"Threads" Play Discussion

  • "Threads" Play Discussion

    Excerpts from Threads of Silver and Gold: Women of the Panama Canal

    [youtube https://www.youtube.com/watch?v=EyTahLTMm6A?list=PLm1EZOX-MZAXr3J_cSvXgsyn8iKExB3oR&w=640&h=390]

    The video above was recorded at the public reading of the play Threads of Silver and Gold: Women of the Panama Canal, which took place on February 20, 2015 at the Hippodrome Cinema in downtown Gainesville. We would love to hear your reflections on the play or your own experiences and histories with life and work in the Canal Zone.

    Clicking on the playlist icon in the corner of the video screen will allow you to select and view additional video excerpts from the play. Conversely, you can visit the YouTube page for the play directly at https://www.youtube.com/playlist?list=PLm1EZOX-MZAXr3J_cSvXgsyn8iKExB3oR and watch all of the videos there.

    We look forward to hearing your thoughts!

  • "Threads" Play Discussion

    Oral traditions and long family histories, part 2 (the James Family)

    As we already saw in the previous post, in Act II of the play Threads of Silver and Gold: Women of the Panama Canal by Deborah B. Dickey, two families with multigenerational histories are sharing their experiences. In both cases a grandmother shares her recollections with a granddaughter while an older (deceased) relative supplies monologues that recount their family history from the early Construction days.

    We look forward to reading your reflections on the material below and on your own family history.

    (left to right) Steven H. Butler, Jamali Tyler, and Amanda Edwards
    (left to right) Steven H. Butler, Jamali Tyler, and Amanda Edwards performing the parts of Henry, Abuela Eugenia, and Marcía at the debut reading of Threads of Silver and Gold: Women of the Panama Canal.

    Here, we see three generations of the James Family. The grandmother is sewing in preparation for an annual ceremony to honor the workers who built the Panama Canal; while looking for some buttons, her granddaughter finds a box of family keepsakes that inspires their conversation. We are sharing a snippet of the play below, and would like to hear about the experiences of your own family or your reflections on the material presented.

    Have you had similar experiences or a history of relatives who went to Panama to work on the Canal in the early days?

    The character of Henry (Abuela Eugenia’s father and Marcía’s great-grandfather) is a composite drawn from various oral histories recounted by early Canal builders. How does the James family begin to fit into a collective history of the Canal Zone?

    How about any reflections on the scene taking place or the manner in which Abuela Eugenia instructs her granddaughter?

    The following is a short scene from the play:

    (THE LIGHT CROSS FADES to the James’ home)

    (Marcía is examining an old pocket watch on a gold chain with a shark’s tooth attached)

    Abuela Eugenia
    (Her grandmother picks up the watch from Marcía’s hand)

    This was his pride and joy. He checked his watch when he arrived home and when he sat down to read his paper. When I was a little girl I would sit on his lap, and he would bring the watch out to teach me to tell time. I waited for him as long as I could, but he seldom made it home for supper and I was already in bed.

    Marcía
    (she looks puzzled) ... and the shark’s tooth?

    Abuela Eugenia
    (she sits next to her granddaughter as they both examine the tooth)

    That was his good luck charm. He had it for many years. I think he found it when he was working one of his first jobs in Panama.

    Jamaican workers on the Panama Canal
    Jamaican workers on a drilling team during Panama Canal Construction.

    (THE LIGHT CROSS FADES to reveal Henry)

    Henry
    When I was working at Culebra Cut, I had to pass many steam shovels digging the canal and had to duck so as to get away from dynamite blasting. I witnessed men who were damaged by train accidents and many who were blasted when lighting dynamite fuses, or by the explosions of the dynamite.

    Railroad men
    Men standing on railroad tracks while behind them a car is loaded with earth.

    Sometimes dozens of men were blown up into the air, impossible to know what arm or leg or hand belonged to what body. Both the injured and the dead were loaded on box cars and taken to Ancon hospital. So many die, there was a funeral train every day that carried them to the cemetery at Mt. Hope.

    One morning I witnessed such a blast, and as we loaded the excavation onto the rail road cars, I discovered a shark’s tooth in the newly turned earth. This I know is a good omen because it comes from the time long, long ago when the ocean flowed from sea to sea across the Isthmus. I carried it with me always and thanked God for each day I came home safe without injury or illness.

