In the Summer Sequence Willy Russell’s three chief supporters are shown to turn up from the ages of 15 to 18. therefore going grownups throughout the vocal. This means that the sequence acts as a watershed in the regard that it marks a major turning point in the drama. This is shown through the ambiance that Russell creates. which goes from reasonably positive. hopeful tone to a more misanthropic and despairing one over the continuance of the sequence. Russell uses several techniques to make these ambiances throughout.
In the gap of the Summer Sequence the ambiance is clearly a happy 1. which is shown by Russell by utilizing words like “young. free and innocent” to depict the characters. In this subdivision. the word “innocent” is used twice. This repeat emphasises their young person and their naivete. “You haven’t got a care” . suggests Russell is seeking to make an image of the characters as being without concern. wholly free of concern so it reinforces the absolute felicity of the characters.
Another adjective that occurs subsequently in the vocal is “immortal” which at this phase of the drama creates an ambiance of exhilaration and spontaneousness because the kids can’t conceive of an terminal to their current lives. A technique that Russell uses starts to utilize here is imagery. “street’s turned to paradise” . the word “paradise” conveying to mind an thought of secure and complete felicity. which is how he describes them in this poetry. Another technique is personification. “radio’s singing dreams” . giving the wireless the ability to make something that brings felicity or joy.
This line besides works the first clip the motive of dreams appears. one that recurs throughout the sequence. The following noteworthy portion of the sequence is wholly stage waies. and shows the characters at a fairground. In this portion of the sequence the most obvious technique is boding and motives originating. In it. Linda is merely ignored by the storyteller. who is running the stall. when giving the gun to them. but the male childs both insist Linda fires it. which is reminiscent of the beginning of the drama when Linda takes the air gun from Mickey and beats him at firing at tins.
Linda besides used to command their societal state of affairss. “let’s throw some rocks through them windows” . This scene is besides really reliant on the gun motive that runs through the full drama which creates a darker and more sinister atmosphere. and that suggests a degree of force. The fairground scene is besides reflected in the musical pick. which is fairground-like music that plays to the melody of ‘Tell me it’s non true’ . the vocal Mrs Johnstone sings at the really beginning of the drama while her two boies lie dead on the phase.
So. once more this ties in with the audiences’ consciousness of the boys’ tragic destiny. therefore. making a prefiguration ambiance and suggests impending calamity. This links with the gun motive. as together these subjects create a sense of impending force and decease. The last line of this subdivision of phase waies is “Linda is caught in the center. the game freezes” . This creates a dark ambiance as throughout the drama Linda is ever seen to be caught in between the two male childs. but so far. it has ne’er ended severely. In this case. nevertheless. it foreshadows the destinies of all three characters.
The usage of the word “game” . mentioning to a game of piggy-in-the-middle. could propose that the context of the drama when Linda gets caught up in her ain felicity which finally leads to the tragic destiny of the twins. Overall. this subdivision is of a darker tone than the last. but this ambiance is created through the subtext. so the audience may non be to the full cognizant of why they feel this manner about the ambiance. This is featured through the presence of the storyteller. who throughout the drama appears on phase to mean or motivate something negative to go on.
He hands them the gun. and prompts the game of piggy-in-the-middle that Linda gets caught between. The following subdivision uses metaphors to make a dark. impending atmosphere. that is more openly sinister that the old subdivision. Russell refers to the characters are “Lambs in spring” . which suggests non merely their artlessness and naivete. but an inevitable destiny. specifically one that is forced upon them. non of their ain making. This explicitly refers to the brothers’ destiny in a manner in which the last subdivision didn’t. so the tone is far more scarred by the contingency of their deceases.
This day of the month is besides referenced when Russell extends the metaphor. “fate the ulterior seasons bring” . which causes the audience to retrieve the scene at the really beginning of the drama. forestalling them from being drawn into the initial felicity of the three adolescents in this sequence. Again. it refers to Linda being caught in the center of the brace. boding their concluding statement. It besides refers to Linda paying a “price” . a subject that was ab initio shown in the vocal ‘Easy Terms’ . Sung by Mrs Johnstone. and in both instances foreshadows the monetary value they’ll have to pay for their engagement in the twins’ lives.
