THE SLAB BOYS
ACT TWO
ACT 2: KEY SCENES

Hector’s makeover concealed and revealed.

Sadie’s chat with Lucille.

Phil’s mother’s escape.

The denouement.
FARCE


farce, a comic dramatic piece that uses
highly improbable situations, stereotyped
characters, extravagant exaggeration, and
violent horseplay.
http://www.britannica.
com/EBchecked/topic/201791/farce
FEATURES
OF
FARCE
Physical humour
 Violence
 Speed
 Many entrances and exits
 Highly choreographed – precise
 Absurdity
 Requires to be ‘set-up’
 Multiple characters

KEY
SCENE:
HECTOR’S
MAKEOVER
CONCEALED AND REVEALED.
Hector’s
appearance at
the window up until his
exit to go and see Curry
WHAT
MAKES THIS SCENE FARCICAL?
 Physical
humour – Hector looks ridiculous,
Hector appears at the wrong time
 Violence –Hector’s cut ear, Hector
threatened with a knife, Hector fainting
 Speed – characters move on and off stage
quickly
 Entrances and exits – The window and
cupboard act as bizarre entrances and
exits. Hector always appears at the wrong
time. Other cast members enter and exit
quickly so there is always a chance of
discovery.
WHAT
MAKES THIS SCENE FARCICAL?
Highly choreographed – precise and rapid
dialogue and movement
 Absurdity – Hector’s ‘makeover’ is ridiculous;
Lucille thinks he is a ‘gargoyle’.
 Requires to be ‘set-up’ – the set up
happened in Act 1 with the talk of the
‘staffie’ and the slab boy’s manipulation of
Hector
 Multiple characters – all the characters in
the play appear at one or more point in this
scene.

WHY
IS FARCE USED HERE?
For light and shade - a comic moment
before and after more serious moments.
 To increase dramatic pace.
 As catharsis – a release of emotion for the
audience.
 To entertain.
 To trivialise the serious issue of bullying - do
we like Phil and Spanky more or less here?
 So Phil and Spanky pay the consequences of
their actions - neither gets a date with
Lucille.
 So Alan can witness and criticise their
behaviour – sets up more conflict with Phil.

CONFLICT
Conflict - a state of opposition.
 Opposition - a clash of views, beliefs, ideas,
interests, forces, cultures…
 Inner conflict – a struggle within the self,
often between beliefs and desires.

Class/groups could identify areas of conflict
within the play.
 Each group could take responsibility for
finding examples of each type of conflict.
 Does Phil experience inner conflict – what is
it?

CONFLICTS

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
WITHIN THE PLAY
Dreams versus reality – Phil’s desire to go to art
school versus the slab room, Hector’s dream to take
Lucille on a date versus his lonely life.
Rebellion versus conformity – Phil and Spanky’s
cheek and opposition to Jack and Curry, Phil’s
hatred of Alan, the slab boy’s laziness.
Social inequality/class divisions – Alan’s appearance
and education along with his easy access to work
and higher wages opposed to the boy’s poverty and
lack of opportunity.
Age versus youth – Sadie and Curry hang on to
values of the past. Phil, Spanky and Lucille are
modern/fashionable.
Treatment of mental illness in the 1950s – Phil’s
anger with the way his mother is treated as
opposed to how he feels she should be treated.
PHIL’S
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INNER CONFLICT
Aspires to be part of the educated and privileged
classes he despises – stays on for Highers but hits a
teacher; doesn’t ask for support and guidance about
his folio and application.
Knows he could succeed at work but won’t allow
himself to – he gets in his own way by being lazy,
disrespectful and confrontational.
Fancies Lucille himself but feels guilty for Hector asks her out on Hector’s behalf.
Loves and worries about his mum but hates her
behaviour and the consequences of it.
Phil’s conflicts result in
self-destructive behaviour
CULTURAL CAPITAL
The cultural knowledge you need to fit in
with and succeed in social groups.
 Each social group has different kinds of
shared capital.
 You demonstrate your capital and
membership of the social group through the
way you dress, speak, act, what you
consume…

Look at the dialogue between Lucille and
Alan – does he have the right cultural
capital? What does this reveal about Alan?
 Why does Phil lie to Alan about the poster?

