GE 1996-7 Season 3 Episode 14: Complete Script
Note: this is not a transcript, but a working draft of the script, so there may be differences in the aired version.
PAUL: [Opens strolling the boards at
the Old Gob Hall in Ferryland;
empty cavern, this year's
production yet to begin.]
The theatre! This magical
place. Just walking the stage
here at the New Old Gob Hall
in Ferryland makes the hair on
the back of my neck tickle
with anticipation. In the late
afternoon of New Year's Day
1997, hundreds of good folk,
dazed from the previous
evening's excess, will wend
their weary way here, seeking
out grog stand, brazier and
elbow room in the rancid pit
of this venerable hall.
Backstage, the Old Gob Players
will be applying final
greasepaint, and nursing half-
remembered lines.
The violent clamour of hung-
over spectators will become
hubbub... murmur... whisper
... and then the slumbering
footlights will blaze once
more upon the annual
performance of Ned Murrin's
1587 masterpiece, The Tragical
Story of Carlos Duke of
Portugal!
REGULAR GE MUSIC THEME
PAUL: (over music) Today on the
Great Eastern, the story of
that tragical story:
everything you always wanted
to know about the ‘Gee: it's a
special Carlos Duke of
Portugal preview: Containing
the treacherous plots of his
bastard brother; the
hermaphroditic persuasions of
a buxom lord; the pitiefull
murther of numerous natives,
pretenders and curs; the
Duke’s tyrannical
deflowerment; forced
enwinterment in the New Found
Isle, and most deserved pox
acquired therein. All this
for you on the Great Eastern:
Newfoundland’s Cultural
Magazine.
[CARLOS SCENE 1]
CARLOS: Oh great Lady, thou doth make cruel sport of me
For I have come to lay your hand upon mine own
That thou might lay thy claim to Portugal and throne
LADY B: If hands and claims are laid, then why not more?
This laying game I find most lofty sport
Throne speeches are best left for pillow rhymes
CARLOS: Dally thou shouldst not, fair widow, for my purpose
is most urgent and my desire most pure
LADY B: Desire most pure, it cannot be
For then would day be night, foul fair, hot cold
And I grieving lord and not unfettered lady
Come, goochie ‘Gee, we must dine and make merry
For the moose is well-hung, the venison
Young and tender and e’erso succulent
CARLOS: [aside] O torment of loins blue, such base imagining
surely sources from mine own head.
Dive, vile thoughts, think not
of the Bishop, but of Portugal
PAUL: (in empty Old Gob Hall)
A couple of years ago, we did
a feature on the 1995
production of Carlos Duke of
Portugal. It came to our
attention that the Canadian
public was in no way
conversant with this play, one
that many now consider the
first work of North American
literature.
I'm joined by distinguised
Murrin scholar, Dr. Ian
Trumble. In 1963, Dr. Trumble
disovered the lost manuscript
of Carlos Duke of Portugal.
He is Professor of Elizabethan
Drama at the University of
Newfoundland at St. John’s.
Welcome to the Great Eastern.
TRUMBLE: Thanks for having me.
PAUL: (deep intake of breath)
Professor Trumble, I've been a
passionate admirer of this
play ever since you introduced
me to it in "Carlos 101" back
in first year university.
TRUMBLE: I can't say that I remember
you, I’m afraid.
PAUL: Really? I got an A.
TRUMBLE: Yes, didn't they all.
PAUL: Imagine Canada as an
undergraduate: pimply-faced,
distracted, a bit stunned.
How does Carlos, Duke of
Portugal speak to their lives?
TRUMBLE: Well, it’s filled with lust,
revenge, murder, probable
incest, imperial skulduggery,
frantic cross-dressing, quirky
madrigals.
PAUL: Those dizzy Elizabethans.
TRUMBLE: Just as intriguing, of course,
is the mystery of the play
itself.
PAUL: Shakespeare's missing link?
TRUMBLE: Precisely.
