong as I live. O'HARA: '1-he thracks lade this way. (Point.t to R)
STARLIGHT: All Moran's work will be put down to us and MAGINNIS: Then my inclination larlcs that. (.Pomtt L)
after what's donc it's a hundred to one il we get clcar off. O'HARA: No don't desart a cornrade .

AILEEN: I'll takc the odds and I'rn wiiling ro put rny lile MAGINNIS: Tracks; surc I scc thim. I'm bushm:rn cnough
and hzrppiness on the \\.ater. tci know the thrack ol a horse's shoe.
BEN: Not mc. Lif'e ain't no sreat chop to a m:in like rne, not O'IIARA: (Whistlcs) Phen,! l'hcrc's been a shtrugglc.
whern he gets thc wrong side ol sixtv, and it don't mattor MAGINNIS: Therc has and sonrebody's becn down.
rnuch where he puts in thc rcst ol his timc. I'm eoing to O'HARA: And here's blood.
stay at the Hollow and chance it. (To AILEEN You've L,{AGINNIS: Whatl
()') R()BBERY UNDITR ARMS A(lll'()(ll(s(ll Nl"I()t li 'r;
O'HARA: Drops o'blood. can. Ancl Mlruirrrris, il I slrorrl,l l,rll \\ ! ilr l, rlrr "l' l

MAGINNIS: Ohl Carry me outl It's shlaughterin' ache other woman and tcll lrt'l l tlit tl Iil', .r trr.rrr \ litttt't, r, l/ I

they've bin. G1NN1,S shoots O'HARA in nur\

O'HARA: And it may be our turn next.
MAGINNIS: It rnav that.
O'HARA: Ilelike there's sorne filty or so of thinr blael,ards
asainst a couplc of us. Beclzrd thc public cxpects too
rrruch lron'r us troopers.
MAGINNIS: 'l'hey do. 'l'hcy 'ave no 'cart. Horv can a couplc
av min loike us, purtcct a district as bie as Oireland zrnd
Choina put tosether. bad ce-ss to them.
O'HARA: Gallopin' rloile after rnoile ovcr the clivil's own
counthry, nigh on breakin' our nicks c\rer\- fbive
minutes, shlapin' undhcr thc shtars, 'atin' nothin', zutd
dhrinkin'less.
MAGINNIS: And nrayber qcthin a bit av colcl shtecl or a
dos-;rr lced pills ltrt our supper'.
O'HARA: Maginnisl
MAGINNIS: O'Har:rl
O'HARA: We can but die wanst.
MAGINNIS: That's the dir.il av it. It rvould be allright il ne
,li, lrvcnty tiln, r.
, uuld
()'HAR,\: But Mrsirrnir -
NIAUIN\lS: O'H;rrr -
O'HARA: Surc. rve'r,e onc consoliation -
MACIINNIS: What's th:rt?
O'HARA: Accordin' to the rools and rieulations ar- the
lirolc:e, if lvc get kilt in thc cxecootiolr ol our dootv, the
(lovernmcnt r'vill aw'ard our wives 15 apicce' to bulv us
clacintlv.
N{A[}INNtS: Surc that's alright 1br 1'ou. You'rc a married
n)an. But N1arv-Ann zrnrl tne ain't hitchccl up yet.
What'll I get?
(O'HARA uit quickly R. A,IAGINNI,\' ltrtittl' tr'rttf i'tt trt t't.tlt,f
and.firts. Shot .rtrikes his tue He exits quilLly, litrtltirt.l'1
(Enter L GORING and troo{ters u:ith. MORAN' attd ttlltt't lttt
shrangers handt:uffed)
GORING: What are the fools doing? Fail out, Johnson. Cut
across Murrynebone Crcek, and i1'vou lncct Sir Fcrdi-
nancl, tell him whit:h track to take.
(Exit_I)HNSONLI E)
Corcoran, bring those mcn Maginnis and O'Hara to lrrc.
(Exit CORCOft,4N 1i)
If lcli alone the1,'ll do solrle stupid thing that will put the
rncn w,e're a1ler on their guarcl. Our horses are dcacl-
bcat. Can't raisc a re mount lbr love or money ( 7b
MORAN) Now then!
MORAN: I u,'ant to see the Marston's hanqecl - herngedl
'I'he rnzrrks o1' Starlight's fingers are on mY throat now'
l've sworn to h:rvc that n)all's lile tonight ;rncl har,'c it I
wi11.
GORING: Enough of that. You are to shou' Lts the road'
Where did they sav they were goingl
MORAN: (SulkiQ) 'fo Willaroon.
GORING: And the tracki'
MORAN: Rouncl by thert waterhole.
GORING: Is therc any turn-ofl?
MORAN: Not till you comt: to a shepherd's hut on the right'
'I'hcv may camp there
.

()'HARA: Oh ,vou'll get r'vhat M'Clulhn got lbr his brcaklast.

MAGINNIS: Whzit's that?
O'HARA: Nothin'.
MAGINNIS: C)'FIara, holcl on. (Llokin,q olf R)
O'HARA: Lfhal's that? (.Prcttndin.g to .see thern) Arc thcv therc?
N,IA(IINNIS: (In mrlanchoj tont) I bclicvc thcy are
GORING: ('lit BLack Tracker') tsil1y. Your rlrajesty hacl bettcr
pick trp tlre trar L'r.
BILLY: My wordl (Grinning'1 (Bu.riness and exit)
G()RING: We'll make a start. Moran, on first, and L'ewis,
keep him covered and at the first signs of treachcrr- shoot
him.
.

O'HARA: Therc's only ont: rvav. We'll ltrrrurn oursilves into (Exeun.t Omnes L)
a holl,v sh<1uarc. I'll knalc dorvn, (r/oas so) rvhile vou blaze
aw:lv over rny hcad:rncl kapc mc coverrecl,:rs r.r,ell:rs ye i.rND ()I, SUENii 4
94 I{OBBERY LINT)T,]R ARN{S
SCF],NE F'IVE
..THE I-AS1'SHOT OF CAPTAIN S'I'ARI,IGHI-
S(IENE: Bush countrl - (Extentl. Long gre,y tussock !'ra.ss. 'l'rees
untouched. Prirnetal siants. Vast plain at bat'k. A
utdrd and u:ik:h-like scene. The u-tind rise: anrJ
u'ails stonnij. Noi-re o-f u:ind u:hi.rtling throush
trees. LmLes .fall. Shepherd's hut, .ret R, ualld ruith
.rlab and roofed with hark. Door .facine audience.
Windou at side.
(.DICK and JIM di.rcoaertd. 3 harses pickctatl. Pack
saddle: on stage b,y hut. Rush jrt:
lightt(l hut nmrly
out, srnttkiLg.)
art sleeping, head.r on .rad,y'le.r anrl
Q)(CK and JIM
couered by blanket: - .feet toutards -fire. 'l'hey u,ake
up. Business)
.JINI: Wc shall st.ron bc in Quccnslanrl nor,r,.
DICK: Ancl oncc on bo:rrcl one ol those labor sc:hooners,
hou' jollf it'11 bc - thc o\\'ncrs clon't r:are t\l,o stra$,s
r'vhat sort of passcngcrs they take, as lone :rs they have
plcntv o1'moncv.
(The sk1 is suddtnly aaota-tt. 'l'he plain i.r hkttted
out h.1, dri:ing ntisl,s and alrrut.tt u:itlruut uLarni.n.g,
ont oJ the .;udden -stortn: ttf tfu rtgion, brcak: ouu
tfu plain. Drenching ram, blindtns li.ghtntrw, rolling
thuntlcr.)
(.DICK and JIM enkr the hut .for .shtltt:r, ktkins
tht:ir ;addlcr, hktnkel.t an.d clc. u:it,h. therrt.)
(Paust. Enttr ,\7'ARLIGII'l' L) (Busiru:ss)
(.Crosses to hut and tall.t "DICK" and JIM".
entur _frorn. hut. STARI.IGI{T h.olds Ltp his hand.
7'he,y all listrn.)
(.Noi.te ol' hor.rr..r &llal)ins L)
STAITLICHT: It's the policc. (/ingling of sal:,res heard L')
(,STARLI(ILIT strikts nratch anrJ ktok.r at uatch -
:ec: that hi-r u;eapon.r are right, and u-,alks toolll'
oLcr to RAINBOI,I ktostn..s hirt.\
AC]'I'FOUR SI]F,NE I,'IVE 9!I
Kccp coo1. '1'hat inl'crn:rl Moran has l:rid Cioring on our
tracks. Keep cool ancl l'ou rnay slip them yet. See here,
if vou curn onl,v get filtcen minutes start, you can clclv al1
the troopcrs and blacktrzrckcrs in Australia. I'rn going tcr
give you those rninutes. You've heard ol Horatius thc
rnan that kept the briclge? There's the briclee. (Intliruttng
,tl L)
DICK: It's onlv some I'allen trees over a swamp.
STARLICIIT: It's the bridgc and I arn I{oratius.
DIIIK: (Agttatel) Whzrt do you rnean?
Sf'ARLIGHT: This. (.Indicatins /?) That roacl is open stile.
.Jurnp on your horscs and clcar Ibr Quccnsl:rncl. l'11 takc
my st:urd thcrc ancl kccp thzrt bloorlhounrl (]orins anrl
hi: prrt k ll.trr lirllorving r ou.
DIC]K: We'll not qo rvithout you.
.]INI: Mv lr'ortl - no.
STARLIGIi'l: Cornr:rclcs - brothcrs. lor flocl's s:rke clon't
argue. A minutc now is rvorth ages. Go - go - go.
'I'hink of (ir:rire :rnd Aileen. Think ol your rvil'e ancl cliild
.jim. Don't think ol nre. I'r,e got out o1':rs tight a fix as
this belbre ancl rnav clo it again.
DICIK: You stoocl by lirther and rve stand by vou.
STARLIGHT: What's thati (,'\?,irr ql horl: and sahres /i) 1-oo
lzrte lve are surrountlcd. Wc rnust tzrkc our chancc norv o1'
the bullet belbre the rope
.
(['.irst aollty lrom GORIi\G and hi.t ntt:n ctutsidr: L !;7'AR-
LIGHT, DICK and./IM return it)
(S'fARLI(;fI'I' staqscrs zrsainst tree) 'I'hat's Gonng.
DICIK: F{it.
S]'ARLIGHT: Yes. Steacll' lads. Stcatl,v. Wc'r,e livt'rl likt'
l,,ol. lrttt \\( ;u( ,;r,itrq t,, rlit: likc rrrcn. Slr';rrlr'.
(Sccond rolley .front SIR FERDINANI) tnrl ltt.t rttt tt /l
Thel S'fARLIGHT', DICK and.JLl,I rcturn it)
Sir Ft'rclinzrnd is begirining to t:rlk now - [ hrr,"r' onlv
thrcc shots 1clt.Jim. I rnust save one.
('I'hird tollcy. GORI\Gi m.t:n and SIR ITERDINANI)|t tntn
then.firr: S'I'ARLIGHT- untl DICK and./IhI returtl it. S'l'AR-
LIGII'I' a.qain u:ottndt:d on knet.)
96 ROI]I3EI{Y UNDE,R ARMS ACT FOUR SCENI] ],'IVT.) 97

