The Captains and the Kings: A Play in Two Acts

By Mark Barkley

“If only beauty were a weapon, then people would take it more seriously.” How well do we really know our families? How long will we leave things unsaid that should be aired? It was a time of change.
The time; 1968. The place; the O’Neill’s Guest House in Kempsey, New South Wales. The patriarch of the family, David is suffering from a terminal illness. His wife Caitlin has organized a family gathering for what will be their final Father’s day together. While Caitlin faces an unsure future, David is busy dealing with the ghosts of his past. For years he has distanced his daughters and now he has the chance to gain redemption.
“The Captains and The Kings” was shortlisted in the top seven of over ninety entries in the 1992 inaugural George Landen Dann Award. Its world premiere was presented by the Centenary Theatre Group Inc. in association with The Edge Theatre Company at Chelmer Hall, Brisbane, on 11 November, 1995.
Interview with the Author
Q - First question. Why should I read a stage play? Isn’t that boring?
A – I think a good story is a good story. People have been reading Ibsen, Chekhov and Shakespeare for ages primarily because they are explosive stories. And with this particular play, I sat at the back of the theatre each night watching the people. The story engaged with them.
At one performance, it came to a particularly intense part of the play in the second act and a woman in front of me reached into her bag and pulled out a tissue and started dabbing her eyes. For me, it was so satisfying to have reached another person on such an emotional level.
Q - What inspired you to write The Captains and The Kings?
A – Like my other plays, Goodbye Melaleuca, Sylvia Terry, A Kind of Belgium and even Spades, I am fascinated by the dynamics within the family. This work is primarily about fathers and in particular a father and his daughters. It involves drama, humour, conflict, betrayal, guilt and ultimately love.
With this play, I just got the line in my head, “This is 1968. There’s unrest and upheaval on five continents. We live within a hair’s breadth of having this planet reduced to ash. Yet you and I can sit here in this quiet little town on the east coast of Australia, and talk about something as insignificant as the beauty of a rose. If only beauty were a weapon, then people would take it more seriously.”
So I just jumped in my car and went on a travelling adventure south into northern New South Wales looking for a town and arrived at Kempsey and it just felt right. I spent a day in the library there reading 1968 newspapers, then came back and wrote the play.
Q - So, why should readers give this book a try?
A – I’ve had people read it before they decided to stage it and say, “This really made me cry.” Then when I saw the staging, the audience responded with laughing and crying. If you want to be engaged on an emotional level, I think this will work for you.

• Language: English
• Publisher: Publishdrive
• Release date: Jan 26, 2018

Book preview

Acts)

CAST LIST

David O’Neill — (49 years)

Catherine O’Neill — (David’s daughter : 26 years)

Peter Schelling — (34 years)

Caitlin O’Neill — (David’s Wife : 47 years)

Dawn Edwards — (David’s daughter : Therese’s twin : 20 years)

Therese Thomas — (David’s daughter : 20 years)

Cliff Thomas — (Therese’s husband : 23 years)

The Captains and The Kings was first presented by the Centenary Theatre Group Inc. in association with The Edge Theatre Company at Chelmer Hall, Brisbane, on 11 November, 1995. The cast was as follows:

David O’Neill — Rob Beckwith

Catherine O’Neill — Sandra Harman

Peter Schelling — Peter Moore

Caitlin O’Neill — Penny Murphy

Dawn Edwards — Juliet Toomer

Therese Thomas — Bernadette Alizart

Cliff Thomas — Jeremy McKay

Director — Ron Kelly

Stage Manager — Ben McKay

Lighting — Helen Flint

Sound — Teresa Tweeddale

(Author’s Note: For the staging of this play I wish to acknowledge the contribution and support of Jeanette and Stephen Scott. But most of all this production would not have been possible without the energy, the vision, the courage and the genius of Ron Kelly)

SEQUENCE OF SCENES

All scenes take place in the reception hall of The Macleay River Guest House, Kempsey – except Act II Scene V which occurs somewhere in Sydney.

The year is 1968.