    Dynamite men in Culebra Cut
    Dynamite team loading drill holes in Culebra Cut.

    (THE LIGHT CROSS FADES to the James’ home)

    Abuela Eugenia
    (as she gives her granddaughter a hug)

    And that is why we honor the memory of all those workers with the pilgrimage every year. We will drop a wreath of flowers from the boat, and when you wear the dress your great-grandmother made you will be honoring her memory, too.

    Marcía
    I wish I had known them. I guess I never really thought about what their lives were like. He was a very brave man. But how could he afford to buy a gold watch on his salary?

    Abuela Eugenia
    Well you see he was able to get an office job when one of the timekeepers quit his job. The engineer in charge of the survey crew recommended your grandfather for the job. He was made the timekeeper in the office and later was promoted to clerk. That job gave him more responsibility and a better salary. He kept the records of the silver employees and his immediate boss kept the record of the gold employees. I think he was in charge of things like office supplies and keeping the files and he was also in charge of the messenger boys in the office. He used to love to repeat funny stories about that job. It seems his boss was the only one who knew the combination of the vault where they kept all the records. Anyway that man had a habit of gambling in the vault…

    (THE LIGHT COMES UP on Henry)

    Henry
    He opens the vault in the morning, and I, who uses it last, close it in the evening. One day unknown to me, they were in there playing. After getting out the mail I closed the outer door and throw off the combination. They did not make an immediate alarm, thinking I was having a joke on them. After I got home, the watchman came running out of breath to let me know there was someone in the vault. I rushed up and, luckily, the inner steel door was not closed and stands about three feet apart from the outer door. The result, he was able to stay in the inside and tell me how to open same. Imagine the fright we both had and his anger when he had to have the combination changed.

    (Marcía and her grandmother share a laugh as the LIGHT FADES on Henry)

    (THE LIGHT CROSS FADES to the Harrison home)

  • "Threads" Play Discussion

    Oral traditions and long family histories, part 1 (the Harrison Family)

    In Act II of the play Threads of Silver and Gold: Women of the Panama Canal by Deborah B. Dickey, we see two families with multigenerational histories in the Canal Zone sharing their experiences. In both cases a grandmother shares her recollections with a granddaughter, while an older (deceased) relative supplies monologues that recount their family history from the early Construction days.

    We will share some scenes in two different posts that reflect the conversations of the two families, and look forward to reading your comments!

    Actors portraying Grandma Harrison and Robin at the debut of Threads of Silver and Gold: Women of the Panama Canal.
    Actors portraying Grandma Harrison and Robin at the debut of Threads of Silver and Gold: Women of the Panama Canal.

    First, we see four generations of Harrison Family women. The family is in the midst of conducting an oral history interview to record Grandma Harrison’s past. We are sharing a snippet of the play below, and would like to hear about the experiences of your own family.

    Have you had similar experiences or a history of relatives who went to Panama to work on the Canal in the early days?

    Have you recorded events recounted by a relative, as Robin does in the scene below? We’d love to hear details about life and work.

    How about any reflections on the scene taking place or the manner in which Grandma Harrison instructs her granddaughter?

    Bachelor Quarters
    Bachelor Quarters, Panama Canal Zone

    The following is a short scene from the play:

    Robin
    Well, okay, let’s see what else. (She refers to her notebook) Oh, I saw a picture of your first Sunday in Panama. Your Dad had chin whiskers. Did he have a beard?

    Grandma Harrison
    No.

    Robin
    Oh it was a moustache— sorry. It was a nice, long moustache with little curls on the end. In this picture your sister, Jane, looked very mad because the photographer had taken her doll and put it off to the side. (They laugh at the memory) Did she bring it from Texas?

    Grandma Harrison
    Yeah.

    Robin
    Were you happy with Panama? Excited? … pleased?

    Grandma Harrison
    It was all new to us. We were excited. Papa was assigned an old French cottage, to put us in, see. There was a bedroom and there was a front porch. It was just one short step from the street. All the porches and windows had screens, on account of mosquitoes. All the roofs were made of corrugated iron. No shingles. Right on the corner of the house was a big mango tree. When the mangoes would fall off the tree and hit the tin roof it make a kind of noise. Jane and I would say, “That’s mine!” The next morning, we’d go out and pick up the mangoes—they were great!