(/IM.lall.t on his face, clutches grass utitlt. hands) STARLIGHT: (Smites then uery,t Jaintly.) Poor Atleen' (I{t:ad
Jalls back)
STARLIGH'I': PoorJirn. Mv last shot - nrv l:rst shot.
END OI'SCENE
(Enter GORING and tuo ttooper.t, DICI{ _/ires, one .fal.l.r.
DI(:K\ left arm broken)
(SECOND PICTURE)
GORING: (Seeing .JIM dead) Darnn vou Jim M:rrston. You
are done for. (Troopers giains brandl to GORING - S/R FERDINAND
SI'ARLIGHT: And so are vou. (.Eirar') iotdiig RAINBOW - RAINBOW wounded in neck WAR-
(GORING.lattt)
RICIiL with white cloth rttund head stained with bktod' holding
STARLIGHT'in arm.r, bendin.g ouer him.)
Mv last shot. (Rarsrs him.relf up tty tree - his lips and.fore- F,ND OF ACT FOUR
hearl marked utith blood.) Dick, Ibr eod's sake, .jump on
R:rinbow. Hc'll carry you throuqh.
DICK: Not me. Sink or sr'r,im, live or clie.
(Enter SIR FERDINANI) ancl other troofLers. GORING raised
up and placed in .rittine posture .)
SIR !: Surrender. Thcrc's no dissrace in vielcling now.
(TLt,o rnen .;tand ouer DICK u"'ith carbine.r)

S'I'ARLIGHT: Closc thing, Sir Ferclinand. You've becn too

quick {or r.ts. Anothcr day and u,e'd have been out o1'
reach.
,l
SIR F: 'l'rue enoush. Our horses .rre dezrd beat.
S'I'ARLIGHT: Wcl1, the g:rmc's up now. I'rn more sorn. lbr
.]irn ancl that poor giri Aiiccn than I am 1br myself. tl
SIR F: M,v eoocl fc1low, it's the ftrrtune ol'w.ar vou kno."v.
STARLIGH'l' (Dream.iLy) Dick - Dick Marston.
DICK: I'm here.
(At siual from SIR FERDINAND the trooper.r relax their aigi-
lance and allou' DICK tct come to STARI,IGIIT'\ sidt.)
STARLIGHT': l'cll Aileren thert her n:lrrre was the last word I
evcr spoke - thc vcrv 1ast. (HalJ' smili) Sir Ferdinand,
clo vou remember thc pigcon match you and I shot in at
uurlinghanr Halls?
ISIR F: Clreat hraverts. (Bcnds ouer him and lortks into his face.') It
,JnIb(.r'-sit is-
STARLIGFIJ': You won't lell my rlame.
(.llx fE,tD1,\7,\,D .t hake.r h.ear[)
98 ROBBERY UNDER ARMS
ACT FIVE
SCENE 1
SCENE: A prison cell, built inside secqnd scene.Barred uindoru,
high up R.C. Sun shining through window. Bed. Tahle
and chair R.C. to draw of. Writing materials on lable
Chair L.
(Voicu heard singing in chapel hejore
"Hark! Tis the organ sweetlv pealing,
Calling the sinner to repent.
Sue lor lbrgiveness, meekly kneeling,
Love at the throne of mercy bent."
(DICK MARST-ON di.vcouered seated
He is in conaict dress with le.q irons.)
(A warder di.rcoaered .reated L.)
(Lights haf down)
DICK: (Speaking as he rurites') My name's Dick Marston. Syd-
ney-sidc nativc. I'm 29 ycars old and - ah - (leans head
on table)
(Bird-w histles outside)
(fle rises) Curse this chain. It's rubbed a sore.
(Bird-whistles repeated)
(Listens)f'hc bush-birds callingl Oh that I were a boy
again to hear them at dawn. How long ago was it? And
now? - That ever it should have come to this. What am
I waiting {br? 'I'o hear the signal {br .rny t:xecution - the
tread of mcn - the smith that knocks thc irons ofl' the
limbs that arc so soon to be as cold as thcsc jangling
r:hains. (Laughs fusterical\) It's strange that a man should
have a laugh in him when he has only a I'ew hours to
livc. (Laughs hlstericalll and sobs)
WARDER: Come, corne lad, don't give way.
DICK: You're right, I won't. I've lived thc lifc and I'11 dic
the death. What clay is it?
WARI)ER: Sunday. (Pause) You'll be wantcd bye and bye in
the chapel, 1zrd.
AC'I'FIVE SC]ENE ONE, 99
DICK: To hear the parson preach the condemned sermon.
Oh, it is more than hard to die in this settled, fixed sort
of way, like a bullock in the killing yard, all ready to be
poleaxed, only no one tells him belorehand though.
(Enter SIR FERDINAND L.D.)
.
SIR F: (Opening the door Jor them) Marston, here's your sister
and Miss Storefield. (Music)
curtain ri.res.)
(Enter AILEEN and GRACE (in black) L.D.)
AILEEN: My poor lost brother.
DICK: Aileen - Grace!
AILE,EN: Sisters evermore. (7'uines her arms round Grace)
SIR F: It's the last intcrview they'l1 have, poor things. Ward-
at tahle writins. er you can wait outside.
(Exit WARDER)
AI[,EEN: Thank you Sir Ferdinand. But there are times
when a woman's heart will speak. I would tell my broth-
er what I l-eel now, if there were hundreds looking on.
(.SIR FERDINAND exits D. in F.)
GRACE: Oh, how terrible to meet like this. (Sobs and cries
and euerl time the leg irons ratlle trembles as iJ her heart would
hreak)
DICK: Poor girl, poor girl.
GRACE: Let me crv. I haven't shed a tear since I first heard
the news, the terrible news that crushed all our hopcs.
Let n-rc cry, t'wiil do me good.
AII,EEN: To think that this should bc the end.
DICK: Yes. All the clrinking and recklessness, the fl:rsh talk
and idle ways - the merry cross-country rides, :rncl thr:
jol1y sprees in the bush townships. This is wh:rt it has
come to. Oh it is just - just that I should be punislrcrl
- but not you - not you.
AILEEN: Sureiy the Devil has power Ibr a season to poss('ss
himscll of thc souls ol men and c.[o with thcrn w]rat [rt'
u,ill.
DICK: What does mother sziy?
AILEEN: She is dead.
DICK: Dead? Thank God!
AILEEN: She never held up her heacl alter we got news of
Jim being shot.
.' I 'r i r.t;I L-li}'&,
i,' I *-irll 'iri{ r ' ' ''r '1"' 'i
1OO ROBBERY UNDF]R ARMS SCENE TWO 101

DICK: Did she speak ol me?

AILEEN: It was God's will, she said, and only for his mercy, SCENE: GEORGE STOREFIELD's homestead (Same as
Sc. 3 Act 4)
things might have been worse. The only pleasure she
hzrd in her last days was in nursing .|im's baby and talk- (O'HARA discouered asleep L.C.)
ing about poorJim.
DICK: Dear old Jim. Everybocly iovecl Ji- - and Jeanie. O'HARA: (Waking and ywning) Maginnis! Where thc divil is
AILEEN: Only time will heal her sorrow. that Maginnis? He's away somewhere and hcre am I,
DICK: And Starlight - the Warder tells me his body was slavin' the hidc off o' nre wid clooty.
nevcr lound. (Enter MAGINNIS, O L hurriedly)
Jrom
(AILEEN bursts into tears) MAGINNIS: O'Hara. I'vc srcat news for ye. Dick Marston's
Forgive me, Aileen lorgive me. escapcd lrom gaol. And Sir Ferdinand is sidin' wid him
- btrt Gorin's alter him - an swearin - an swearin.
AILEEN: But there! (Drlting her e1tes, and trying to.rmile through
her tears) We've rnany good lriends sti1l. l'hcrc's Grace's (O'HARA takes no inlerest in uthat MAGINNIS say)
brother.
DICK: God bless him! What's the mzrtter wicl ye.
AILEEN: And Sir Ferdinand. Do you know he says that if O'HARA: (Rises - thel come r/ozr.,n) Maginnisl
there were only rnore time.(Aside) But why should I buoy MAGINNIS: O'Hara.
hirn up with lalse hopes. (Turns aua-y) O'HARA: Think will ever I set eyes on dear olcl Connemar-
GRACL,: He says that, whatever Moran and Daly did, yu ra agin?
never killed anyone .
MAGINNIS: Think will ever I set cyes on dear o1d Mary
DICK: Nor Starlight either, thank God. Oh Gracie, when I Ann agin?
think of you, I want to live. Oh, how clearly I seem tcr ()'HARA: That was zr bie fieht at Willaroon.
see all things now. Why couldn't I do so belbre, oh, why MACINNIS: T'was that - it was a erand fight.
- why? O'HARA: A good job we were there.
(Enter SIR FERDINAND D in F'.L.) MAGINNIS: Our lnspector, Mr Goring, nearly got the scv-
en senses knockecl out of him.
(Music till end of sct:ne)
O'HARA: Hc dict that. But he's strong and well asain an
SIR l-: I am vcry sorrv, but you must leave. (Sirags shoulders swears more than cvcr'.
and turns hi.r back sighs) MAGINNIS: O'Haral
- O'HARA: Maginnisl
AILEEN: And arc we to meet on this earth no rnorc?
GRACE: Oh Dick, when that clreadlul houl cornes, know MAGINNIS: Corine keeps us on the rnovc out of rel'cngc.
that we shall bc praying lor you. I love you dcar, and I'll O'HARA: He savs when we heard the shootin' starr, thzrr w(l
be true to you, in liIe , in dcath. retired to the rear on purpose.
MAGINNIS: Ohl Thc villainy of'him. Sure wc wt:rt: r.irturrr-
(Segue to hlmn) vintin' thc varmints, by keepin' on the outskirts ol' thc
(Busintss SIR FERDINAND: rai.res them and lead.r then to battle, to see that none o1''em escaped our \\'av. It was
rloor. Dick'.r cles j.xed. on them and tfuir eyts on lt.is.) true strategy.
O'HARA: But we got no credit lor it.
(Music sc{ue t0 lirej .lor change')
MAGINNIS: Divil zr crcdit.
MIiCHANICAI, CHANGF, O'HARA: We slave, an' slave, an' slavc awziy the rvholc clzry
long, and our oflicers get beslobbcred all over r.vid praise
Ibr our work" Maginnisl
102 ROBBERY UNDER ARMS AC'I' ITIVE SC]},NL, TWO 103

MAGINNIS: O'Hara! MISS A: It was very good of him.

