Around the Block Page #7

Excuse me.

Hi.

Hi.

Ah, Christine. Chrissie.

Hi.

I'm Dino.

I'm Liam's drama teacher.

I'm so glad you

could make it.

Thank you.

Let's get you inside.

Get you a good seat.

After you.

Hey, Liam.

This is to say

"break a leg."

Thanks.

I didn't get you anything.

Shut up.

CHALMERS:
All right, guys.

Ten minutes to curtain.

(Playing didgeridoo)

Minister,

distinguished guests,

Ladies and gentlemen,

I'd like to begin

By acknowledging

the Gadigal people,

The, uh, traditional owners of

the, uh, country here,

And the land on which

we gather today.

Ah, I'd also like to, uh,

Welcome you to this, uh,

Very special

NAIDOC week event.

The play you're

about to see

Is probably one of the most

famous in the English language,

And, uh, many of the performers

in the cast

Are descendants of the oldest

continuous living tradition

Of performance

on the planet.

So, ladies and gentlemen,

Would you please

put your hands together

For the year 11 students'

Production of William

Shakespeare's Hamlet.

Who's there?

Nay, answer me.

Stand, and unfold yourself.

My God.

God.

How weary, stale,

flat and unprofitable.

Seemed to me

the uses of this world.

Do not as some

ungracious pastors do,

Show me the steep

and thorny way to heaven.

To be or not to be.

That is the question.

Whether it is nobler

in the minds

To suffer the slings and arrows

of outrageous fortune,

Or to take arms

against a sea of troubles

And by opposing end them?

To die,

To sleep.

To sleep perchance to dream.

From that sleep of death

what dreams may come

When we have shuffled off

this mortal coil.

It must give us pause.

There is the respect that makes

calamity of so long life.

For who would bear

the whips and scorns of time.

I f***ed it up, eh.

You broke the code, mate.

The f***ing code.

No kids.

I know.

She wasn't supposed

to be there.

Just don't end up

in here, all right?

I don't know

if I can protect you.

(Siren wailing)

The point envenomed too!

Then venom, to thy work.

Stop!

Police!

Drop your firearm!

Put down your weapon!

(Gunshot)

Bear Hamlet,

like a soldier to the stage.

For he was likely

had he been put on.

To have proved most royally...

And, for his passage,

The soldiers' music

and the rites of war

Speak loudly for him.

Take up the bodies.

Such a sight as this

becomes the field

But here shows much amiss.

Go, bid the soldiers shoot.

(Singing

in foreign language)

(Cheers and applause)

You were deadly.

Thanks.

CHALMERS:

We don't choose to be born,

But we choose to live.

Some of us choose to love.

CHRISSIE:
Liam!

Liam!

CHALMERS:

And some of us,

Only some of us,

choose to be free.

Liam.

He'll be back, bub.

From where I stand

Rhythm and flow

Rhythm and flow

in the minds

And the hearts of the ones

that we stifle

Rhythm of life

Rhythm and flow

Flow into dignified death

in a cycle

That keeps on repeating

I hear the flow,

I hear the flow

I hear the rhythm

and the flow

Silent and strong

Rhythm and flow

Telling the lives

of the ancients

They learnt

from experienced poets

Rhythm of life

Rhythm and flow

Hoping experienced poets

can teach them

About their survival

I hear the flow,

I hear the flow

I hear the rhythm

and the flow

I hear the flow,

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I hear the rhythm

and the flow

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I hear the rhythm

and the flow

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and the flow

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and the flow

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and the flow

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and the flow

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and the flow

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and the flow

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I hear the rhythm

and the flow

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I hear the flow

I hear the rhythm

and the flow

I hear the flow,

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I hear the rhythm

and the flow

I hear the flow,

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I hear the rhythm

and the flow

I hear the flow,

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I hear the rhythm

and the flow

I hear the flow,

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I hear the rhythm

and the flow

I hear the flow,

I hear the flow

I hear the rhythm

and the flow

I hear the flow,

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I hear the rhythm

and the flow

I hear the flow,

I hear the flow

I hear the rhythm

and the flow

I hear the flow,

I hear the flow

I hear the rhythm

and the flow

I hear the flow,

I hear the flow

I hear the rhythm

and the flow

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