PAUL: Recount for us that amazing
piece of detective work that
led you to the lost manuscript
in the British Museum in 1962.
You were a graduate student at
... Cambridge was it?
TRUMBLE: Oxbridge, actually.
PAUL: Oxbridge?
TRUMBLE: On the Lamb.
PAUL: Right, studying under the
great Elizabethan scholar, Rex
Huddler.
TRUMBLE: Yes, the old blighter, and I
don't mind admitting that
things were not going well for
me at the time. I'd chosen
the so-called "7 dark years"
in Shakespeare's life as a
thesis topic.
PAUL: That would be from 1585 when
he leaves Stratford, to 1592,
when he's an established
playwright in London.
TRUMBLE: Quite. Well, dark years being
what they are, I hadn't come
up with much. Deadlines were
looming and I had nothing--
nothing but a wing and a
prayer called Ned Murrin.
PAUL: The author of Carlos.
TRUMBLE: I didn't know that at the
time.
PAUL: Of course.
TRUMBLE: Right.
PAUL: Yes.
TRUMBLE: Of course.
PAUL: So.
TRUMBLE: Above a cabaret in Eastcheap,
behind a peep show, in the
shop of a rather unusual book
dealer, I stumbled upon a rare
first edition of the diary of
one Arthur Lyndon, a dubious
Irish noblemen who had
survived the first settlement
of Lord Baltimore here in
Ferryland over the cruel
winter of 1587.
PAUL: Now, this booksho--
TRUMBLE: I'd been toying with the idea-
-pooh-poohed out of hand by
Huddler and his protegees--
that young Will might possibly
have sought his fortune by
shipping off to one of the
Utopian settlements in North
America – “O Brave New World”,
that sort of thing.
PAUL: Intriguing hypothesis, but--
TRUMBLE: Precisely, so you can imagine
my thoughts as I read Sir
Arthur's account of the New
Year's Day feast in Lord
Baltimore's Great Hall. The
words are etched in my mind to
this day: "Our spirits were
low from the death of all
Nature, but the sack-suckling
stablemaster, Ned Murrin had
put together a not unseeme
farce on the 'Gee. I drank
his health and asked where he
had got up such art, but
Murrin said he'd not tell me
lest I shake his spear."
PAUL: Wow.
TRUMBLE: Shake his spear ... shake
spear ... Shakespeare? Mmm?
PAUL: Yes, yes, brilliant.
TRUMBLE: Yes. Well, my blood was up,
and I tore over to the BM with
the scent in my nose. By god,
I'd have that play or see
myself hanged.
PAUL: And?
TRUMBLE: Nothing.
PAUL: Nothing?
TRUMBLE: Nothing.
PAUL: Nothing?
TRUMBLE: Nothing, nothing, nothing,
Paul. No, nothing in Lyndon's
papers; nothing for Ned
Murrin; not even a mention in
the Baltimore papers. My life
flashed before me. Drummed
out of Oxbridge, forever
recalled in ridicule by
Elizabethan scholars, a life
in journalism or some such
petty intellectual trade.
PAUL: And then?
TRUMBLE: I began to look through the
Museum card catalogue,
starting with "A". Over 3
million cards stood between me
and my prey, but finally,
under the letter "U", my eyes
so bleary I could hardly read
it: "Unseeme Farces of 1587".
My heart froze as I read down
the contents, and there it
was: "The Lady is a Lord: the
Storie of the Royal Portagee,
Carlos and his many Mates, by
Edward Murrin, Esq." With
trembling hands, I requested
the ancient document, hoping
upon desperate hope that it
was still there.
PAUL: Wow.
TRUMBLE: Finally a worm-eaten bundle
was dumped before me. I blew
away the powder of centuries,
and breathed the rare air of a
New World...