O'HARA: I shall resign. WARRIGAL: Yohi, now mine tellit Geebung no I'ellar mate
longa cowcumber.
C Jrom L)
(Enter GORING MISS A: Are those the flowers for the table?
GORING: Maginnisl O'Haral WARRIGAL: Yohi, nrum - missee.
MAGINNIS & O'HARA: (Coming to attention) Sitl MISS A: They are not well chosen.
GORING: What was that you said about the last you saw of WARRIGAL: (Grins) You tell it Missy Aileen. Mine wish it
Starlight? many day.
O'HARA: He looked as dead as a herrin', sor. MISS A: Bless the boy. What day?
MAGINNIS: And the hall caste was tyin' him onto a horse, WARRIGAL: Baal, you know, Missy Aileen's birthday.
sor, and when Warrigal saw me lookin' at him, he never MISS A: I don't believe in birthdays. I never keep my own.
said a word. (Exit MISS A to house R)
O'HARA: He did not. We startied the lile out of him.
MAGINNIS: And he went away as quiet as a lamb. WARRIGAL: 1-ough ole chicken, that leiler.
GORING: Foolsl You should have arrested him. (Enter bugglt containing DICK and GEORGE. DICK has on a
O'HARA: We hadn't the warrant, sir. greatcoat and a slouch hat, hiding his Jace as much as possible.
GORING: Bah! Our men are camped on the One Tree WARRIGAL runs up and holds pony)
Plain. Get down there as last as you can. Look alive.
GEORGE: (Descending Jrom bugg ruith DICI) We've not been
(Exeunt O'HARA and MAGINNIS shoulder trt .thoulder CU
followed. So far we are safe .
L) DICK: I should have been a dead man by this time but for
(Exit GORIIIG Jollowing them) you.
GEORGE: (Going to door and calling) Grace. Grace -
(Enter WARRIGAL R, brushed up a bit. Carries a bunch o;f
fouers) (Enter GRACE Jrom house R)
WARRIGAI,: What him bin doin here. Him big I'eller hur- GRACE: (Not seeing DICI) Oh George, you've comc to tel1
ry. me they've killcd Dick.
(MISS ASPEN appears at house door R. She has a tery large GEORGE: No - no - we've saved him.
ugll gardening hat on, and carries shears E etc. Wears apron GRACE,: (Rushing to DICI{) Oh, Dick. Are you pardoned?
and sPectacles) GEORGE: (Looking round and raising hand uarning\) No, no,
he's safe for the present and that's enough dear. I'll ex-
MISS A: Warrigal. You are now travelling the proud path of plain all bye and bye.
honest labour. What have you done today? DICK: Grace; my darling, your brother has riskecl so much.
WARRIGAL: Pull um weed. Pu1l um weed. (Moaing about GEORGE: Say nothing about it. Go to rny room - get rid
uneasily)
of the prison dress - my clothes will about fit you. 'l'zrke
MISS A: Don't shuffie. Stand still. what you like then make a bundle of these things ancl
WARRIGAL: Yo hi missee. throw them into the big water hoie, with some heavy
MISS A: In your childhood you were neglected - never sent stones to sink them. Away you go. Warrigal take thc
to schooi - always associated with the worst of charac- buggy to the stable.
ters, and would have grown up, a rude, vulgar, ignorant WARRIGAL: Yohi.
boy
WARRIGAL: Mitta Storefield baal make it mine gardener, (Exit DICK to house R)
mum - missee - GRACE: (Who has Jallen, ouercome, into seat L) What is all
104 ROBBERY UNDER ARMS ACT FIVE, SCENE, TWO 105

it a dream? Am I awake? It can't be true.

this? Is escaped and has tracked you to this p1ace.
GEORGE: It is true, and much depends upon your self-con- DICK: Moran.
trol. His escape was connived at. It was almost certain KATE,: (Nods acquiescence) I passed him on the road - he
that he would be reprieved - perhaps pardoned. may be herc at any moment. You know murder is noth-
GRACE: There is hope, then? ing to him. Dick - .save yourself, iI'not lor your own
GEORGE: There zz'as hope, but whether this breaking gaoi sake, for the sake of the girl you love . Give me that bun-
will complicate matters, I can't say. It's this way. Resti- dle. I can guess what's in it.
tution has been made wherever possible. (Going Up and DICK: T'he prison clothes.
/?) Dick's gallant conduct at Terribie Hollow and the o1d KA'|E: You were about to destroy them. I'11 do it 1br you.
Homestead have been {ully represented, and Sir Ferdi- Quick, hide yourself . ('fake.r bundk)
nand, who is working lor us, under the rose, says - DICK: Forewarned is forearmed. Kate you've done me a
good turn.
(Exit GRACE and GEORGE) KA'|E: (Business, lttokine of L) Great Heavens; there's Moran
(Enter KATE MORRISON. Much changed in appearance. She coming down the gully. Quick into the horrse - not a
is now a hard-faced woman, bitter, reckless, despairinz. Her worcl. (Basinrss)
abundant hair careLessl1 tuisted into a knot, which shows behind (Exit DICK to house R)
the old Jelt hat she raears. A shabbl bodice, secured b1 a belt
round her waist, aboue a torn and .faded grel-tweed riding-'tkirt' (KATE retires as MORAN enters. He carries a sruag, and i.r in
A red silk handkerchieJ knotted loosei round her neck) appearance, a most disreputable .sundowner. He crosses t0 dolr,
and knocks with .stick)
(Enter DICK Jrom house R.)
in WARRIGAL: (Enters .from back and .stands beJore door) 'Nhat
(DICK has chansed his clothes and carries bundle his hand'
you want old sundowner.
He is soing up, C, ruhen he is conJronted fu KATE)
MORAN: I'm stone-broke. I wants a feed, and a place to
DICK: (Horror-strirken) Kate Morrisonl throw rny blanket till the morning. (Aside) It's Warrigal.
KATE: You've not lorgottcn me then. WARRIGAL: (Aside) My word, Moran. (AlouQ You, yan
DICK: Am I ever likely to lorgct You? longa gunyah - you get um what you want.
KATE: You wonder why I am here. MORAN: Ain't I seen you before?
DICK: Is it to betray me again, as you did on the f'uron? (WARRIGAL shakes heaQ
And we were so haPPy there.
KATE: For Heaven's sake, don't remind me ol that drcadful Weren't you a bush-telegraph once?
time. How I have regretted, how I've sufl'ered for it. But WARRIGAL: What you bin talkin. You big I'cller cl - n
you must trust me now. lbol - you seen brudder longa mine.
DICK: Why should I trust you. ('I'hen, seeing the haggard wom- MORAN: What's your master's name?
an bejore him in so suppLiant an attitude, he reLents and his uoice WARRIGAL: N1itta Storefield. Him momber o'Parliam<:nt.
soJtens) You are changed indeed, Mrs Morrison. MORAN: Long in these parts?
KATE: Call me Kate this time. God knows we rnay never WARRIGAL: Dunno. (With shake oJ heatl)
meet again.(DICK starts) I knew that you had escaped MORAN: Good sort of a l'ellow, your boss, eh?
lrom prison and I 1bl1owed you here . WARRIGAL: My word you, like see him-l
DICK: Why did you come? MORAN: (Hasti\) No, no. Any visitors staying here?
KATE: To rrarn 1ou. (WARRIGAL shakes heaQ
DICK: To takc care ol my libertY?
KATE: To take care of your 1i1'e. Moran knows you have Didn't someone drive uP in a a buggy just now?
106 ROBBERY UNDER ARMS ACT I"IVE, SCtlNl'l'l'WO lO7

(WARRICAL shakes heaQ MORAN: (Aside) I wonder what she has got in that bundlc.
I'11 find out.
Are you sure?
KATE: Go I say! (Business and exit MORAN L.l.E.) And
WARRIGAL: My word, yan a girrijah - mine bring 'um pray heaven for both our sakes, we may never meet
dog - mine soolem longa you - baal yeri yan quick. again.
(Exit L/. A L)
MORAN: My oath! Dick Marston's there. (Exit KATE L.U.E.)

6ATE adaances, to MORANJ surprise)
KATE: How do you know?
MORAN: (Astonished) Flash Kate? Are you living in
neighbourhood?
KATE: What's that to you?
MORAN: (Grinning) Starlight's lot's pretty well rubbed out.
Jim dead - old man dead, Starlight himself dead, and
not even buried.
KATE: It's a pity it hadn't been f)an Moran instead of Star-
1ight. He was worth twenty blackguards like you.
MORAN: Go on, go on, it does yer good. Dick Marston's in
there.
KATE: What if he is? Let him s1ide.
MORAN: But there's a reward. Goring's over on the One
Tree Plain. I'11 keep in the background. Fetch him here
and we'll share the reward.
KATE: No, I'11 not stir a step to inform against him, nor
shall you.
MORAN: What! You won't?
KATE: I've done harm enough! I'11 do no more.
MORAN: What do you mean?
KATE: Oh, I'm not ashamed to own it. Richard Marston is
the only man I ever loved. It was my cursed jealousy
that betrayed him. Oh, if I could only undo the bitter
past and give him back his life and liberty again, I'd will-
ingly die.
MORAN: Flash Kate turning saint. But you won't stop my
game. I hated the Marstons from the first - root and
branch - stock and barrei, and it won't be my fault if
handsome Dick ain't in Chokey again before the morn-
irg.
KATE: Dan Moran, do you threaten? Then hear me
threaten too. If you bring the troopers here you're a dead
man. Now go.
(Enter AILEEN, leading RAINBOW, pauing and caressing
him. C Jrom L)
the AILEEN: Rainbow, dear old Rainbow. You are all that is
Ieft of him now. Mine has been a strange love tale. I've
had my sinful worldly dream of happiness. It is over
now. My birthday, is it? And a bright clear morning
too. But all days alike rain tears to those with breaking
hearts.
(Exit C E R. RAINBOW Jollowing her)
(Enter SIR FERDINAND and GEORGE C Jrom L)
GEORGE: Do you wish me to be silent?
SIR F: No. It's an open secret. Knowing this so-called Star-
light was my old schoolfellow, I set enquiries on foot,
and Ibund not only that my surmises were correct, but
that the brother whose guilt he so nobly bore, is dead,
and, when dying , made a full confession.
GEORGE: So that Starlight, if he were alive, would be as
free in Engiand as Dick Marston would be here , if you
had only procured that hal{: promised pardon.
SIR F: Exactly. f he were alive. Concerning this pardon, I
have some documents in my saddle bag. Would you
mind going lor them while I pay my respects to the ia-
dies.
GEORGE: With pleasure. (Goes up to gate) (Aside) He's
concealing something. Further good news I fancy. Well,
it can't be too good for those I love.
(Exit GEORGE R)
SIR F: Sudden surprises are dangerous. Who would be thc
best to break the "tidings ol great joy"? l,et me see. (-Re-
enter MORAN, business and of L.U.E.) Why of course,
Miss Aspen. (Goes to door and cal/s.) Miss Aspen.
(Enter MISS ASPEN Jrom house R, seeing SIR FERDINAND
smoothes her curls and eushes)
lOB ROBBERY UNDER ARMS ACIT I,'IVE SC]F]NF]'I'WO 109