The music becomes far more serious and sinister. a insistent tense note with no existent tune. In the following subdivision a repeating subject is shown with the mentions to clip. This creates a sad. melancholiac atmosphere. as the audience is cognizant of the character’s important deficiency of clip together. but the characters are non. so their happy unknowingness and this dramatic sarcasm is somewhat affecting. Again. destiny is reference by the storyteller “care non for what’s at the terminal of the day” . once more coercing the audience to retrieve the destiny of the male childs. this enhances the melancholic temper of the subdivision.
“What is to come. what might hold been” . mentions both the contingencies of the drama. whilst besides proposing they could hold been happy. that it could hold they could hold been happier. dejecting the temper even further. It is made poignant by the characters’ blissful ignorance. “life has no ending…Talk off the night” . which ties in with the earlier mentions of immorality. Again. this dramatic sarcasm. where the audience know that the boys’ lives do hold terminations that are fast approaching. about makes the audience beg them to non blow their clip speaking “away the night” .
“Share your last cigarette” besides ties into the earlier scene where Mickey and Eddie portion things. such as Sweets and subsequently coffin nails. they promise to portion things in their blood brothers treaty ; but they can non portion Linda. Arguably the ruin of both brothers. significance that this watershed’s atmosphere is entirely dark. In the following subdivision it is all phase waies. but Russell uses prefiguration and the usage of the narrator’s presence to make a apparently happy ambiance that still foreshadows calamity. In it. the trip are taking exposures of each other at the beach.
In the 1 between Eddie and Linda. Eddie down on one articulatio genus and showing fondnesss by snoging her manus. Throughout the drama. Linda has shaped Eddie’s personality and actions. such as haling him to throw stones. and Eddie has appeared to wish her from the really first and so this foreshadows the kineticss of their ulterior relationship. Mickey and Linda’s exposure does the same. as Mickey “pulls a deformed face” . and Linda chastising him for it. which foreshadows Mickey’s subsequently dependence on medicine. and Linda’s attempts to assist him acquire off them. This prefiguration of tragic events. in a manner that appears guiltless creates an eerie. confusing atmosphere.
As there are no words. it can’t openly mention what’s to come. but uses what the characters think is a harmless and happy minute. This is compounded by the musical pick. which is once more ‘Tell me it’s non true’ . as fairground music. Again. this foreshadows the concluding scene. making a premonition atmosphere without expressed mention as to why it appears that manner. In this scene we see the characters taking images of them at the beach. these exposures are memories of the last clip the three of them are all genuinely happy. Therefore. the exposure signify the terminal of their childhood and artlessness and dreams.
This made clearer by the storyteller being the one to take the exposure. therefore being the 1 who signifies the terminal of their childhoods and lives. The kids literally become grownups at the terminal of the beach scene in the Summer Sequence. every bit good as metaphorically. Because the storyteller is a sinister figure throughout the drama. and normally is at that place to motivate the happening of something tragic. it creates a sense of impending calamity even more obvious in this scene. The image that the storyteller takes is of them all together. happy. so he non merely brings their childhood to a stopping point. but besides their felicity and friendly relationship.
In a sense. he symbolises world as he intrudes on their felicity. despite their ignorance and the audience’s desire for him non to make so. He besides represents society as it is finally societal restraints of category and wealth that divide the two. This manner the audience are forced to see the society that they are portion of and this is the factor that brings the narrative to an terminal. The fact that he appears to them as a friendly. even helpful. face increases the audience’s chariness of him and therefore the baleful nature of the scene.
The overruling ambiance of the scene is the last subdivision is one of despair and uncertainness. Russell uses metaphors such as “broken bottles in the sand” to symbolize a semisynthetic feeling on something naif and happy. which symbolises the characters’ friendly relationship and how it is affected by category. The motive of a dream is repeated. as is the subject of artlessness. The mentions to woolgather ties in with the vocal state me it’s non true. which refers to woolgather. The mention to innocence here once more makes the three seem oblique to the fact that they will be capable to calamity.