[CARLOS SCENE 2:]
CARLOS: In this winter of misspent time and seed
I have lo’ered myself to most base depths
And spyed my soul’s foul bubbling bowels
While cursing nature for her vile exuberance
Maker of tempests, mother of our sorry separation
From hearth and noble maids and thronely heirs.
O wretched land of savages and ague
Tis my bastard brother, the Black Prince
Who shouldst suffer this, whilst I take wine
and cherry in the warm Algarve.
JUAN: Master! Good Duke! Lord Baltimore is dead!
CARLOS: I told you never to interrupt me while I’m
soliloquizing.
JUAN: But, Master, the English lord has died!
CARLOS: I don’t think you understand what I’m trying to
say to you Juan. Let me explain.
JUAN: Aaarrrrrrgh........
TRUMBLE: Marvelous. Dean is simply
incomparable.
PAUL: You’re listening to the Great
Eastern on the Broadcasting
Corporation of Newfoundland.
I’m speaking with Elizabethan
scholar, Ian Trumble, and what
we’ve just heard was, of
course, Philip Dean from
perhaps the definitive 1973
production of Carlos Duke of
Portugal.
TRUMBLE: Pity we can’t hear the whole
performance, really.
PAUL: You know, we approached the
CBC about broadcasting this
year’s ‘Gee in its entirety to
bring Canadians what, in a
sense, is their original drama
-- you know, since we thought
we had an “in” there now --
but they, well, you know, with
the... and then, the... and I
called … and then we tried
.... anyway, it didn’t happen.
TRUMBLE: I see.
PAUL: Perhaps a quick plot summary
for the listener?
TRUMBLE: I think I’ll lay this one in
your lap, Paul: how would you
explain the story?
PAUL: Hoo, boy, you’ve put me on the
spot there.
TRUMBLE: Well, after all, you did get
an “A”.
PAUL: Let’s see, well, Carlos, heir
to the Portuguese throne, on a
voyage of exploration in his
ship, the Gran Madre, is blown
off course and runs aground
just down the shore from Lord
Baltimore’s plantation at
Ferryland. Carlos must winter
there, seized by the fear
that, in his absence, his
bastard half-brother, Black
Prince Romario of the Algarve,
will kill their father, King
Esteban the Lame, and usurp
Carlos rightful succession.
The forlorn Duke falls
increasingly under the spell
of Lady Baltimore, second
cousin to Queen Elizabeth.
The sudden death of Lord
Baltimore sets Carlos to dream
of a union of English and
Portuguese royal blood ... and
assorted other bodily
fluids... and to woo the merry
widow, though he soon finds
out that re: Lady Baltimore,
nature is not always what it
seems. Or is it?
TRUMBLE: That takes care of Act I,
anyway.
PAUL: How closely does the ‘Gee we
know and love today resemble
the original manuscript that
you found that bleak winter
morning in ‘61?
TRUMBLE: Ah.
PAUL: Because, the restoration
process is the subject of a
certain amount of controversy,
am I right?
TRUMBLE: You are.
PAUL: You've been criticized for the
way you handled both
manuscripts.
TRUMBLE: I have.
PAUL: You've been called
irresponsible.
TRUMBLE: Yes.
PAUL: A crank.
TRUMBLE: Yes.
PAUL: A liar.
TRUMBLE: Hm.
PAUL: A cheat.
TRUMBLE: True.
PAUL: A charlatan.
TRUMBLE: Oh, they've thrown the lot at
me.
PAUL: Why, do you think?
TRUMBLE: In a word: jealousy. Hardly
surprising really.
PAUL: Well, K. Anthony Kaplan at
UBC, for example, claims that
you stole the original
manuscript from the British
Museum, and replaced a cycle
of pornographic limericks with
a bad Shakespearian rip-off
written by you and your then
lover, the failed London
playwright, Albert Silvester,
who later confessed as much in
a suicide note.