SIR F: Can I spcak to you alone, a moment? (Exeunt SIR FERDINAND and GEORGE to house R)
MISS A: (A.ride) Oh, how my heart beats. Whzrt can he want GRACE: (Crosses to MISS,4SPE ,) Why, auntie, what's the
with me alone? (Coughs) (Abud) Yes, Sir Ferdinand. You matter?
wish to speak to me?
MISS A: Oh, my dear. Don't ask me. Yes, do ask me. I -
SIR F: Yes, Miss Aspen, on rather a delicate subject -
Sir Ferdinand -
MISS A: (Aside) Oh, my heart.
GRACE: Sir Ferdinand? He's never proposed?
SIR F: The fact is, I wish to confidc to you - MISS A: No-o-o-. Worse than that. I rncan, bcttcr than
MISS A: (Aside, with hand to heart) Be still, little flutterer. that. I don't know what I do mean.
SIR F: To ask you, in short - GRACE: Auntie, the sun's been too much lbr you. Bcttcr sit
MISS A: (Aside) Oh, myl down in thc shade.
SIR F: To solicit your hand *
MISS A: I can't sit down. I'm too agitated.
MISS A: (Aside) Oh, myl
GRACE: Oh dear, what can have happened?
SIR F: Your helping hand - in a matter that concerns your MISS A: I must tell her. Come to my roorn, dear And,
happiness -
- can you kcep a sccrct. (Whislters)
MISS A: Oh, Sir Ferdinandl GRACE,: (Ckpping her hands) Oh thank Hcaven!
SIR F: And the happiness ol all here.
MISS A: Say no more, Sir Ferdinand, I am all yours. (Throuts (Exeunt MISS ASPEN and GRACE R)
herstlJ'inla hir armrs
(Enter GORING and troopers, ;t'ollouing MORAN ruho has
SIR I': I didn't mcan that. I was about to say that, at your bundle ruhich he has euidentj taken Jrom KAI'E. Ile crl.t.te.t t0
age - .reat, L, and untie.r it.)
MISS A: Sir Ferdinand!
SIR F: At your mature aqe - MORAN: There can be no mistake Inspector. See - No.
MISS A: Sir Ferdinandl You loreet vourself! 27 . Are you convinced? I had somc diffrculty in getting it
SIR F: I felt that you would best know how to break certain lrorn the woman to whom Marston hacl given it. But I
news - ccrtain good news - to our lriends hcre. The settled her. She wasn't able tr) set the best of rne. There's
fact is - (Looks round and then whisfters) prool 1br you. (Holds up contict jacket) Lll you'r,e to do is
MISS A: Oh my, what a disappointment! to grab him.
SIR F: Indeedl GORING: (To troopers, at back) Surround thc house.
MISS A: I mean, what a joyful surprise. Yes, yes, I'11 man- (Exeunt 7-ROOPERS R)
age it. (Aside) Oh dear me.
SIR F: IJe calrn - be calm, and not a word to anyonc zit (.GORING nmkes moaement toruards hou.re')
pres€nt.
(Enter SIR FERDINAND R)
MISS A: Not a worcl, not a word.
SIR F: Good day Gorins. What's the stir herc?
(Enter GEORGE, uith documents R.U.E.)
GORING: It's a queer start, Sir Ferdinancl. You know, tlrt'
GEORGE: Here are the documents, Sir Ferdinand. (Giras rnzrn u,ho broke eaol yestcrday - one ol thc Murslon
them to hirn) gang.
SIR F: Thank vou. (About to exit) SIR F: Well. well.
GORING: Tlie lool madc li,rr this place. The verv last he
(Enter GRACE Jrom house R)
shoulcl have come to.
(Raises hat to GRACE, uho boru.r) Good morning, Miss SIR F: 'I'hc vcry first, I should think. (Gaes to tloor and ca/l.r)
Storefield. I shall see you presently.
t 10 ROBBERY UNDER ARMS ACT FIVE SCENE TWO
Richard Marston, will you step this way. (KATE dies, and is taken into hou.re R)

(Enter DICK .from house) (.Music stops)

(R) (L) (GORING Jollou;ed b;y MAGINNIS and O'HARA, who haue
MORAN between them, handcufed)
DICK SiR F
GORING O'HARA: This wa1,, your Excellency.
MAGINNIS: You'll soon be wanred in Courr.
O'HARA: We'll claim the reward.
GORING: (Aduancins) You are my prisoner. MAGINNIS: We will that.
SIR F: (Checkin,g iim) Stop! He is a free man. (Shakes hands O'HARA: An'get our prornotion.
ruith DICK) MAGINNIS: We will that. An'I'll marry Mary Ann.
GORING: (Much surpriseQ A free man - you are joking. (MAGINNIS and O'HARA run MORAN of L.1.E., Jollouted
SIR F: For reasons not necessary to recapitulate now, the b1 GqRTNG)
Governor and Executive Council havc bcen pleased to
pardon not alone you Marston, but the so-called Star- (Enter GEORGE uith GRACE R)
light. il he werc alivc. SIR F: Well, Marston, lct me asain coneratulate you.
GORING: (Coldly with great aindictiueness) But I venture to say DICK: Hor.r, shall I ever thank you, Sir Ferdinand, and you
that this rnan is still a criminal in the eyes ol the law and too, Georgc. Freel How it sounds, with the sun shining
must go with me. and the bluc skv above mv head. Free! But il poor old
SIR F: itxplain yourself.
.]irn had only livcd to scc this day, anrl Starlight too.
GORING: He has broken gaol.
SIR F: When? (Enter MISS A Jrom house R)
GORING: Yesterday. GRACE: (Crossing to DICK and takins hi.; hands joloasl7) Dick,
SIR F: Yesterday'i This pardon is datcd four days back. this is splendid.
When Richard Marston leli the prison he was not legaily MISS A: And we'r.c got some better ner,r.s.
in custody, ancl had as much right as you or I, to quit DICK: Better thzrn the pardon?
the prison walls. GRACE: Yes, thoueh I say it. (Wh|rfters to DICK)
(KATE appears at back, half faintins) DICK: N{y - Hooraylt (Calls loudly) Aileeri, Aileenl
GRACE: Hush, you'll spoil it all.
MORAN: (.Drawtng kntJe) Dick has escapcd the qallolr,s, but SIR F: Herre shc colnes. Very gently, mind.
not rnc. (About to stab him')
Enter AILEEN C Jiom L)
(.KA7'E interpose.r)
MISS A: (Ver1 exciter\ Not tc.ro sucldcnly. Bc czrlrn lrc t.ulrrr
MORAN: Curse you, you will have it then. (Stabs KAT-E and -
rushes off L.U.E.) (KAI-E Jalls in DICKs arms) (SIR FER-
- like me.
AILEEN: What's thc matter?
DINAND opens door) (Enter 7'roopers R) GRACE: Ailccn vour brorhcr is herc.
SIR F: Arrest that rnzrnl AILEEN: IIcre?
(Exeunt GORING and Troopers L.U.E.) GRACFI: And hc is pardoned.
AILEEN: Pardoncd? Thank God. Thank God. (.Cro.rses to
(Music, plaintiue till KA'I'E qll) DICK) I'm so glad, dear, lbr your sake, and 1br yours,
DICK: You have saved me. ()racer. 'I'his is your kind work, Sir Ferdinand.
KAf'E: May your liI'c be happier than rnine has been - SIR F: Pray accepr this as mv birthdav prcsenr.
God blcss you.
r 12 ROBBERY UNDER ARMS
(Hands her the Pardon)

DICK: But there's something more, my worcl'

(GEOR()E who has been talking to SIII FERDINAND nou
exits R.LI.E. at his insttgation)

GRACE: Yes, .just think, of thc one thing in aii ttre worlcl
you'd sooncst havc todaY.
AtlinN: Oh Grace, the one thing? A happv heart Appendtces
(AII-EEN's music till curtain)
DICK: T'he one Person then, that you'd -
AII-EEN: I begin to understand. Oh Heaven, can it be true'
He is not dead.
(Music suells)
(Enter S'\ARLIGHT, head bound up, arm in sling Walks
uith dfficutry, sup{torted by WARRIGAI')
(GEORGE Jollows thtm on)

S]'ARLIGHT: No, he livesl

')
(AI\,EE|V runs to him uith a cr1' uJ jo-y

(AILEEN, ST'ARLIGHI- and WARRIGAL, cross down to

.:;eat I' and art nronrcntarily 'turrounded lt1 others u;ho'
after a
pause, disPerse)

STARLIGHT: It's al1 due to thc laithlul Warrigal'

GEORCIE: It's his birthdaY Present'
WARRIGAL: Budgerce birthday-present'
STARLIGH'I: Ht: rescucd me, bound Lrp my u'ouncls' and
nursccl me back to lil'e ag:rin'
WAIIRIGAL: My wordl Mine gibit plenty brou'ny'
MISS A: (To SIR I"ERDINAND) I'wo bushrangers in the
lamily. How romanticl
S1'ARLIGHT: Rushrangers no longer' But men, who' hav-
ine passed through ih" f.ttn"t, arc purified, n'ho have
sourxled the clepihs ol truc wortt:tt't's clcvotion' anrl arc
now contented - hzrPPv.
AILEEN: And ohl H,w dczrrll' 1o,ed!
(Music sLuell and finish)

