THE SLAB BOYS
BY
JOHN BYRNE
Higher Scottish Text 2015-2016
•John
Byrne,
born 6th
January 1940.
• Grew up in
Ferguslie Park,
a housing
scheme in
north west
Paisley.
• Left school
prior to sitting
his ‘Highers’
• Started
working as a
‘Slab Boy’ for
A.F Stoddard
carpet
manufacturers
in Elderslie.
•Accepted into
Glasgow School
of Art in 1958.
ABOUT
THE
PLAYWRIGHT
Read An extract from
the foreword to John
Byrne's 'The Slab
Boys'.
The play was set in
1957 and published
in 1997.
http://www.bbc.co.uk
/scotland/education/
hist/employment/car
pets/section_b/page01
.shtml
ABOUT
THE
PLAYWRIGHT
PRIOR KNOWLEDGE & CONTEXT
LEARNING INTENTIONS
To have:
 A basic understanding of working life in the
1950s
 Knowledge of what the job of a ‘slab boy’ entailed.
 A basic understanding of life in a housing scheme
in the 1950s.
 A basic knowledge of fashion tastes in the 1950s.
 An understanding of the treatment of mental
illnesses in 1950s Scotland.
CONTEXT – SCOTTISH CARPET
INDUSTRY

Extract from BBC - Education Scotland
http://www.bbc.co.uk/scotland/education/hist/emplo
yment/carpets/section_a/index.shtml
SLAB BOY
Were the bottom rung of the ladder, the
lowest paid workers.
 However, the work done was essential to
production.
 Laborious work

What did they do?
 Used a marble slab and palette knife
 Took the paint powders
 Ground the paint powder with gumarabic and water to make the paint
 “Dished” these for use
WORKING LIFE
1950s
2016
40-48 hour week
 16 days holiday
 £7.50 weekly wage
 8.7 million in
manufacturing
 ‘job for life’


38 hour week (but
often expected to work
more hours for free to
finish a job)
 4 weeks minimum
 £517 weekly wage
 2.3 million in
manufacturing
 “ ‘Job hopping’ is the
new normal”**
1950S
FASHION
Teddy
boys, winkle pickers,
drainpipes and beetlecrushers???
1950S PAISLEY/HOUSING SCHEMES
What do you think it would have been
like?
 Noisy
 High levels of poverty
 Overcrowded
 Dirty/unhygienic
 Rough
 Smelly
 Cheap
 Lots of people in work
1950S HOUSING SCHEMES/ “FEEGIE”
Stoddard’s Carpet
Factory, Elderslie
Ferguslie Park
“Feegie”
1950S HOUSING SCHEMES/ “FEEGIE”

“Feegie” – Ferguslie Park, Paisley.

Built in stages between the 1920s and 1960s (Post
WWI “Homes for Heroes” scheme)
Like other housing schemes, intended to lower
population congestion and poverty
Outskirts of Paisley
Cut off from the rest of the town by a network of
railway lines and disused embankments
Lack of amenities and transport
By late 60s-early 70s “Feegie” had become a slum
to rival the ones it replaced.
By 1970s areas of the scheme had to be demolished
– the only 20th century built estate where this
happened.






MENTAL ILLNESS





The Victorian era introduced mental asylums,
or psychiatric hospitals.
These were used in the 1950s, though the
government wanted to move towards “Care
in the Community”
There was a “taboo of silence” around mental
illness which did not break down until the
1960s.
Introduction of anti-psychotic medication
Electro shock therapy and sedation were
common treatment methods

St David's Hospital Carmarthen 1956-1958

"I saw the doctor in charge and was foolish enough to tell him about my
voices... I was... moved to a ... ward where patients were given insulin.
Before moving I had read on the walls of the admission ward, notices
about rights of appeal to the local M.P., but decided this would be a
waste of time.

... the lady psychiatrist ... tried very hard to persuade me to sign a
"voluntary form". This seemed a farce to me and I refused."

"my shouting and yelling disturbed the other patients... I was forcibly
stripped (except for a sanitary towel!), fighting and struggling, turned
over and injected in the buttocks. The last I remember was someone
saying "Sit on her". Then I passed out."