TRUMBLE: Ah. Tony. Tony, Tony, Tony,
Tony, Tony, poor lad. I don't
like talking about this, you
know, in public, but Tony
Kaplan was a struggling young
fellow graduate student,
rather lacking in imagination,
emotionally troubled, with a
drug problem, overawed by my
... vision... shall we say,
smitten also, I might add, by
Kinky Silvester, who was never
an intimate acquaintance of
mine, though we did frequent
the same West End lavatories
for a time--and desperately
jealous, Tony was, of my great
find, one for which I will go
down in history, while poor,
dear Tony will forever publish
articles in the Journal of
Theatrical Accessories on the
average size of the
Elizabethan codpiece. A bit
seedy, but there you go.
PAUL: What about the play itself?
Does it have artistic merit,
or is it a simple curiosity?
an obscure Elizabethan
artifact?
TRUMBLE: One might ask, Paul, was
Carlos Duke of Portugal
written by the young
Shakespeare himself?
PAUL: One might.
TRUMBLE: I think the historical
evidence will never be found
... either way; however, the
literary evidence--the textual
evidence-- overwhelmingly
supports my contention that
this is the first work of
William Shakespeare. Alas, my
lifelong struggle to bring the
play into the canon has been
repeatedly thwarted by the
narrow minded plotting of the
Shakespearian establishment.
PAUL: Why the resistance, do you
think?
TRUMBLE: Well, you know, much of the
play is not very... how
should I say it? not very...
PAUL: Good.
TRUMBLE: Yes, not very good, and that I
think takes away some of the
“will”, shall we say, to
believe that this is
Shakespeare's first go. But
one might well point out, for
example, that A Comedy of
Errors is even more dreadful
than Carlos, and much less
ambitious.
PAUL: Other theories?
TRUMBLE: Some have ventured that Murrin
was a budding artist yet
greater than Shakespeare, who
died untimely young.
PAUL: I've often thought about that
myself. I mean I've never
come across anything in
Shakespeare nearly as complex
as the double iambic
septameter used so frequently
in Carlos...
TRUMBLE: Oh yes, the mastery of the
metre is extraordinary: in one
of the classic exchanges, III-
vii, we have triple iambic
septameter and dythyrambic
hydrometer, interwoven with
islamic pentameter. [break for
possible edit]
PAUL: Yes, now how does that go
again?
TRUMBLE: Well it’s kind of a... da da/
da da/ da da/ da da/ da-da-da-
daaa, dit-dit-dit, da-da-da,
doo-doo-doo, da-da-da, da doo
de de dah, dahh... and then
you come in with:
PAUL: Oh, right, I’m getting it. da
deska dan de desk a dan, daka
daka din, duna taka, duna
taka..... (etc. a la Shakti)
TRUMBLE: That’s quite good, Paul. Of
course, with words it gets a
bit more complicated.
[ensure break for possible edit]
PAUL: Let’s go, then, to one example
of that wild Elizabethan
metric experimentation. From
the much-lauded 1987
production, this is Evan
Newhook as Carlos, Penny
Maloney as Mistress
Conningtore, and Christophe
Sullivan as the beleaguered
and much abusèd Juan. Carlos
has innocently consumed
hallucinogenic mushrooms, and
runs rampant in a brothel.
[CARLOS SCENE 3]
MISTRESS: Excuse, excuse, my Duke of Lisbon, excuse, excuse
The ‘Gee erects more wonders than a man,
Daring the opposite to every posture:
His harlot snores, and all on foot he spies
Seeking for a lady loose in the throes of his lust
Excuse, fair ‘Gee, or else the throne is lost!
CARLOS: A whore! A whore! My kingdom for a whore!
MISTRESS: Withdraw, my lord, I’ll help you to a whore.
JUAN: My lord, what dreadful turn has left thee in such state?
CARLOS: Fool, imbecile, dost thou not see that I Carlos,
the dauphin ‘Gee, am spurned and left without a mate.
Acch Juan, one wanton wand and what was wagered?
A Kingdom? Portugal?