E,ND OF ACT FIVE

CURTAIN
tt4 Appendix One APPENDIX ONE 115

fCompare uith pp. 33- 351 BILLY: Oh, that's Mr. Goring eh? You introduced 'im
a.fore.
till Bil$ the Bo1 on)
(Music liaely,
SIR F: If you can lead Mr. Goring to where he can meet
(Enter BILLY THE BOY, D.F., broueht in rough\ b1 Starlight's gang, you shall have f20.
O'HARA) BILLY: Twenty pounds. You aren't poking boraks!
SIR F: f20.
(MEMO: Billy the bo1: a louns scoundrel - about 15 - BILLY: Hand it over.
dressed in ragged pair oJ moleskins a good deal too lone Jor him
SIR F: When you've earned it. But you shall have it when
but kept straight b1 a strap round the waist. An old cabbase tree
you do.
hat and blue serge shirt. Odd boots. - one rustl spur [-?J stick
BILLY: Honest?
instead oJ uhip. BilQ remoues hat.
SIR F: (amuseQ Honest!
O'HARA: (laughing at BILL)) Only one spur. What the div- BILLY: Then here goes
il's the good o'that?
BILLY: If one side of the horse goes, t'other side goes too, (Music)
isn't it clever.
You see, I'm engaged to do odd jobs at the pub down by
SIR F: (turning rounQ Well,, my lad, what is it - who are Bundah.
you?
BILLY: I'm Billy the boy. (Crosses D. 1-.) Be you such [?] the GORING: (GreatQ interested) Twelve miles lrom here.
boss of the bobbies? BILLY: Weli, this morning who should ride up but Starlight
SIR F: I'm Sir Ferdinand Morringer, the chief of the Police. and his mates. I know 'em ali. Starlight's arm was in a
BILLY: (points to GORING) Is this your mate? sling, and there was blood on his shirt.
SIR F: That is Sub-Inspector Goring. You can speak belore GORING: (smiles and looks at SIR FERDINAND) I marked
him. him then.
BILLY: Qpointing to O'HARA) But I don't want no more o' the BILLY: And Starlight's shadder, the black tracker -
force. My business is private 1ike. GORING: Warrigal?
SIR F: Very well. (motions to O'HARA) You can go. Remain BILLY: (nods) My word, didn't he swear at you, Goring!
outside tiil called. (O'HARA salutes and exit, ruith look at GORING: Mr. Goring.
BILLY, ruho tries to get Bill of ruall fu Jlapping it ruih BILLY: That isn't what he called you.
hat)(GORING back oJ table). GORING: Oh, he cursed me, did he? (grimu)
SIR F: L. oJ table and crossin{ izs /egs) Now
(seating himselJ BILLY: Yes, and he said he'd get you and do for you. And,
then, my lad, come here. says he, Goring is that ugly the look of'him would turn a
BILLY: (Imitates him and seats himselJ R. oJ tabk)(GORING cask o'beer sour.
turns him out). GORING: Oh, he said that, did he?
SIR F: Now speak up and look sharp. I've no time to waste. BILLY: Yes, he said that. Well, alter a talk with the boss,
BILLY: Well, you see, it's this way. There's a reward out for and sounding me a bit to see il I was Johannick, Star-
Stariight, arn't there. light gave me a crown to carry this bit of paer (produces
GORING : (Interested, hal;f- aside) Starli ght ! paper from hat).
SIR F: f1000 pounds. SIR F: (holds out handfor l:aper)
BILLY: Ahl That's for them as nabs him. But what I want BILLY: I'll give it yer in a minute sir - this bit of paper,
to know from you coves is, how much to the covc as down to the cross-roads, and tells me to wait there until
takes you coves to where you can nab Starlight and his I sees a cove as he described, comin'along on horseback,
coves? when I was to give this whistle - (Giues a z,er1t loud ruhis
SIR F: If you can lead Mr. Goring - tle, ruhich makes SIR FERDINAND and GORINC start,and
brings O'HARA to door oerlt smartly)
1i6 ROBBE,RY UNDER ARMS
O'HARA: (entering smart\) Did you whistle sor?
SIR F: No, it was the boy. (motions him to Exit)
O'HARA: (aside, going) The boy was it. (t0 BILL\) I wish I
had the handlin' of ye me bold buccaan, I'd knock some
ol the music out of ye. (Exit O'HARA)
SIR F: (to BILL\) Go on.
BILLY: If they answered that whistle with another, like this
(about to whistle again)
SIR F: (raising hanQ Stopl Imagine the whistie.
BILLY: Then give 'em the paper, says he. OI)' Starlight
rides, and o1{' I rides and somehow instead ol going to
the cross-roads I comes here to see you.
SIR F: And you did well to come. Now give me that paper.
(BILLY does so). Here's a sovereign lor you on account
(hands him a soaereiu).
BILI-Y: (crosses to R. corner and biting coin) A que vid.
ines it and puts it in pocket uhile SIR FERDINAND and
GORING conuerse).
SIR F: (Reading) "Not the Rocky Rises, but the Devil's
Plans changed." Near there?
GORING: Twenty miles further on, but there's a short cut
by leaving the road.
SIR F: Goodl Then the best thing to be done is to let this
lad take the paper and deliver it as requested. Mean-
while, arm the escort, and you and your troopers take
the short cut and meet them at the Devil's Pass.
GORING: They're after tonight's coach, and your friend
Miss Aspcn will be in it.
SIR F: Has the coach gone?
GORING: (crosses quick\ to door and looks out) Yes.
SIR F: Here my lad.
BILLY: (taho has not oaerheard conaersation, crosses L.)
SIR F: Ride to the cross-roads, carry out the instructions
Stariight gave you to the letter - and mind, not a word
to anyone that you've been here.
tsILLY: No fear - I want cockey to hoe I do. (shouing soa-
ereiun) And the other nineteen?
SIR F: If your inlbrmatic,n proves correct. I'11 pay you the
other nineteen tomorrow.
BILLY: I'm off like an old-shank [?], *y word, as fast as old
Wall-eye can put it in. f'hank ye sir. Good day. Good
day old Gorin.
GORING: (annoyd, makes a dash at him with ruhip. BILLY
too quick.for him, and exits quick\, laughine.)
Appenclix Two 117
(a) AlJidaait
IN THE COURT OF INSOLVENCY
AT MELBOURNE
IN THE MATTER of ALFRED DAMPIER formerly of the
Alexandra Theatre Exhibition Street Melbourne Theatrical
Manager at present temporarily residing at Bendigo in the
Colony of Victoria an Insolvent-
I the abovenamed ALFRED DAMPIER formerly of The
Alexandra Theatre aforesaid and at present temporarily re-
siding at Bendigo in the Colony of Victoria Professional
Actor make oath and say:-
1. THAT I am the abovenamed Insolvent and by Order under
the hand of Hugh Wilson Macleod Chief Clerk of this Ho-
nourable Court my estate was voluntarily sequestrated on
(Exam- the lst day of July 1893 and Robert Caldwell Anderson
was appointed Assignee thereof-
2. THAT more than Three months have elapsed since the
Pass. sequestration of my estate-
3. THAT my estate has not paid and will not pay 7l- in the f,
to my Creditors-
4. THAT I am an Actor Dramatist and Theatrical Manager
and commenced my career as a Star Actor in the year 1873
at the Theatre Royal Melbourne being then 27 years of age
and subsequently went to The Victoria Theatre Sydney
back to the Theatre Royal Melbourne thence to Theatre
Royal Adelaide and then back again to Theatre Royal
Melbourne After that I toured through the United States of
America and through Canada and then returned toMelbourne
and in 1881 I went to England where I played in London
for some months After that I returned to Melbourne and
after leasing the Gaiety and Standard Theatres in Sydney
for four years I went on a tour through the Australasian
Colonies and afterwards came to Melbourne in the latter
part of 1888-
5 . IN the month of April in the year 1 8 8 8 I came to Melbourne
along with my wife and daughters and immediately pre-
vious to my coming I had been travelling in different parts
of Australia with them engaged in my profession as an
Actor and upon my arrival in Melbourne I entered into
negotiations for and obtained a lease of the Alexandra Thea-
tre situate in Exhibition Street Melbourne for six months
from the 6th day of October 1888 with option of renewal
is for another six months I renewed that lease for six months
11u ROBBERY UNDER ARMS
and then entered into further lease for three years from the
lst day of July l889 at a weekly rental for the first year of
1,60 per week and subsequently for the second yeur f,70 p..
week and for the third year f75 per week-
6, AT this time I was quite solvent and had no debts of any
importance_ and my capital consisted of a sum of 01500-
being the j oint savings of my wife and my self also a large quan-
tity of Scenery Properties Wardrobe Theatrical Library
rights of plays and representing in value to me about S4000
this is inclusive of the rights to plays acquired by paying
Royalties to the Authors-
7. I remained at the Alexandra Theatre for a period of nearly
four years commencing from the month of October 1888
and ending in the month of June 1892 during which period
I produced at least 150 plays and one Pantomime myself
times sublet the said Theatre to others for short sea-
ffiat
8. DURING these three years and eight months at the Alexan-
dra Theatre assisted by my Wife and two daughters I wor-
ked incessantly and continuously in writing preparing and
producing plays having to exercise the strictest economy
and being continually subject to the greatest amount of
tension to make both ends meet and provide the money
necessary to pay the numerous expenses incurred at the
Theatre when we had it and at other times when it was
temporarily sublet in making long journeys into the pro-
vinces to produce plays in the different country towns in
Victoria, New South Wales, and South Australia-
9. THE expenses at the Theatre in addition to and exclusive
of the rent which is referred to in paragraph 5 of this my
Affidavit comprised lighting, scenery, properties, furni-
ture, wardrobe, salaries to Company and Orchestra, Check
takers, Ushers, Mechanists, Scene Shifters, Cleaners, Gas
Men, Supers, and Ballet, Firemen, Police, Advertisements
in Newspapers, Day Bills, Color Printing and posting ave-
raged from about 9250 to 0450 a week according to the
attraction (and with Dr Carver the expenses amounted to
nearly 0800 a week) including the salaiies due to my wife
and my two daughters and at the date of the sequestration
of my estate I owed them my said wife and daughters on
account of such Salaries the sum of f,1700 in all as set out
in my Schedule which sum they have necessarily lost through
my Insolvency-
10. OWING to the varying nature of Theatrical business and to
the encouragement and sympathy which I received from my
APPENDIX TWO 119
principal creditors including my Landlord I was induced to
keep the said Alexandra Theatre open during the time I
have mentioned as, at several times I was able although hea-
vily in debt by a run of successful productions to clear off a
great portion if not all of such debt And have a surplus and
this would be succeeded by a run of bad business which
would eat up any surplus and land me in debt again, how-
ever I struggled on not wishing to be beaten but after ex-
hausting the private means of my wife amounting to f3350
and being harassed by debt and not receiving adequate sup-
port from the public I was forced to give up the Theatre ha-
ving during the whole of the three years and eight months
barely kept myself and wife and family with the necessary
means to live and having lost a sum of at least eight thou-
sand pounds but I should not have remained so long hatl it
not been for the successes which have in my expericncc nol
only at the Alexandra Theatre but during thirty ycars o1'
my professional experience in England America and Aus-
tralia frequently followed almost empty houses and the etr-
couragement and sympathy I received as aforesaid-
11. AFTER I had given up the Alexandra Theatre in the month
of June 1892 a benefit was organised for me in Melbourne
and a performance given which resulted in a sum of f2f O
being handed to my wife as a present by the Secretary of
the Committee and with this sum and the proceeds of the
sale of our furniture books piays and pictures which owing
to the depression only realised a sum of Ll7 5 o, thereabouts
I at the request and acting under the advice of several ex-
perienced friends and with the consent of my principal cre-
ditors formed a Company to go to Ballarat Geelong Tas-
mania and New Zealand which consisted of the Actors and
Actresses and others who had been in my employ not only
at the Alexandra Theatre but in Sydney and elsewhere for
very many years and to several of whom I was indebted for
two or three weeks salary-
72. I had not been to New Zealand since 1877 and I thought
and had good reason to believe that the trip would result in
my being able to recoup some if not all of my losses and en-
able me to pay my Creditors a handsome dividend-
13. AFTER paying our household debts and some small pay-
ments to creditors I went to New Zealand in the month of
July in the year 1892 and on arrival I found nearly forty
Companies of various kinds in that Colony all treading on
one another's heels and owing to the Competition caused
by their presence and the heavy expenses incurred by tra-
velling and other necessary outlay I was forced after strug-
t20 ROBBERY UNDER ARMS
gling on for seven months and visiting every place of note
to disband the Company and in order to pay their fares to
Melbourne and the expenses of self and family to Sydney
I was forced to sell what portable property I possessed in-
cluding numerous personal mementoes and also the jewel-
lery belonging to my wife and children-
14. DURING the time I had the Alexandra Theatre viz: from
the month of October 1888 to the month of June 1892 I
paid away in rent and other expenses incurred as lessee there-
tf and in producing plays there and elsewhere the sum of
091,323116:8 and the bulk of this sum was received by the
creditors set out in list "8" in my schedule sworn and filed
herein-
15. SEVERAL times during my lesseeship of the said Theatre
Iasked my landlord The Mercantile Finance Trustees and
Agency Company of Australia Limited a Companv now in
Liquidation to cancel my lease but the said Company would
,roi do so and persuaded me to keep on in the hope that I
would retrieve my position and the Manager of the said
Company from time to time informed me that whatever
assistance the said Company could give me by letting the
rent stand over except cancellation of my lease it would
give and when I gave up the said Theatre the said Com-
pany allowed me the use of such of my scenery (upon which
it had disuained and which it still retains under such
distraint) as I required for the New Zealand and Provincial
trips and which s4id scenery either belonged to me when I
took the Theatre or was prepared during my tenancy and
represented a total outlay by me of at least three thousand
six hundred pounds and during my said tenancy of^the said
Theatre I paid to the said Company a sum of least f8900 in
all for rent thereof-
16. WHEN I first took the Alexandra Theatre in 1888 Theatri-
cal business was very good and I had every prospect of suc-
cess and business continued good for some time but ultima-
tely owing to the depression caused by the financial failures
in May 1893 Theatrical business suffered very greatly and
since about the month of February 1893 all the Theatres
in Melbourne and Sydney and other than the Princess in
Melbourne and the Lyceum and Her Majesty's in Sydney
have been closed for various periods sometimes all at the
same time and at other times one or two of the closed ones
were opened temporarily but the business done was as a
rule bad-
t7. AFTER my return to Sydney from New Zealand in the
month of February 1893 as aforesaid I along with my wife
APPE,NDIX TWO 121
and two daughters were employed at the Theatre Royal
there from the month of April 1893 until the month of
July 1893 at a salary of {20 per week for the four of us
but owing to the suspension of the Banks in the month of
May 1893 our employer Alderman Rainford the lessee of
the Theatre Royal was unable to pay us more than sufficient
to pay our board bill and after struggling against unprofita_
ble business for three months he gave it up and we had no
engagements or means whatever-
18. AT this time viz: in the month ofJuly 1893 [in factJune
- ed.] one of my creditors Alfred Tischbauer Scenic Artist
applied in Sydney for a writ of Capias Ad Respondendum
against me for the sum of f,fgf on the grounds that I was
about to leave the Colony and I immediately left Sydney
and came to Melbourne and acting on the advice of my
Solicitors I filed my schedule in this Honourable Court in
order to stay the execution of the Writ-
19. THE said Alfred Tischbauer had been in my employment as
Scenic Artist for over seven years continuously preceding
the filing of my schedule at a salary of f,tO per we.k and hi
had received from me upwards of 93000-
20. Since the time when I filed my schedule I have along with
my wife and daughter Rose and son Afred Julian been
travelling with a Company organised in Sydney by one
Frederick Meredith and George Buller and under engage-
ment to them in the New England District of New South
Wa-les and in Northern Queensland and latterly in New
South Wales and in the North East of Victoria and during
that time the salary paid to the four of us has not exceeded
a total sum of f,t O per week-
21. I had no assets in my possession when I filed my schedule
owing to the peculiar exigencies of the profession in which
I was engaged rendering it necessary for me from time to
time to part with anything I had in order to obtain funds to
produce plays which I had every reason to believe would be
successful and which from time to time either succeeded
and put me in a good financial position or failed utterly and
put me to what has since transpired to be irretrievable loss
But for the reasons hereinbefore mentioned I was persuaded
again and again by my friends and principal Creditors who
have as I have already sworn received from me large sums of
money from time to time to continue the struggle although
they well knew that I had no assets or other hopes pay_
ing them than the success of the plays I was induced"f to
bring forward from time to time and tire success and popu_
larity with the public of myself and family and our various
r22 ROBBERY UNDE,R ARMS APPENDIX TWO t:itr
Companies; and that if the plays so produced were not suc- Insolvents Schedule List B
cessful their production would land me further into their
List of Debts Due to Unsecured Creditors
debt and yet notwithstanding the repeated failures which I
experienced I had a certain measure of success which always [The 'Date when given' column has been omitted]
acted as an encouragement to my- Creditors and others to Names, Descriptions and Amount For what due
hope that it would be repeated and caused them to risk Abodes of Creditors due
their money to their and my loss-
The Metropolitan Gas Co. of 42. b.3 Gas, (previous to
22. I am informed by the Official Assignee of my estate and Flinders Lane, Melbourne or in the month
believe that only two creditors to whom I am alleged to ofJune 1872)
owe in all f,807-0-6 have up to the date of swearing this 60. 0.0 Money lent
affidavit filed any proofs in my estate- Joseph Waxman of Swanston St.
Moneylender
23. THAT the official Assignee of my estate has received his The Proprieters of the Daily Tele- 110. 0.0 advertising
costs and charges in relation to the sequestration and wind- graph Newspaper Collins St.
ing up of my estate- McKinery & Co. of Victoria St 27. 4.8 Timber
24. I submit that for .the reasons hereinbefore appearing the Carlton Timber Merchant
failure of my estate to pay 7/- in the S to my creditors is The Electric Light Company of 33.19.2 Electric
the result of circumstances for which I cannot justly be Queen St. Lighting
held responsible and I therefore ask this Honourable Court William Marshall & Co. of Little 59.16.0 Printing
to grant me a Certificate of Discharge and also to dispense Collins St.
with the condition requiring payment of 7/- in the f. Cohen & Son Furniture Warehouse- 80. 0.0 Hire of furniture
SWORN at Bendigo in the
men for stage
The Evening Standard Newspaper 45.18.11 Advertising
Colony of Victoria this Third
Co. of Flinders St.
day of May Alfred Dampier
1894 Charles Ridgway & Co. of Little 30. 0.0 Billposting
Collins St. Advertising Agent
I
Before me, l JJ. Miller of Caledonian Lane 21.10.0 Printing
Geo. H. Talchell t Printer
The Herald Newspaper Co. of 16.16.0 Advertising
A Commissioner of the Supreme Court of the Colony of Victoria It
Little Collins St.
for taking Affidavits T
Alexander McKinley & Co. of 1 1. 9.6 Advertising
THIS AFFIDAVIT is filed on behalf of the said Alfred Dampier- I Alfred Place Printers & Publishers
I The Sun Printing and Publishing 11.15.0 Advertising
(b\ Extracts .from Insoluents Schedule Lists A and B Co. of Post Office Place
ISome legal rubric, blank columns and duplication of information Maurice Brodzsky (Table Talk 5.5.0 Advertising
have been omitted and abbreviations used.] Newspaper) of No. 118 Russell St.
Insolvents Schedule List A F. Pettit of Post Office Place 9.10.0 Basket work
List of Debts Due to Secured Creditors basket manufacturer
Names, Descrip- Amount For Nature of Value of Date J. Evans (address unknown) 2. 0.0 Goods
tionsandAbodes due What Security Security when J. Beamish & Co Tattersalls 3. 0.0 Loanofhorse
of Creditors due given given given Horse Bazaar Exhibition St. for stage
Sergeant of Police at Melbourne 16.10.0 Police attendance
ThomasHeap of 30.-.- Money Gold shield 60.-.- Feb Morris Little & Sons No 439 2. 0.0 Goods
TheOperaHouse lent belonging 1 893 Bourke St. Manufacturer
Auckland to Katherine AJ. Cantor Elizabeth St. 'Iaiiors
Russell
4. 5.0 Stage clothes
The Tribune Publishing Company 1.17.0 Advertising
Dampier of Swanston St.
12+ ROBBERY UNDER ARNTS APPF]NI)IX'I'WO llllr
5.18.0 Goods Mr Geplin (address unknown) 17.10.0 Salary
Crooke & Busst Little Bourke St
Importers Mr Lloyde (address unknown) 20.10.0 Salary
2. 9.0 Goods Mr Kollman (address unknown) 12. 0.0 Salary
John Notman of Little Collins St.
Importer Mr Walters (address unknown) 8. 0.0 Salary
Ediom Palmer (address unknown) 20. 0.0 Salary Mr Phillips (address unknown) 11.0.0 Salary
Alfred Rolfe (address unknown) 15.0.0 Salary Mr Spillin (address unknown) 12.0.0 SaIary
.f ames Martin (address
unknown) 13.5.0 Salary Mr H. Bassell (address unknown) 8. 0.0 Salary
h.obert Vernon (address unknown) 15.0.0 Salary MrJ. Renno (address unknown) 7.12.6 Salary
Mrs Vernon (address unknown) 18.0.0 Salary Mr Lancaster (address unknown) 5. 0.0 Salary
Mrs Jordan (address unknown) 18.0.0 Salary Mr Mackenzie (address unknown) 5.72.0 Salary
Mrs Katherine Russell DamPier of 5 75. 0.0 Salary and money Mr Paterson (address unknown) 2.10.0 Salary
Sydney New South Wales lent Mr Rawlings (address unknown) 5.0.0 Salary
Rose Dampier of Oxford St- 375.0.0 Salary Mr Anderson (address unknown) 4.16.8 Salary
Sydney Mr Harrison (address unknown) 2. 0.0 Salary
Lily Dampier of Oxford St. 750. 0.0 Salary Mr Jenell (address unknown) 5.t7 .6 Salary
Sydney Mr Roberts (address unknown) 3. 0.0 Salary
Alfred Tischbauer (address un- 591. 0.0 SalarY & Loan
Mr Armitage (address unknown) 5.r7 .6
from 1888 to 1892 Salary
known) MrJ. Maitland (address unknown) 15.0.0 Salary
Stott & Hoare of ChancerY Lane 8. 6.8 Typewriting
MrJ. Lewis (address unknown) 2. 0.0 Salary
Typewriters
3.15.0 Advertising M. Rosa Queen's Parade Clifton 20. 0.0 Salary
Wilson & MacKinnon of Collins St Hill Theatrical Manager
Proprietors of the Argus newspaper
McEwan & Co. of Elizabeth St' 1.15.0 Loan of bells The Mercantile Finance Trustees 3t34. 9.5 Rentof Alexandra
and Agency Co. of Australia Ltd Theatre during
Ironmongers of Elizabeth St. Melbourne
7.2 Goods 1891 & 1892.
E. Davis of Collins St. Stationer 7.1
E.C. Reynolds of Dunedin New 19.10.0 Amount of a
.ludgement of the
Zed,atd Auctioneer
resident Magistra- ':'j:_i::
tes Court. Dune- [Reproduced by permission of the Keeper of Pubtic Records (Vicroria)
din 30.1.93 Jr.om,rhe R^e^cords of the Court of Insolvency linsolvency Act lg90), 75716
68. 0.0 Rent of theatre file no. 13821
The Directors of the Wellington
Opera House 2-10Jan 1893
Broadbent Bros & Co. of King St 20. 4.7 Carriage of sce-
Melbourne Carriers nery etc. APril
1 893
Thomas Heap of Auckland 30. 0.0 Money lent
Mr Kehoe (address unknown) 12.10.0 Salary (Mar-June
I 8e2)
Mr Holloway (address unknown) 15. 0.0 Salary
Mr Harford (address unknown) 13. 0.0 Salary
Mr Atholwood (address unknown) 5.11.0 Salary
Mr Ride (address unknown) 14. 0.0 Salary
Mr Parlatto (address unknown) 2. 0.0 Salary
Mr Coad (address unknown) 10. 0.0 Salary
Mr Wright (address unknown) 12. 0.0 Salary
126 Appendix Three APPENDIX THREE 127