"I was given about 4 E.C.T.s and about 4 to 6 weeks insulin. I said I was
not going to physically fight... The (man) doctor said 'Doesn't she think
she ought to feel grateful for having treatment?'"

"I expected psychiatrists to talk to their patients". [See Stafford-Clark
1952] "I hardly ever saw (five times in two years) the man in charge of
me, except passing in the corridor."

Nurses did far more than they were paid to do, taking patients to their
own homes, to the pictures etc. There was much kindness in this
hospital, but it has taken me years to get over it, and the fear of going
back is strong"
READING THE PLAY
OVERVIEW & CHARACTERS
MAIN
CHARACTERS
Phil – the leader of the slab boys. He is a bully, a joker
and a talented artist. He is determined to break free
from his working class life. He is also vulnerable:
“d’you think going off your head’s catching?”
Spanky – Phil’s sidekick. He seems a slightly kinder
character than Phil.
Hector – The butt of Phil and Spanky’s jokes (small
guy)
Alan – the newcomer who is resented because of his
social class. He will be working in the design room,
not the slab room.
MINOR CHARACTERS
Jack – A designer. He clearly looks down on the slab
boys claiming they are lazy and disengaged. He has
bad skin much to the delight of Phil and Spanky.
Mr Curry – The boss of the slab room. An ex-military
man he despairs at the lack of work commitment
from the slab boys.
Sadie – the tea lady. She disapproves of Phil and
Spanky and mothers Hector.
Lucille – the office sweetheart. All of the boys want to
take her to the staff dance.
It is a Friday in 1957. Phil, Spanky and Hector
are young lads working in a Paisley carpet
factory as 'slab boys'. They should be grinding up
powder for the paint slabs, but they prefer to do
as little work as they can and smoke as much as
possible.
Young, sharp and bored, they discuss their
aspirations. Phil dreams of a place at Glasgow
Art School, while Spanky wants to go to America
and become the next Elvis. Hector dreams of
taking Lucille from the mailroom to the staff
dance – which is also on Spanky's agenda.
Emotions are high.
ACT ONE –
THE EXPOSITION
PAGES 1-12
The first 12 pages of the play serve to introduce the
characters; create an understanding of the
relationships between them; introduce some of the
themes of the text.
Make notes under the following headings, with
evidence:
 Initial impressions of each character
 How is the generation gap portrayed?
 How does Alan’s character contrast with the other
slab boys?
 Themes that are emerging
**You will need your notes for next period’s
discussion**
REFERENCES
AND
EXTRACT SOURCES

http://www.bbc.co.uk/scotland/education/hist/employment/carpets/section_b/page01.shtml

http://www.bbc.co.uk/scotland/education/hist/employment/carpets/section_a/index.shtml

http://www.forbes.com/sites/jeannemeister/2012/08/14/job-hopping-is-the-new-normal-formillennials-three-ways-to-prevent-a-human-resource-nightmare/