The Crown will rest not on my noggin but Ring
Romarios regal conk instead.
JUAN: Algarve within the royal house! Will ermine swab a salt
drenched brow? A fish stink stage set with gilt?
And the ‘Gee mocked as mere monger, then I
Shall be naught more than offal:
Slop, tripe, entrails, viscera, guts,
Chaff to your sodden wheat
CARLOS: Shut up, wretch, or I’ll have thee wear
Said guts for garters and in my state
My royal appetite aroused may yet become
JUAN: The shrooms, my lord, have left thee without sense
We must away these hideous, ginsoaked barroom
queens
CARLOS: Thou wouldst take me from this chocalate box with soft centres yet untasted?
Take not me, don Juan; take this (whacking him with sword), and this, and a bit
o’ this, and some o’ that; now dance, slave, dance! yes, prance a bit for sport and merriment...
JUAN: Ah, ah, ah, my good Duke, no! ah, ah, ah, oh cursed ‘shrooms, oh wretched fruit of Hades’
swamp, to Lady Baltimore’s I must away, if she’ll hear this woeful tale,
she may be aroused to offer
audience to my poor master (fades on Juan taking a whacking)
TRUMBLE: Surely one of the most unlucky
characters in all Newfoundland
theatre, Juan.
PAUL: And that’s saying something.
Doesn’t have the luck of a
sculpin does he, Juan?
TRUMBLE: No, he meets with a ...
PAUL: Horrible...
TRUMBLE: Ghastly...
PAUL: Yes, yes...
TRUMBLE: I certainly wouldn’t want my
end to be ...
PAUL: No.. no..
TRUMBLE: Dreadful..
PAUL: Terrible, and painful, too.
TRUMBLE: Mmm.
PAUL: Mmmmn. So, after your
controversial Oxbridge
triumph, you came here.
TRUMBLE: Yes. In 1965, thesis under
one arm, copy of Carlos under
the other, and set out to
bring the play back to life.
PAUL: What was the reaction of
people over here to your
stupendous news?
TRUMBLE: Amongst the colonial
neanderthals then masquerading
as university professors,
contempt; amongst the good
people of Ferryland, a great
deal of less than generous
mirth.
PAUL: How times have changed, heh?
Your statue in the municipal
parking lot now, and of course
"Trumble's Fish & Chips".
TRUMBLE: Yes, extraordinary how 2
million in arts funding can
make a town friendly, isn't
it?
PAUL: It would make me friendly,
that's for sure.
TRUMBLE: Just how friendly would it
make you, Paul?
PAUL: Sorry?
TRUMBLE: Of course, that was in the
good old days of "1967 let's
blow the centennial wad and
wipe it up with the left- over
bills".
PAUL: Boy, I remember those days. I
did acid with my scout leader
at Expo. Talk about Man and
His World.
TRUMBLE: Yes, a profligate country for
one fleeting moment, Canada
was.
PAUL: And this is when you began the
great Carlos summer festival.
IAN: Yes.
PAUL: A total failure.
IAN: Yes. Though in some ways an
artistic triumph. Alas, the
audience for Dean’s
definitive performance was
made up of only twenty paying
customers, many of them
members of Dean’s own family.
PAUL: And then, the arrival of the
young stage genius, Christophe
Sullivan.
IAN: If you say so.
PAUL: This was an experimental phase
that really made Carlos
popular.
IAN: Yes, well, Sullivan had
certain connections, shall we
say, with senior political
figures, and he was able to
wrest control of Carlos and
move the company out here to
Ferryland, and build the New
Old Gob.
PAUL: This was also when the play
began to be performed again on
New Year’s Day, mirroring the
original 1587 production.
TRUMBLE: Yes, what a stroke of
marketing genius!
PAUL: Still, the success speaks for
itself. Do you think the play
became popular due to its
“modernization. I mean, the
disco version was the first
smash hit. Then they did a
punk version.
IAN: Yes.