Performance Calendar of the Alexandra Theatre seasons 1888-92 29 Nov-5 Dec For Love and Life Dampier & Walch
This list and numbers of performances does not include matinees, 6 Dec-12 Dec The Count of Monte Cristo Dampier & Walch/
Dumas 6
which were not frequent and which were usually part-performances
for charities and testimonials. l3Dec-24Dec East Lynne Dampier/Wood 10
26 Dec-9 Jan The Phantom ShiP Russell L2
Dates PlaY Performed Adapter/ No. Per'
Author formances 1891
10Jan-23Jan The Workman Harvey t2
1 888 24Jan-I3 Feb The Black Flag Pettitt 18
6 Oct-12 Oct For the Term of his Dampier/Clarke 6
14Feb-16Mar The Miner's Right Dampier & Walch/
Natural Life Boldrewood 26
13Oct-l9Oct The Green Lanes of England Pettitt&Conquest 6 1 TMar-20Mar Shamus O'Brien Dampier & Kehoe 4
Oct An English Lass
20 Oct-26 Dampier & Kreiger/
21Mar-26Mar The Green Lanes of England Pettitt& Conquest b
Cobbold 6
28Mar-10Apr All for Gold Hopkins/Sue T2
27 Oct-2 Nov A Royal Pardon Pettitt & Conquest 6
1 1 Apr-16Apr Belphegor the Mountebank ?l 5
3 Nov-l8.|an The World Against Her Harvey 65
17 &.24 Apr; As You Like It Shakespeare 4
1 889 1& 7 May
19 Jan-1 Mar Marvellous Melbourne Dampier&Wrang- 18 Apr-23 Apr The Wages of Sin Harvey
ham/Somers(?) 35
25 Apr-6 May The Lyons Courier ?/Moreau & Dela-
2Mar-29 Mar; Every Man for Himself May Holt 25 cour
17 Apr 9May-19Jun The Scout Dampier & Walch 36
30Mar-16Apr Men and Women May Holt 14
20Jun-10Jul The Trapper Dampier & Walch 18
20 Apr-7 Jun Shamus O'Brien Dampier & Kehoe 42 11 Jul-16 Jul For the Term of His Dampier/Clarke 5
8 Jun-28 Jun Madam Midas Beck/Hume 18 Natural Life
29 Jun- 1 0 Jul The Crimes of Paris Merritt & Con- 17 Jul East Lynne Dampier/Wood I
quest 10 18 Jul-24Jul Jess Dampier & Wrang-
11 Jul-12Jul A Royal Pardon Pettitt & Conquest 2 ham/RiderHaggard 6
13Ju1-26Jul The Unknown Stevens 12 25 Jul A Royal Pardon Pettitt & Conquest 1
27 Jul-16 Aug East Lynne Dampier/Wood 18 21 Dec This Great City
Nov- 12 Dampier & Walch 18
17Aug-24Aug Hamlet Shakespeare 7 14Dec-19Dec East Lynne Dampier/Wood 6
26Aug-5 Sep The Wages of Sin Harvey 10 24Dec-23Jar Jack the Giant Killer Walch 26
6 Sep Romeo and.|uliet Shakespeare 1
7 Sep-20 Sep Rip Van Winkle McWade/IrvinC 12 7892
20 Feb-26 Feb Valjean Dampier/Hugo 6
28 Dec-l7Jan Judge Not Harvey t8 27 Feb-4 Mar The Green Lanes of England Pettitt&Conquest 6
1 890 5 Mar-ll Mar All for Gold Hopkins/Sue 6
18Jan-14Feb The Count of Monte Cristo Dampier & Walch/ 1 2 Mar- 16Mar The Count of Monte Cristo Dampier & Walch/
Dumas 24 Dumas 4
15 Feb-28Feb The World Against Her Harvey t2 17 Mar Shamus O'Brien Dampier & Kehoe 1
1 Mar-18 Apr Robbery Under Arms Dampier & Walch/ 18 Mar As You Like It Shakespeare 1
Boldrewood 41 19Mar-28 Apr Wilful Murder Dampier & Walch (?) /
19Apr-9May MyJack Landeck 18 Meredith (?) 34
May-1 6 May Marvellous Melbourne Dampier & Wrang- Shakespeare
1 0
22&29 Apr Hamlet 2
ham/Somers (?) 6
30Apr-12May Faust Dampier/Goethe 11
lTMay-2lMay For the Term of his Dampier/Clarke 6 13,20 8c?7May Romeo and Juliet Shakespeare 3
Natural Life l4May-26MayDead Beat Conquest& Comer 10
28 May-3 Jun Devil's Luck Conquest&Tinsley 6
l5Nov-28Nov Robbery Under Arms Dampier & Walch/ 4Jun-11Jun Help One Another Dampier & Walch 7
Roldrewood L2
128 ROBBERY UNDER ARMS Select Bibliographl