    Old French cottages
    Old French cottages.

    Robin
    I remember Great-grandma Annie— every morning she would get up and dress. She’d have some trouble with her rolled stockings. I would help her with the rolled stockings. She’d come out and sit down. She’d have a half a grapefruit and a cup of hot water. I said, “Great Grandma, why are you having hot water rather than coffee?” She said it made her regular… and kept her young. She was fun to talk to. I loved to hear her stories about being a midwife. She said she once delivered a baby on a train, on Christmas day, because there was no time to get to a hospital. Didn’t your mother come to America with her father?

    (THE LIGHT CROSS FADES to reveal Robin’s great-grandmother, Annie Wright Calvit)

     Annie L. Calvit, aged 66. Wrote autobiography: Eighty-eight Years of Change. Mother of Mary Harrison. Great- grandmother of Robin, Christine, and Gail Harrison
    Annie L. Calvit, aged 66. Wrote autobiography: Eighty-eight Years of Change. Mother of
    Mary Harrison. Great- grandmother of Robin, Christine, and Gail Harrison.

    Annie
    My father told this to me: “It was a wild wintry night and the hour of midnight was drawing near, as I stood looking out of the window—thoughts more indoors than out—when a faint cry was heard.” The doctor said: “Jim, come in; you’ve got another girl!”

    That is when and how I first came into this world on January 18, 1868, at Callington, in Cornwall, England. I was the last of nine children. Nothing happened that I recall of great importance until my mother passed away leaving my father with nine children to look after and raise, which he did as best he knew how. I was sent to live in London with my father’s sister Bessie and when my father decided to take his family to America to live, he came and got me. I remember as we were walking to the station, he had me on one shoulder and my suitcase in his other hand, we noticed a procession coming down the street, and he said to me: “Annie, now is your chance to see Queen Victoria.” We stopped and stood at the edge of the street and when her carriage got abreast of us, Father removed his hat and Queen Victoria smiled at us and offered her hand to me. Father said: “Annie shake the Queen’s hand,” which I did, then her carriage started to roll away. The thing that stood out in my mind was the Queen’s long white gloves for I had never seen long white gloves before. We landed in Quebec where we were met by my father’s brother who had lived in America for about ten years. My father built railroad towns, shops as well as houses for the people who would work in the shops. In 1881 he was sent to Harrisburg, Texas. This was where I met Stephen Calvit, later to become my husband. He was Secretary of the Sunday School and the Sunday School was holding an election to decide who would be Queen of the May. I was the lucky girl and was crowned Queen of the May, much to Stephen Calvit’s delight.

    (THE LIGHT CROSS FADES to the Harrison home)

    Grandma Harrison
    …and when he asked for her hand, my grandfather asked them to wait six months. Well, six months went by and when he asked again, my grandfather still felt they were too young and so they talked it over and decided to get married without his consent.

    Robin
    So they eloped?

    Grandma Harrison
    Yeah.

    Robin
    That took a lot of courage to stand up to her father like that!

    (THE LIGHT CROSSES BACK to Annie)

    Annie
    My father was not angry but he left us alone until he saw whether or not we were really trying to make a go of our marriage. In 1906 my husband became restless and dissatisfied with his work in Texas, so we went to California so he could visit the various shops and try for higher wages. While we were traveling around California, my husband heard about the recruiting of men to work in Panama, to help in building the Panama Canal, so instead of moving to California, we decided to come to the Isthmus of Panama.

    (THE LIGHT CROSS FADES to the Harrison home)

    Robin
    How long was your father in Panama before he sent for Annie and all you kids?

    Grandma Harrison
    (she slowly recalls the details) Well, he and my oldest brother went down in November of 1906, and they were assigned quarters in the little town of Gorgona—the halfway mark on the railroad between Colón and Panama City. It was genuine frontier life. My brother wrote to us and told us all kinds of stories and kidded us girls that we would have no trouble finding a husband, since there were ten men for every woman. So then the rest of us joined them a few months later.

    Robin
    So then you landed in Panama.

    Grandma Harrison
    Yes and when we arrived, we docked in the morning. Now, we couldn’t find Papa—, high nor low. All of us kids and Mama looking the men over— the men down below on the docks—we couldn’t find Papa nowhere around.