JAMES
DEAN, AMERICAN ACTOR,
8, 1931 –
30, 1955
FEBRUARY
SEPTEMBER
HIS MOST FAMOUS FILM IS ‘REBEL
WITHOUT A CAUSE’ WHERE HE
PLAYED A DISILLUSIONED TEENAGER.
HE
ALSO STARRED IN THE LEAD
ROLE IN THE FILMS ‘EAST OF EDEN’
AND ‘GIANT’.
HE
WAS DEVELOPING A CAREER IN
CAR RACING WHEN HE HAD A FATAL
CAR CRASH IN HIS PORSCHE.
PHIL’S MOTHER’S ESCAPE:
THE CLIMAX OF THE PLAY
Climax
• Phil’s frustration and rebellion is at its most
pronounced.
• Phil’s mother has escaped from hospital – he
reveals the extent of her illness and its effect on
him in his outburst to Alan and Spanky.
• Phil makes clear his resentment of Alan and the
class system - tries to assault him but is held
back.
• Phil and Spanky square up to each other – Phil
thinks Spanky has conformed to the system.
• The phone call about his mother was not the
news he expected (anti-climax).
KEY SCENE: PHIL’S



MOTHER’S ESCAPE
1. with close reference to Phil’s comments in
this extract, discuss how the dramatist
reveals Phil’s frustration and/or anxiety on
learning of his mother’s escape. 3 marks
Reference to three appropriate contributions
from Phil with sensible comment on how
each contributes to anxiety/frustration.
Avoid focusing on the description/word
choice/imagery/ideas of Phil’s lengthy speech
on his upbringing.
Evidence
Analysis
‘You mean it really was the hospital?’
Implies disbelief/he is unwilling to accept
the problem
‘Christ’
Blasphemy suggest his frustration/anger
‘Not to be alarmed?? What if she turns
up here?’
Questions in quick succession suggests his
mind is in turmoil
‘She’ll probably put a hatchet…to give me
a showing up.’
Black humour and exaggeration indicates
anxiety at potential consequences – a
dread of what could happen.
‘Jeesus Christ, how come I couldn’t have
a sensible maw like you guys eh?’
Repeated blasphemy and tone of regret
demonstrate his frustration, self-pity and
anger at his mother’s death.
Repeated use of ‘stupid’
Implies anguish when reflecting on his
upbringing with his mother.
‘I bet you his isn’t/ I bet you he doesn’t!’
Parallel sentence and exclamation reveal
sense of injustice at his situation
Repetition of ‘what do you know?’
Reveals Phil’s sense of isolation and
alienation from Alan.
Use of Alan's correct name plus stage
direction ‘with derisive emphasis’.
Phil needs a scapegoat for his anxiety and
frustration
KEY SCENE: PHIL’S MOTHER’S ESCAPE



2. Discuss how language and/ or ideas are used in
this extract to rouse sympathy for Phil and his
mother. 4 marks
1 mark for each appropriate reference with
comment. Reference only= 0
There must be a discussion of both Phil and his
mother but this does not have to be an even
treatment.
Evidence
Analysis
Dramatic device of the phone Anti-climax as Phil’s
call.
eagerness for news from art
school is deflated when he
hears of his mother
Description of mother’s
violent nature ‘hatchet’, ‘open
wrists’, ‘bopped’, ‘razor
blades’ etc.
The shocking descriptions of
violence create sympathy for
Phil as he has directly
witnessed them
The wide range of things that Sympathy as the mother has
worry the mother ‘money’,
high levels of anxiety and
‘mass’ etc.
can’t cope with raising her
family
Phil’s long speech about his
upbringing
Harrowing long list of bizarre
behaviour evoke sympathy in
the reader
KEY
SCENE:
PHIL’S
MOTHER’S ESCAPE
 3a
Identify the tone used by Phil
following Alan and Spanky’s attempts
to calm him down. 1 mark
 Possible
answers: Bitter, resentful,
mocking, ironic, derisive, scathing,
vitriolic.
KEY