ACT I

Scene I — Friday, August 30 2.00pm

Scene II — Friday, August 30 3.00pm

Scene III — Friday, August 30 4.30pm

Scene IV — Saturday, August 31 10.00am

Scene V — Saturday, August 31 11.00am

Scene VI — Saturday, August 31 4.00pm

Scene VII — Saturday, August 31 7.00pm

ACT II

Scene I — Sunday, September 1 2.00pm

Scene II — Sunday, September 1 6.00pm

Scene III — Monday, September 2 1.00am

Scene IV — Monday, September 2 8.00am

Scene V — A few weeks later

Scene VI — A few days later

ACT ONE

Scene One

(CATHERINE enters from the main entrance and sets down her suitcase.)

CATHERINE

Hello! Mum! Dad! Anybody home? (Rings desk bell) Hello!

CAITLIN

(Enters from kitchen) Where the hell have you been?

CATHERINE

I..

CAITLIN

We.. I’ve been up half the night worried sick about you Catherine. You were supposed to be here last night.

CATHERINE

Well.

CAITLIN

Can’t you use a telephone?

CATHERINE

I’m not too bad thanks very much Mum. A little stiff in the shoulder from changing a tyre, and..

CAITLIN

But are you alright?

CATHERINE

Like I said, the car was acting up so I thought I’d stop at Bulahdelah for the night. Sorry I didn’t ring.

CAITLIN

Yes, well we would have liked to have known.

CATHERINE

I’m sorry. Look Mum, I’m twenty-eight. I can look after myself.

CAITLIN

Hmm. Famous last words, I can look after myself. It’s a sick world out there Catherine.

CATHERINE

Yes Mum, it’s good of you to remind me. Anyway how have you been?

CAITLIN

Fine.

CATHERINE

And how’s Dad?

CAITLIN

Not bad.

CATHERINE

Seriously?

CAITLIN

He’s been better I suppose.

CATHERINE

Where is he?

CAITLIN

Out in the garage giving the car a grease and oil change.

CATHERINE

Should he be doing that in his condition?

CAITLIN

His condition? He’s not pregnant.

CATHERINE

What I mean is, shouldn’t he be resting?

CAITLIN

Your father will do what he pleases. He always has done, always will. You should know that.

CATHERINE

I never thought I’d hear you say that. I always thought you wore the trousers in our family.

CAITLIN

What? Listen my girl, your father has been very good to me. Good to us all. He’s always let me do exactly what I wanted to do. Just because he’s never argued with anything I’ve said doesn’t mean he doesn’t wear the trousers. It just means he’s got impeccable taste, that’s all. I only regret that he wasn’t a bit tougher on you.

CATHERINE

Me?

CAITLIN

Yes. Look at you. You’re twenty-eight and you’re still single. I mean it’s unnatural.

CATHERINE

Thanks a lot.

CAITLIN

I don’t think it’s entirely your fault, mind you. Your father’s got a lot to answer for.

CATHERINE

Dad?

CAITLIN

Yes. I don’t think I’ve ever told you this. The times he speaks of most fondly were his little chess games with you at the farm.

You’d both sit in the garden, you with your pig-tails and him with his straw hat, and you always beat the pants off him.

He used to be in awe of you. He’d came to me and say, Caitlin, that girl can do what she wants.

Oh look, here’s me rabbiting on. The kettle’s just boiled. Would you like a cuppa?

CATHERINE

I’d die for one. Mum, you never told me he was in awe of me.

CAITLIN

Well, why swell your head any more. Still white with one sugar?

CATHERINE

Please. So how is Dad?

CAITLIN

(From kitchen) Why haven’t you found yourself a man yet?

CATHERINE

A man?

CAITLIN

You don’t want to leave your run too late.

CATHERINE

Mum, this is 1968. Women have got more choices these days. I mean, hell we’ve got the pill haven’t we?

CAITLIN

What did you say?

CATHERINE

I said, we’ve got more choices.

CAITLIN

(Emerging from kitchen with the tea tray) I thought you said something