Serjeant Musgrave's Dance

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Private Sparky and Annie in the 1965 revival.

Serjeant Musgrave's Dance, An Un-historical Parable is a play by English playwright John Arden, written in 1959 and premiered at the Royal Court Theatre on October 22 of that year. In Arden's introductory note to the text, he describes it as "a realistic, but not a naturalistic" play. Four songs are performed that Arden writes should be sung not to an original score but to "folk-song airs."

[edit] Plot

Spoiler warning: Plot and/or ending details follow.

The work follows three privates in the English army and their serjeant, all of whom are deserters from a foreign imperialist war. Serjeant Musgrave and his men, Hurst, Sparky and Attercliffe, come to a northern English coal mining town in 1879. The community is in the grip of a coalstrike and cut off by winter snow. In the local inn the soldiers meet mrs. Hitchcock, who runs the inn, and the barmaid Annie. The soldiers are greeted by the mayor, parson and constable, who ask them to recruit men in hopes of alleviating some of the town's unemployment as a way to rid the town of their economic dead weight. Musgrave pretends that this is indeed his goal, and asks Mrs Hitchcock about Billy Hicks, a dead fellow soldier from the mining town. It is revealed that Billy was the father of Annie's illegitimate child, but the baby died, and Annie's sanity has suffered from the loss of both Billy and her child.

That night in the churchyard, the soldiers talk among themselves and reveal their real purpose: appalled by a violent incident where five innocent men were killed, to avenge the death of a single soldier, they have come to the town to convince the people that the colonial war and the violence used are wrong. The single soldier is in fact Billy Hicks, and the reason they chose this particular town.

Continuing the pretence of recruiting townsmen, Musgrave throws a sort of party in Mrs Hitchcock's inn, with free drink for all. Private Sparky tries to impress Annie, but she prefers the handsome Hurst and promises to come to him that night. However, he later rejects her, and she goes to Sparky. They agree to run away together, but are overheard by Hurst, who tries to stop them. In the following struggle, Sparky is accidentally killed by falling on a bajonet, held by the pacifist Attercliffe. Serjeant Musgrave rushes in and they hide the body, when they are told that the colliers are stealing the soldiers' guns. The mayor arrives to say that the town is no longer cut off by snow and the dragoons have been called for. Musgrave announces he will hold a recruiting meeting the next morning.

Instead of recruiting townsmen, Musgrave takes out a Gatling gun. The gun is loaded and pointed at the audience. Then the soldiers hoist up the skeleton of Billy Hicks on a lamp post, still dressed in its uniform. Musgrave talks about the atrocities that followed the soldier's death, and explains that since this single death caused five on the other side, five times five townsfolk should be killed to avenge their deaths. Attercliffe refuses to take part in any more violence, but Hurst is quite ready to shoot. Annie intervenes and tells everyone of Sparky's death. Hurst makes one last desperate attempt to shoot into the crowd but is overpowered by Musgrave and Attercliffe. The dragoons arrive, shoot Hurst and imprison the two remaining soldiers, who will be hung later.

Spoilers end here.

[edit] Meaning

Arden writes of the meaning of the play: "I think that many of us must at some time have felt an overpowering urge to match some particularly outrageous piece of violence with an even greater and more outrageous retaliation. Musgrave tries to do this: and the fact that the sympathies of the play are clearly with him in his original horror, and then turn against him and his intended remedy, seems to have bewildered people... Again I would suggest that an unwillingness to dwell upon unpleasant situations that do not immediately concern us is a general human trait, and recognition of it need imply neither cynicism nor despair. Complete pacifism is a very hard doctrine: and if this play appears to advocate it with perhaps some timidity, it is probably because I am naturally a timid man -- and also because I know that if I am hit I very easily hit back: and I do not care to preach too confidently what I am not sure I can practise."