SCENE
PHIL’S
MOTHER’S ESCAPE
3bReferring closely to the text, discuss how this
tone is created. 2 marks
SUMMARY OF
RESOLUTION/DENOUEMENT P39-46

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
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
Phil is free to go but still waiting for his phone call from
the art school.
Curry and Phil discuss his mother’s illness – Curry is
sympathetic.
Phil and Spanky pity Hector as they believe he’s been
sacked – they put together a collection to present him
with.
Spanky asks Lucille out but she rejects him – ‘I’m booked’
Phil asks Lucille out – she considers it when she thinks it
might be with Phil but rejects it when she hears it’s Hector.
Hector reveals he has been promoted to the design room.
Alan reveals he has a job in the slab room.
Lucille reveals she has a date with Alan.
Alan reveals Phil didn’t get into art school.
Curry comes in with a rush job but Phil refuses to work.
Phil has harsh words with Curry.
Phil leaves after an impassioned speech about class.
DENOUEMENT
 Loose
ends are tied together
 Conflicts and questions are resolved
 The central character has changed
 A sense of closure
WHAT
CONFLICTS AND QUESTIONS HAVE
BEEN RESOLVED?
Conflict/question
Resolution
Has Phil’s rebellion succeeded?
Yes – he is free and leaving the factory.
No, he does not have a job or a place at
art school.
Have Phil’s dreams come true?
No, but he still dreams ‘Giotto used to
be a slab boy.’
Have Hector’s dreams come true?
No, he’s going to the ‘staffie’ with Curry
but he has a surprise promotion.
Has Phil overcome his conflict with
Alan (class)?
No, Alan has triumphed (superficially)
and Phil is still angry about the class
divide.
Has Phil overcome his conflict with
Curry (authority)?
No, he still rebels – leaving with some
final cheeky comments.
Is Phil’s mum safe?
Yes, for the time being, she’s back in
hospital.
Who does Lucille go to the staffie
with?
Alan - but is this who she really
wanted?
ALAN’S ROLE





Dreams versus reality – Alan represents the reality
that life is unfair - some people will have a better
chance to get on.
Rebellion versus conformity – Alan represents
conformity - he mimics the older generation and
doesn’t know about youth culture.
Social inequality/class divisions – Alan represents
the middle/upper classes. His way through life is
easy due to ‘connections’. He has an air of
entitlement.
Age versus youth – Though Alan is young he
represents more old-fashioned values.
Treatment of mental illness in the 1950s – Alan is
sympathetic but has not experience of this. Phil asks
‘what do you know?’
QUESTIONING ALAN’S
ROLE
Alan could be described as the antagonist to
Phil but does he really stand in his way?
 In what way does Alan act as a mirror held
up to Phil’s bad behaviour?
 Why does Phil vent his anger on Alan?
 Why does Lucille pick Alan?
 In what way is Alan a winner?
 In what way is Alan a loser?

CURRY’S ROLE




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Dreams versus reality – Curry represents the
reality of hard work and discipline.
Rebellion versus conformity – Curry is a symbol
of conformity. He hankers after the past
discipline and ethos of his military career. He
acts as a focus for Phil’s rebellion
Social inequality/class divisions – Curry is
working class but respects and looks up to the
upper classes. He fawns over Alan.
Age versus youth – Curry’s age means he is
horrified by youth culture and attitudes.
Treatment of mental illness in the 1950s –
Curry is sympathetic about Phil’s mother – not
judgemental.
JACK’S ROLE
Dreams versus reality – Jack represents
reality ‘some of us have to live in the real
world’
 Rebellion versus conformity – Jack
conforms, follows orders, is a company man.
Phil resents his conformity
 Social inequality/class divisions – Jack is
working class, looks up to his ‘superiors’
 Age versus youth – Jack is young but is
teased about his appearance
 Treatment of mental illness in the 1950s –