Performance Totals: (a) Allicd Dampier

Shakespeare: (Hamlet 9, Romeo andJuliet 4, As You Like It 5) . 18 PLAYS

Australian authorsf Australiltn settings: (His Natural Life 17, An
Eirglish Lass 6, Marvellous Melbourne 41, Madam Midas 18, Rob-
bery Under Arms 53, The Miner's Right 26, This Great City 18,
WilfulMurderS{).. .....213
Australian authorsf Ouerseas settings: (Shamus O'Brien 47, I'ast
Lynne 35, The Count of Monte Cristo 34, For Love and Life 6'
The Phantom Ship 12, All for Gold 18, The Scout 36, The Trap-
per 18, Jess 6,Jack the Giant Killer 26, Valjean 6, Faust 11, Help
OneAnotherT)... ......262
None of I)ampier's scripts havc prcviously been published. A list of
most ol the plays attributecl to him may bc lbund in Eric Irvin,
Australian lt[ektdrama (Sydney: Hale S Iremonger, 1981), p.117.
This list gives the date ancl place ol' the lirst pcrlbrmance in Austra-
lia. Other plays known or suspectcd to be by Dampier, but lbr
which the datcs of thc first performances are not known, include
Valjean (1869 (?) Iingland, lB77 (?) Australia), Thou Shalt Not Steal
(1t196), ancl Eaery-Day London (1898), and he may har"c'writtcn'his
own versions of er.ersreens such as Belphegor the Mountebank and The
L-yon.s Courier.

1 7, A Royal Pardon
Scripts by Dampier known to be extant are:
Ouerseas Plays: (The Green Lanes of England
9, The World AgainstIHer 77, Every Man for Himself 25, Men and For the Term of His Natural Zr2, MSS 2283, Mitchell Librarv,
Women 14, The Crimes of Paris 10, The Unknown 12, The \{ages Sydney. For evir:lencc that this is one of l)arnpier's vcrsions, scc
of Sin 15, Rip Van Winkle 12,Judge Not 18, MyJack 18, The Margaret Williams, Au.rtralia on the Popular Stage 11|29 1929.
Workman 12, The Black Flag 18, Belphegor 5, The Lyons Cou- Melbourne: Oxlbrd University Prcss, 1983, pp 147-ti.
rier 9, Dead Beat 10, Devil's Luck 6) . . . . .287
Marrellous Melbourne (with .f .H. Wrangham; containing :rltera
To tal E u ening P erformanc es : 780 tions for a Sydney season, presumably that of Slares of'Sydney,
1893), NIS B753, Miti:hell Library.
Robberl (Jnder Arms (with Garnet Walch), Add. MS 53559.D,
Most popular plays: The World Against Her 77, Robbery Under
British I-ibrary, London.
Arms 53, Shamus O'Brien 47, Martellous Melbourne 41, The
Scout 3 6, East Lynne 35 , Wilful Murder 34, The Count of Monte The Scout (with Garnet Walch), MS B752, Mitchell Library.
Cristo 34, The Miner's Right 26, Jack the Giant Killer 26, Every 'l'o the West (rvith Kcnneth Mackay), MS 8751 Mitchcll Li-
Man for Himself 25.
brary.
%Australianauthors/Australiansettings .. . .. 27,3%
O'|HER WORKS
% Australian authorship . . 6A-9%
'A Midnight Horror,' letter containing a short :rnccdote , in llash,
Note: Belphegor ar.d The Lyons Courier were also possibly ver- cd. Garnet Walch. Melbournc Ci Sydney: Reynolcls, 1877, pp
B0-B 1
sions written by Dampier, and some other overseas plays were per-
.

formed while Dampier's company was working with the visiting

WRITINGS ON ALFRED DAMPIER
stars May Holt (Eaery Man for Himself, Men and Women) and
Robert McWade (Rip Van Winkle). Conversely Dampier's author- (i) Contemporary
ship of plays such as East Lynne atdThe Count of Monte Cristo 'l'he Mirror (Mclbourne),
may only have amounted to tinkering with existing versions. I/r7- 5 I)ecember 1BBB, p.7; 19 April
1889, p.9.
ful Murder, although of dubious authorship and only set in Aus-
tralia in the last act, has been credited to Australian authorship T'he Age (N{clbourne ) 1B June 1892, p.11.
and setting in these statistics. 'l'he Leader (Mclbournc), lB.lune 1t192, pp.22-23.
Daill Telegraph (Sydncy), 7 January 1906, p.4.
t:i0 ROBBERY T]NI]F]R ARMS
(ii) Obituaries ROBBI]RY UNI)I]R ARMS
Sldney Morning Herald, 25 May 1908, p.6; 26 May 1908. p.ti
The ReJeree (Sydney), 27 May 1908, p.12. l)elinitions, unless otherwise noted, are adaptecl lionr tht' IVI;rr rlrr;rr
I ht Bullerin lSydnel 1. 2B May 1908, p.8; p.9. ie Dictionary (M D ) or the Oxfbrd English Dictionary (O It D )