    (THE LIGHT comes up on Annie)

    Annie
    We had a family whistle that whenever we were out and got separated, that we had the whistle and then we could find out where it came from. That way, we all kept together, kids and all.

    Grandma Harrison
    Finally Papa whistled.

    Robin
    What was the whistle like?

    Grandma Harrison/Annie
    (…simultaneously they whistle the 6 note signal) B-B-G-G-C#–D

    Grandma Harrison
    He whistled that several times and we looked down and he whistled again.

    Annie
    There’s your father, he’s got a mustache.

    Grandma Harrison
    (to Robin) He’d grown a mustache. (They all laugh)

    (THE LIGHT CROSS FADES to the James’ home)

  • "Threads" Play Discussion

    Threads of Silver and Gold–a few cast photos from the performance

    Actors reading from Threads of Silver and Gold: Women of the Panama Canal
    (left to right) Amanda Edwards, Jamey Wright and Carol Velasques-Richardson at the staged reading of Threads of Silver and Gold: Women of the Panama Canal. All photos by Lee Herring. 

    After a terrific debut of the new play, Threads of Silver and Gold: Women of the Panama Canal, written and directed by Deborah B. Dickey, it seems appropriate to kick things off for a post-performance online discussion with just a few images of the actors at work. Their sensitive portrayals of the characters really brought life and energy to a story already rich in history, triumph, and profoundly meditative moments.

    Carol Velasques-Richardson reading the part of a West Indian woman in Act I:

    Carol Velasques-Richardson
    Carol Velasques-Richardson — at Staged Reading: “Threads of Silver and Gold: Women of the Panama Canal”.

    Carolyne Salt reading the part of Kay during Act I:

    Carolyne Salt and Steven H. Butler
    Carolyne Salt and Steven H. Butler — at Staged Reading: “Threads of Silver and Gold: Women of the Panama Canal”.

    Carol Velasques-Richardson (left) reacting to Kathy Byrne during one of her British woman monologues from Act I:

    Carol Velasques-Richardson (left) and Kathy Byrne
    Carol Velasques-Richardson (left) and Kathy Byrne — at Staged Reading: “Threads of Silver and Gold: Women of the Panama Canal”. 

    The performance opened on Friday night at the Hippodrome Cinema to an over-capacity crowd, many of whom voiced nuanced and perceptive reflections and asked insightful questions during the post-performance talk-back. This dialog was an engaging part of the evening, made truly special by the combination of reflections from the audience and from panelists Deborah Dickey, Dr. Leah Rosenberg, Dr. Ryan Morini, and Dr. Anju Kaduvettoor.

    In the next few related posts we would like to invite all of our wonderful online community members to add their reflections. We will use images and snippets from the play to spur this discussion, but the complex and varied experiences that reflect Canal Zone history certainly invite reflections far beyond the pages of the script. We look forward to hearing from you.

  • "Threads" Play Discussion

    Post-Performance Discussion

    Welcome to the post-performance discussion space for
    Threads of Silver and Gold: Women of the Panama Canal

    Playwright and director Deborah B. Dickey has created a play in honor of the 100th anniversary of the Panama Canal. Threads of Silver and Gold: Women of the Panama Canal looks at the role of women who arrived from the West Indies, England and the United States during the construction period of the canal. Full of heroism and striving, the play celebrates the pioneering women who left behind family to face enormous challenges as they witnessed the realization of the 400-year-old dream to join the Atlantic and Pacific Oceans.

    The inaugural performance of the play takes place on
    February 20 at 7 p.m. at the Hippodrome Cinema in Gainesville, FL.

    We will also be using this space, here on The Panama Canal Museum Collection Blog, to engage in discussions of the script, source material, and historical and contemporary contexts through which the topics raised might be viewed.

    We hope this will serve to engage an audience that is not bound by local proximity, and thus lead to even richer and more varied connections between the material presented and your personal reflections as individuals and as a community.

    Playbill Front

    Through this project we seek to engage constituencies at the local community; scholastic; and national and international levels in order to facilitate deep, meaningful, and sustained dialogs and spaces for reflection based around artistic production and the significant issues raised by materials in the PCM Collection.

    The project is supported by

    Programs in the Public Humanities Grant, from the Center for the Humanities in the Public Sphere with support from the Rothman Endowment