LUCILLE’S ROLE
Dreams versus reality – Lucille is the object
of many dreams but does she have dreams
of her own?
 Rebellion versus conformity – Lucille
conforms by dating Alan but does she dream
of rebellion with Phil?
 Social inequality/class divisions – Lucille is
working class but attracted to Alan’s middle
class qualities.
 Age versus youth – Lucille represents youth.
Her love of James Dean suggests a hint of
rebellion.
 Treatment of mental illness in the 1950s –

SADIE’S

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


ROLE
Dreams versus reality – Sadie dreams to save enough in
her bank book to be independent from her husband and
throw him out.
Rebellion versus conformity – Sadie conforms to the
work environment and plays her roll. She chastises
rebellious behaviour in the slab boys.
Social inequality/class divisions – Sadie represents the
working class woman. She works hard but has little to
show for her efforts. She is stoical in the face of
difficulties.
Age versus youth – Sadie represents the older aspects of
society - her disillusionment with love and relationships
conflicts with Lucille’s positive outlook.
Treatment of mental illness in the 1950s – though not
mentally ill, Sadie has faced physical illness and is not
self-pitying.
SPANKY’S ROLE

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
Dreams versus reality – Spanky’s dreams are less
ambitious than Phil’s – he knows his limitations.
Rebellion versus conformity – Spanky rebels up
to a point but knows when to put the work in
and avoid the sack.
Social inequality/class divisions – Spanky is
working class and mocks the upper classes – to
an extent.
Age versus youth – Spanky represents youth and
youth culture.
Treatment of mental illness in the 1950s –
Spanky is sympathetic and protective of Phil
over this situation.
PHIL’S ROLE

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Dreams versus reality – Phil has big dreams that
surpass the walls of the factory.
Rebellion versus conformity – Phil’s disrespect,
lack of work ethic, bullying and anger all stand
for his rebellion.
Social inequality/class divisions – Phil is
conflicted over class. He despises the upper
classes but resents the limitations of the working
class.
Age versus youth – Phil represents youth and
youth culture.
Treatment of mental illness in the 1950s – Phil
is highly resentful of his mother’s treatment.
QUESTIONING PHIL’S
ROLE
Does madness run in Phil’s family or is it
self-destruction?
 Is Phil an admirable character? When and
why do we admire him?
 Is Phil an disagreeable character? When and
why do we find him disagreeable?
 Is Phil justified in his hatred of Alan?
 Is Phil justified in turning against Spanky?
 Would you like to work with Phil? Justify
your reason?

ANSWERING
THE
10
MARK QUESTION
 Candidates
must analyse the given extract
in some detail referring to at least two
examples of dialogue/stage directions.
 They
should then relate the given extract
to at least two other scenes in the play
where we can see evidence of the chosen
theme/relationship. Candidates should
quote/refer to specific points in the play.
PHIL’S
MOTHER’S ESCAPE
QUESTION
10
MARK
 Phil’s
description of his family
circumstances and his hostility to
Alan are used to highlight the
theme of social inequality.
 Discuss
how this theme is
explored in the text as a whole.
10 marks
EXPLORING
INEQUALITY

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
THE THEME OF SOCIAL
Jack/Curry’s differing attitudes to Alan and the slab boys.
Phil’s frequent use of upper class imagery and language to
mock Alan
The contrast in the boy’s perception between the work in
the slab room and the privileged world of university and
art school.
Phil’s mother as an example of how poverty and hardship
can ruin lives.
The fact that Spanky and Phil see the slab room as a dead
end.
The slab boy’s precarious financial situation compared to
Alan’s (Parker pen, different dress code, wallet, dad’s MG).
Alan ‘winning’ in the pursuit of Lucille.
Alan’s rapid appointment to the slab room and wages
compared to the slab boys waiting for a desk.
Sadie’s problems show the negative side of a working class
life.
THE 10
MARK QUESTION
MAY BE ASKED ABOUT
– WHAT
YOU
Social Class
 Mental Illness
 Dreams and escape
 Rebellion
 Generation gap
 Bullying
 Relationship between Phil and Spanky, the
slab boys and Alan, Phil and Curry
 Sympathetic characters