http://www.bbc.co.uk/education/clips/z749wmn

ukhousing.wikia.com/wiki/Paisley

http://www2.warwick.ac.uk/fac/cross_fac/iatl/reinvention/issues/volume1issue1/paice/
“Slab Boys” Introduction Textual Analysis – Set Scottish Text
1. By referring closely to lines 1-16, show how the play’s setting in time is
established for the audience?
3
2. By referring to two examples of dialogue in this extract, show how the
playwright established the character of Willy Curry.
3
3. Analyse the effect of some of the different registers of language in dialogue
spoken by the characters that are evident in this extract.
4
4. By referring to this extract and elsewhere in the play, discuss
how the theme of bullying is developed in the text.
10
1. By referring closely to lines 1-16, show how the play’s setting in
time is established for the audience?
3
Answer
• Spanky’s hairstyle and costume (“drainpipe trousers,
“Tony Curtis Hairdo”, “crepe soled shoes”) suggests the
‘uniform[ of a 1950s Teddy Boy.
• The use of the word ‘wireless’.
• The reference to ‘Luxemburg’, the pirate radio station.
• The reference to “Terry Dene” singing “A White Sports
Coat”, a popular song of the day. This (originally American)
song suggests the influence of American pop culture on
Britain at the time.
• These examples all serve to (very economically) establish
the action of the play firmly in the 1950s, with the obvious
influence of American culture.
2 By referring to two examples of dialogue in this extract, show how
the playwright established the character of Willy Curry. 3
The key point to make is that Willy Curry is presented almost
as a caricature or stereotype of the older authority figure,
forever bemoaning the behaviour of those younger than him
and always harking back to a better time. This is illustrated
through dialogue such as:
• “If I’d had you chaps out in Burma” marks him as being of
the older generation who served in the war. It suggests he
feels less powerful now and is nostalgic for the army
discipline he could administer in the past.
• “silly duck’s arse haircut”/”bloody contraption”/”that
racket”/ “gadget” suggest his dismissive contempt for
current styles and technology.
• “you’re for the high jump” typical of his cliched
authoritarian threats.
• “Now get on with it…” typical of the orders he gives.
3. Analyse the effect of some of the different registers of language in dialogue
spoken by the characters that are evident in this extract.
4
You could refer to
• The earthy coarseness of lines such as “Dee-oh-raw-ho… the skitters”
for humorous effect which help to establish Phil’s character.
• The use of Scots idiom/dialect to establish the setting of the play and
the working class background of the character.
• “Who belongs to the Juke Box?”
• “…no what you’d cry a spectator sport”
• “could you not’ve brung in”
• “ma maw’s Christmas present”
• Phil and Spanky’s imitation of the language of English public school
stories in the lines: “Bless my bloater, did you catch that, Cherry? A
yuletide cadeau for the squirt’s mater…” for humorous effect but also
as a marker of the theme of class and privilege that is reveal as one of
the play’s concerns.
• Words taken from American popular culture such as “vamoose”
(Western).
4. By referring to this extract and elsewhere in the play, discuss
how the theme of bullying is developed in the text.
10
2 MARKS FOR COMMONALITY – in this case you could refer
to the fact the bullying (of Hector, Alan, Jack ) in the extract
is then developed in the treatment Hector receives at the
hand of Phil and Spanky later in the play.
2 MARKS FOR REFERRING TO THE EXTRACT - you could
discuss the business with the radio and Spanky’s breaking of
the aerial callously dismissing the fact that it was supposed to
be a present for Hector’s “maw”. The suggestion of
“Cufflinks” as a replacement gift for Hector’s mother is
another cruel jibe at Hector’s expense (although also one
designed to raise a laugh from the audience). Phil and
Spanky’s deliberate use of the wrong names for Alan –
“Archie”, “Andy”, “Eamonn”, “Alec” – in order to make him
feel awkward/unwelcome.
ALWAYS COMMENT ON THE EFFECT.
6 MARKS FOR COMMENTS ABOUT HOW OTHER PARTS OF
THE TEXT CONVEY THE THEME OF BULLYING.
EFFECTIVE AND INSIGHTFUL COMMENTS WILL SCORE
4. By referring to this extract and elsewhere in the play, discuss
how the theme of bullying is developed in the text.
10
6 MARKS FOR COMMENTS ABOUT HOW OTHER PARTS OF
THE TEXT CONVEY THE THEME OF BULLYING.
EFFECTIVE AND INSIGHTFUL COMMENTS WILL SCORE
WELL.
You could refer to and comment on Phil and Spanky’s
treatment of Hector and Alan:
“He was going to be a Capucci monk” – they suggest Hector is
Catholic.
Alan’s Parker pen is taken off him.
Phil and Spanky make fun of Hector’s Uncle Bertie.
Phil and Spanky make fun of Hector’s intention of taking
Lucille to the staff dance.
The casual cruelty in their description of Hector “Everything
is wrong with you…”
The cutting of Hector’s ear.
The “new” look created for Hector.
THERE ARE MANY OTHER EPISODES IN THE PLAY YOU
COULD REFER TO.
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





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




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,
FEBRUARY 8, 1931 – SEPTEMBER
30, 1955
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
AND ‘GIANT’.
HE
EDEN’
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 condition.
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
call.
Anti-climax as Phil’s 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
worry the mother ‘money’,
‘mass’ etc.
Sympathy as the mother has
high levels of anxiety and 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












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





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





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





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





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









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
 Whether or not Phil is a likeable/unlikeable
character