PAUL: Glam.
Ian: Gay.
PAUL: Bi
IAN: Inde.
PAUL: Retro.
IAN: Beat.
PAUL: Free.
IAN: Grunge.
PAUL: What do you think of the
feminist version --the
“counter-Carlos” -- that’s
mounted now here six days
later on Twelfth Night?
IAN: Ha. “Carlota”? Yes, well,
inevitable, I suppose, but
there simply is no evidence
the ‘Gee was staged by the
women of the colony as a
multiple transgender inversion
of Elizabethan patriarchal
codes that reappropriated
Twelfth Night as a pagan
sterility ritual.
PAUL: Perhaps not, but I mean the
play clearly lends itself to
some interesting explorations
of gender boundaries.
TRUMBLE: Yes, but that’s Elizabethan
drama, not modern feminism.
It was just men and boys,
Paul, you’ve got to remember.
PAUL: Well, anyway, let’s listen to
the crucial Scene 4, Act 5,
when Carlos returns to the
Gran Madre after his audience
with Lady Baltimore, deeply
troubled by his shocking
discovery of the Lady’s
imposture. Once again, Ewan
Newhook as Carlos, and
Christophe Sullivan as Juan.
[CARLOS SCENE 4]
JUAN: Mark this, a beast doth come
Hunched, its gams bent, its mane a mop
Tis not Brit nor Bay, if a man
what goes there?
CARLOS: A fool, nay a tool among men.
JUAN: Halt, festered lump, lest I dash out your sorry brains
CARLOS: Tis I, good Juan, your master
JUAN: Ah, good sir, a master and well worn
The hymen of his love is torn
Lady Baltimore sayest yea?
CARLOS: A lady? Nay. Nor man.
JUAN: Me thinks my master is gaming
Playing puzzles with naming
If not lady, then lord.
CARLOS: Or skirt with sword
That did prick me when I did touch it.
Oh, Juan! Upon my most gentle caress
I did rouse a man beneath a dress.
JUAN: You riddle me, dull Master
CARLOS: Dost thou make me spell it?
Against all nature, fool, agree
That scent and shape do not make she
Lady Baltimore is he!
JUAN: Sir, what?
CARLOS: This New founde Land doth stir ungodly beast
Thoughts weird flame men’s brains after wine and feast
Juan look, e’en now the sea doth freeze and grind
Us here against these withered milkless dugs.
Woudlst that I to my eastern home return
Let me kiss off Cathrine and good Mary
Where hags Dao sail and God forewarns the male
Where man is man and woman too is true
False capes and painted lips hide nothing new.
But would I harken there to loins like mine?
In Lisbon’s harbor safe and ‘mongst my own?
What would my own be, would it be young men?
` And you sweet Juan, the servant good and true,
Me thinks of love: odds bodkins, now me thinks of you.
Oh! Free me from this place of fright and noise.
O New founde yet cursed land
O vile isle...
TRUMBLE: “I must from this enchanting queen
break off.”
PAUL: I’ll say. You know, I used to
be a big fan of
experimentation, but I really
like the recent return to a
more classical Elizabethan
style. We should also say,
for the record, that Professor
Trumble and Christophe
Sullivan have patched up their
differences: the difficulties,
bruised egos, the civil
proceedings are part of the
past-- in fact, am I right,
Professor Trumble, that you
yourself have a small but
pivotal role in this year’s
production?
TRUMBLE: I wouldn’t call Lady Baltimore
such a small role, though it
is rather “pivotal”, isn’t it?
PAUL: Have you ever played Carlos?
TRUMBLE: Not even I, the very
discoverer of the play, its
first interpreter, and a not
unaccomplished creeper of the
boards -- not even I have
“done the ‘Gee”.
PAUL: But you’ve directed people
through the role. What does
it take?