(iii) Recent
p.5 1.8
Campbell, Norman.'Allied Dampicr,' The Shakespearean Qlar' poley: a dehorned anilrral. M.D.
terQ, January 1924, pp.26-30 p.6 1.13
'Gre:rt Figures of Our Stagc.' No. 5, Alfred Dampier,' Life Di wood and water Joey: a station hand, usually vcry _voung, who
eesl. Mclbourne, 1 l)ecember 1938, pp.51-54. perlbrms menial tasks. M. I).
Hutchinson, Garrie. 'The Howls of the Gallery Boys: Alfred p.7 1.18
Darnpier and an Australian Popular Theatre.' Performing Arts My colonial: my colonial oath, a euphemism for my bloody
in Australia. Ed. Jack Hibberd. (Meanjtn, 43, No. 1 1984), pp. oath. M.D.
4q-55. p.B 1.7
cornstalks: in this contcxt, a native-born Austr:rlian; with the
Rickard, John. 'Allrecl Dampier: an actor-rlanagcr in the iclea that throv are taller and thinner than immigrants. AIso, a
"Land of Romance".' Komo:, 3, No's 1-4 (1973), pp.44-57. nativc of New South Wales. .M.D.
p.B 1.16
(b) Garnet Walch put a set on'. joc. a set of falsc tecth.
p. 10 1.9
PLAYS
on the wallaby: on the wallaby track; on thc movc as a s\\,as-
For rvorks written jointly with Dampier, see above. 'lhe lbllowing is 'r.an (M.D.) but here it has less lawful connotations.
a brief selection Iiom his pantomime and burlesquc work, with p. 10 1.13
short titles given. For more detaileci infbrmation scc Joan NIaslen, ne:rr-siclepolcr: thc ne:tr sicie is thr: lelt or kerb sicle of a wag-
'Victorian Pantomimes' in La Trobe Librarl ,/ournal, 3, No.10 (Octo- on; a poler is one of the two bullocks or horses in a team, near
ber 1977). pp.42-46; and Paul Richarilson, 'Harlequin in thc Anti- est the wagon. T'he context indicates that the phrasc rncans a
podes'in Southerj,42, No. 2 flune 1982), pp.212*220, and'Garnet hard worker, however the polers did not take as much w,eight as
Walch's Australia Felix: a reconstruction' in Australasian Drama Stu- thc lcadcrs ancl thc term more usually implied laziness. M.D.
/ir.r, 1, No.2, (April 1983), pp.63-81. 17 1.',23
'l'rookulen.tos, tlte Tbmpter. Aileen Aroon: the tune ol'this {anious Irish air is reproduced in
Parramatta: Cumberland Press, 1871.
Pltmalion and his Gal (A Dear!). N{clbournc: Azzopardi,
C.V. Stanlbrd, The lrish Melodies (London: Boosey, 1895),
Hildreth, 1873. p.5-6. The words usually suns to it are'Erin, the Tears ancl the
Smile in thy Eyes.'
Australia Feli-r. Melbourne: Azzopardi, Hildreth, 1873
A Frouee Would A Wooing Go. Melbournc: Azzopardt. Hildre th, 19132
Colonial Expericncc: a colloquialism which expressed the popu'
1 875
lar idea that well-bred Englishmen needed a sojourn in thc colo-
./ack the Giant KiLler. Melbourne: Azzopardi, Hildreth, 1 B78
nics to develop manl,v skills and generally toughen them up.
OTHER WORKS p.20 1.31-33
Hash: a Mixed Dish.for Xmas. Melbourne & Sydncy: Reynolds,
'Thjs bucl of love...' Romeo andJuliet, 1l,2, 121-2.
p.21 1.1t)
1877.
'l'he l'ireflash. yarraman: a horsc. M.D.
Melbourne: Robcrtson, 1878.
p.24 1 .6
Australasia; an Intercolonial Chri.rtmas Annual. Mclbourne: Robert-
Sandy Blight: trachoma, a contagious inflammation of thc con-
son.1U78.
junctiva ol the eyelids. -M.D.
WRITING ON GARNT]T WALCH
Table Talk (Melbourne), 14 March 1890, pp a-5
132 ROBBF]RY UNDER ARMS Notes on lctltttl tt(tt t(tttl\ III
p.30 1.12
gossoons: lads. O.E.D. Thcre are major difl'crcnces betwecn vt:r'siort ( I (tlrl rrrttitrr.rl I rrt,l
p.33 1.25 Chamberlain's copy) and version D (the sanrcr t rtpy ;tllct ,tlllt,tlr rtt',
bush telegraph: in this context somcone w'ho keeps bushrangers wcrc rnacle by a second copyist). Version D is tht: lr;tsis ol llrr'1rtrr
inlbrrned of police movcmcnts in the district. cnt edition; Ibr a discussion of thc other changes wltit lr tlrt sr r i;rt
p.34 1.4 unclerwcnt, see the introduction. The fbllou,ing notes providt' :r qt'n
Budgerece: good, fine. -M.D. cral guide to thc altcrations made to C in D; scholars wishins rrtort'
p.JJ r.J,1 prccisc inlorrnation should consult thc photocopy ol the original
Baal Gan'rmon: not nonsense, not a trick. M.D. manuscript held in the Hanger Collcction, Fryer Library, Universi-
p.37 1 .31 ty of Queenslancl, or the original in thc British Library, London.
barneving: arguing. ,4,,1.D.
p.54 1.13 ActI
wrinkle: a ingenious methocl. -M.r. In D Gracc cnters during Ailccn's talk with Georgc after 'Let it be
p.59 1.12 brother Gcorge ancl sister Ailccn' (p.9) ancl somc ol'Ailccn's dia
Jack Kctctr: the hangman. ,41.1). loguc is transferrecl to hcr. Alier IJer.r Marston's entrance rnore clid.-
p.66 1.14 logue betwecn Bcn, Aileen and Gracc is insertecl alier 'thought I'd
thc rocky roads to Dublin: one of the many popular ironic sonc on the rvallabl, again i:h?'(p.10) Thc moment ol jcalousy
versions of thc icle:i that goes back to Seneca's 'It is a roush road betu,een Jim and l)ick or.er (]race is sttpplernentcd to make Dick
that leads to the heights of sreatness.' Epistles 3,5; quoted in J. jcalous of Jim as well as vice-versa, (p.13) Grace's discussion with
Bartlett, Familiar Quotations, 14 cd. (Boston: Littlc, Brown, Aileen ol Gcorge's love {br her is ncw, as is her song. (pp.15-16)
1968), p.13{Ja. Thc dialogue after Starlight's cntrance and Aileen's 'Weil, I'm sure,'
p.6B 1 26 is new, partly to arrange Grace's exit; but the scene itsell is added
cobra: usually cobbra; thc hcad or skull. -M.D. to ancl revisecl. (pp.16 1B) Aileen's encountcr with Goring is ex-
p.68 1.34 panded to include her boxing his cars, and Starlight's 'Thrcaterned
mi mi: variant spclling o{'mia rnia; a gunyah. M.-D.
Men Live Long':rnd the next two specches are new.-(p.25) The
p.83 1.24 hnal conlrontation is slightly arnenclccl and Dick's 'Stand by hirn
derry: to have a derry on someonc is to be prejudiccd agurinst
Jirn, hc stood by lather' is addcd.(p.27)
them. M.D.
p 87 1.29 Act ll;cene I
coolah: ? possibly 'blockheacl' sincc there are several similar abo-
riginal words relerring to wood: coolabah, coolarnon, but the There is so[le re-arrangcment of the dialoguc and :r relerence to t]rc:
context suggcsts a stronger terrn of revulsion. '(lrcat cattle Robberv' is deletccl. This information iiorn the
novel
p.89 1.10 implies th:rt at least six months have elapscd bctwcen Act One and
The Barb: a lamous racehorse which won the Melbourne Cup Act Two, but u,c have alreacly been told that it u,as only 'a weck
in 1866. ago'(p.29). However tlie story is rt:-introcluced later in the ()oring/
p.95 1.11 Sir Fcrdinand dialogue (p.33) which bcgins their cliscussion. Miss
opcn stile: not blockccl. A stile enables peoplc to get over a I'cnce Aspcn's near-siqhteness is rnadc more explicit. Warrigal rcplaces
but prevents cattle from doing so. M.I). llillv the Boy (pp.33-36; see Appendix I).
p.103 1.2-3
Gecbung: fruit of a native shrub. Warrisal means he can now Act II scen.e 2
distinguish a cucumber liorn oner.
p.104 1.11 After Starlight's 'Warrigal,' 'Did you sive that notc to Sir Ferdinand'
under thc rose: secretly. ,&1.D. ancl Warrigal's replv arc addercl to make his lo.valtics clcar. (p.37)
p.106 1.3 Tlie Ben N,Iarston/St:rrlight cliscussion about Dick ancl .Jirn is revisecl
girrijah: ? probably gunyah; c.l. p.105 1.25. to sharpen the disagrecrncnt bctwcen them (13en :rcknolvlcdgcs Stzrr-
p. 1{J6 1 .4
light's leadership in C, but c:rlls the eilng'oLrr rrrob'irr D). (p.37)
baal vcri yan quick: unless you go quii:kly Starlight's suggestion that Dit:k and Jim '(lct dorvn to the 'l'uron,'
13+ ROBBERY UNDER ARMS
and the rest of that specch, is new (p.3t3). Starlight's suggestion that
they toss a coin to decide their fortunes is also new. The Starlight-
Aileen dialogue is slightly revised and the lighting effect instructions
are added, together with the 'Business' notations. The D corrections
fail to delete two rel'erences to Billy whistling 'off,' but in D it is
Warrigal who re-enters hurriedly with the news that the police are
at hand. b.a2 ) Goring's infatuation with Aileen is emphasized by
Jim's new assertion 'that's where the shoe pinches' and the next two
lines. (p.43 ). Maginnis'and O'Hara's disguiscs are an added note,
but a discussion about the morality of killing mosquitoes is deleted.
Act II scene 3
Four speeches by the minor bushrangers arc cut before Dick, Jim,
Ben and Warrigal enter. The nurnbering of thc bushrangers (p.46 )
is ncw. A 'Miss Elmsdale' in thc coach is replaced by Jenny'(sir) in
D, and the dialogue from the stage direction 'Dick and Jim hidden
by trces peer out' to Dick's 'Don't be jealous' (p a7) is new, as is the
subsequent refercnce to Jenny.' The holding-up of the passengers is
quite extensively cut and revised. Moran's rough treatment of Miss
Aspen and Starlight's explicit 'We don't rob women' (p.48) arc two
significant additions, and Starlight's references by numbcr to his fel-
low bushrangers is also new. Goring's sword is a new prop, and this
enables Starlight to shoot it from his hand and specihcally take Gor-
ing hostage rather than gcnerally ambush the troopeis.
Act III scene I Daly's objection to Moran's rough trcatrnent of Sir Ferdinand is new
The O'Hara/Maginnis clialogue is changcd to imply they are equals
rathcr thzin O'Hara being the rnore senior. A sequence involving
Billy thc Boy is cut down to Warrigal's brief entrancc (p.54).
Starlight's dialogue is reviscd to make his disguise that of a French-
man. A specific suggestion in C by Sir Ferdinand that'Haughton'
(Starlisht in disguise) rcminds him of 'an old schoolmate of mine -
in Wanvickshire. One of the Chichesters' is deleted, so that in D his
true idcntity remains a secret throughout, as it is in the novel.
George Storefield's entrance (p.55) is accompanied by additional di'
alogue for George, Dick and Jim from the entrancc to Dick's laugh.
Moran's purpose in the background of this scene is not clear; he is
there in C but most of his dialogue is an addition made in D. A
long discussion bctwcen Kate Morrison and Moran is cut entirely.
Therc are two discussions about the trooper's back-pay, and Moran
says'A large sum, eh?'twice; probably one discussion should have
been deleted. (pp.56 57) Starlight's entrance (p.57) is delayed till al:
ter Moran's exit in D; however this may be the one point at which
Lroth C and D arc slightly imperfect, since therc are indications that
new.speeches or stage directions were intendcd, but none are in-
TEXTUAI, VAI(IN N'I'S II'r
cluded on the lacing lblio. Starlight's long tltli,rrrr.ol llrr.rr.llrrrr,rl
criminal (pp.58-59) is cut down. The start ol llrt K;rrt'Nlor rrr,,rrl
Starlight scene is slightly revised, as this is now thc Iilst lirrrr.tlrr.
audience has rnet this charactcr. The scene ends in (l witlr l(;rrr.
finding ancl reading the dropped letter; Starlight's re-entrantt' rurtl
the rcst of this scene are added to D.
Act lllscenc 2
In C the sccnc begins.with Maeinnis and O'Hara. The Jim{enny/
I)ir:k sequence is new to D, and the two troopers' dialogue and
business (before Miss Aspen's entrance) is altcred. The troopers' dis-
cussion with Goring about'good horses'is new (p.66). A long sec-
tion involving Goring, Sir Ferdinand, Starlight, Kate Morrison and
others is cut cornpletely, having been largely superseded by the new
ending to the prcvious scene.
ActIII .ycetrc 3
In C it is Billy the Boy who is selling'C'rect card races' rather than
an anonymous man. (p.69) An interchange betwccn Billy, Dick and
Jirn is cut from D, as lVarrieal is not available (he is in another
disguise). Dick's explanation to Jim of the reversal in their fortunes
is new (from'Great Heaven what is it'toJim's erit). (p.73)
Act IV scene I
(p.78), and there are other minor revisions of dialogue. Billy the
Boy's entrance (w,ith neurs as to whcre Moran has gone) is given to
Warrigal. (p.81). Starlight's more flamboyant 'rhcrc's danger my
eirl..' replaces 'Well then you shall,' ancl the three lines about
George Storefield's whcreabouts are addcd, presumably to explain
his sudden appcarance in sccne .3. (p 82)
Act IV scene 2
There are only minor alterations in this scene, and the acldition of
Warrigal's joke about the 'big fellow corrobberee.' (p.84)
Act IV scene .7
The stage clirections at the besinnins of the sccnc are made rnore
explicit, ancl there are minor revisions through to the shooting of
Patsy, which is ncn, rnaterial as Iar as the clisarming of Grace by
Black Jack. (p.87) Thc descriptions of stage business throushout the
scenc are heavily rcvised, indicating that this scenc had been sig-
nilicantly re-st:rsed. The burning of the stables is nerv from 'A Red
136 ROBBERY UNDER ARMS
I
Glare off L.U.E' to 'starlight and Dick Exit L.I E'' and lrom
George's 'What's happened here,' to the bringing on of the horse
blindioldcd and Jim's 'Poor old I'ellow.' (p.89) Thcre arc slight revi-
sions and additions to the end of the scene, including Moran's over-
hearing of 'Willaroon' and Aileen's speech beginning 'I'11 take the
odds....' (p.90)

Act IV scene 4

The cntrance and exit of the bushrangers carrying the injured Patsy
is new'; C begins with Maginnis and O'Hara. Moran's commcnt
'I've sworn to have that man's life tonight and have it I wilf is add-
ed. (p.93)

Act IV.scene 5
This scene is almost conrpletely pantomimic in C and has only threc
speeches after the thunclerstorrn; all the dialogue from Starlight's
'Se" h.re if you can only get lifteen minutes start..'(p 95) is ncw'

Att V scene I
This scene is only slightly altered in D. Sir Ferdinand enters instead
of a second warder. His speeches and speeches to him by Aileen
ancl Gr:ace are consequentll' altercd slightly After Dick says 'Every-
body loved Jim,' 'and Jeanie' and the next two speeches are add-
ed.(p.100)

Act V scene 2

An argument lcading to a Iight between Maginnis and O'Hara is

delctei. Warrigal enters with the flowcrs instead of Billy the Boy
(p.102) and thc scene is consequently re-written and cut down'
d.oc.', speech 'Oh George you've come to tell me they've killed
I)ick,' and Georgc's reply, arc addcd (p.103). The section between
Dick ancl Kate Morrison is slightly rcvised, and the Warrigal/Mor-
an section, which was originalll' Billy thc boy and Moran' is re-
writtcn. The stage dircction 'Re-cnter Moran, business and off
L.U.E,.' (p.108) is added. Thc remainder of the scenecontains only
nrinor rcvisions.

"l-
VICTORIAN COLLEGE OF THE ARTS

3 1649 00045698 5