TRUMBLE: “Doing the Gee” requires
complete devotion, utter self-
abasement, the cultivation of
a sense of despair, and, well,
a great ability to hold
liquor. It is the pinnacle of
any thespian’s career, an
insurpassable moment, and that
explains why, so often, those
who play Carlos find it
impossible to work again
afterwards.
PAUL: Let’s go to the final scene of
this great work, the
culmination of eleven acts and
six to seven hours of
torturous shenanigans. Here
now, the scene known to
theatre lovers as, “Farewell,
Ferryland, farewell.” Again
from the 1987 performance
starring Ewan Newhook and
Christophe Sullivan.
[CARLOS SCENE 5]
CARLOS: Juan, fine fellow, are you not my man?
JUAN: ‘Tis true you are my master.
CARLOS: Then listen to this, my last command.
JUAN: Am I to be free, sirrah?
CARLOS: Thou hast been a most devoted and servile flunky
Taking on drudgery so that I might find pleasures
Laying thy pure heart between sword and hollow head
‘Twixt hail of stone so that I might flee
JUAN: Am I to be free, sir?
CARLOS: Quiet, cur, that I might speak.
This night get you to the lady--nay lord’s-- abode and there
wilst making ill-sighted under night’s clock
drop a lattern midst the hay
so as to make gentle lambence a garish blaze
JUAN: The town Master, will be razed
CARLOS: And the torment there thus made smoke which upon these
ceaseless howling gales shall disperse
like foul rumour too oft whispered is to nonsense made
JUAN: Ayyyee, Master methinks method in this madness
SFX: Head smack
CARLOS: Ye thinks too much, fool!
JUAN: Am I dull sir or in reason too fine?
Would not in Lisbon courtiers tongues wag
In cruel mimicry of thine own as it played upon the stately
staff in Baltimore’s .... house.
CARLOS: Were that I could deceive thee wise Juan
Tis true
Gossip pointed does between this eager seat (slaps his arse)
and the throne intrude
JUAN: And in the muting of this heresay
does the road to freedom therein lay?
Is match-mischief the price of thy servant’s ease?
CARLOS: Tis tough slave.
JUAN: Then exeunt I
CARLOS: Farewell Juan.
JUAN: “Farewell,” Sir?
CARLOS: Ahhh ... see you in a bit.
SFX: Juan’s departing footsteps
CARLOS: (shouts) Hail mate! Set loose the tethers that bind us to this
vile isle, hoist the sails that we may in haste to Portugal make.
MATE: But what of Juan?
CARLOS: Alas, he is free.
MATE: The town sir, like brittle tinder, flares
CARLOS: And given breath by storm does now become a furnace.
SFX: Screams.
CARLOS: Summon the minstrel, sweet music may mask mewl
and so cleanse the conscience of the king.
MINSTREL: I loved the colourful clothes she wore
and the way the sunlight played upon her hair.
Smoke on the water, a fire in the sky
etc.
PAUL: I've been speaking with the
world's foremost Murrin
scholar, Professor Ian Trumble
of the UNSJ. Professor
Trumble is author of Carlos,
Duke of Desire: Gender, Cross-
Dressing and the Politics of
Arts Funding in Early
Newfoundland Theatre,
published by UNSJ Press.
Thank you so much for this.
TRUMBLE: Our revels now are ended.
It’s been my pleasure. Happy
New Year, and see you at the
show.
PAUL: Wouldn’t miss it. We’ll leave
you now with the sounds of the
traditional razing of the set
that takes place each year as
Ferryland burns, Carlos, Duke
of Portugal, comes to a close,
and the Old Gob Players run
for their lives. Until next
year then, Happy New Year to
you, Professor Trumble, and to
all our listeners and fans
across Newfoundland, Canada
and Iceland who've made this
past year such a memorable
one.
RETURN TO MAYHEM AND OUT ON
THEME, AS MAYHEM FADES
UNDERNEATH
Page 1 of 1 CARLOS, DUKE OF PORTUGAL, The New Year’s Special