# data[].attributes.body
- "Middle aged fairy" = slur = does this reflect her opinion or the opinion at the time = obvious picture = no room for doubt
- "young, untouched" = makes the scene that takes place very creepy and unsettling
- Male chauvanism = woman are just their to fullfill their needs
- Pleasure = innuedndo = wine? fun? sex?
- Trying to see if hes gay or not = very creepy = pedophile
- Men on table 3 = beer = manly drink, man on table 2 = flamboyant fruity drink = reflection of their characters
- Tom dick harry = super common and basic = even their names dont define them
- Ill light it for you cause you are a woman who couldnt poissibly do it right
- Baby = creepy = infantile
- Playful dynamic = but still a power imbalance
- Poe? = edgar allen poe = romantic poet in the us = code word? = suugestion of love and romance
- But are you a lover = delivery shows how audience percieve it = funny, creepy, sweet???
- Casting = how youfn boy is = young enought to be creepy = not to young to be distracting
- gzo off to get it on = boy drinks = even creepier cause boy is not only yougn but now drunk as well
- Hand motif = touchugn hands = moment of sitllness and silence = mirrors scene where husband touches her = this time she doens;t flinch
- Cross cutting = lights on table = lught on when its there bit = continue movements slowly
- She's different and unique = usually ita a bad thing but he likes it
- Angel = white, purity = always wearing white at soem point change to red
- He compares her to an angel while she is commiting a "sin"
- All the chairs coudl reflect the personaility of the characters at each table
- Hand symbol = ring on table???
- Very very faint sounds = good state of mind

# data[].attributes.body
- Speakeasy bar - it is a makeshift, underground bar. During this time was prohibition, where alcohol was banned. This establishes an atmosphere of illegality and secrecy, also reinforcing what is going on on the tables
- Man 2 = wavy hair, the Young Woman fantasized about this
- Key stage directions: "middle aged fairy", showing that this character is gay, "untouched" reinforces that the boy is very young and definitely underage. Is this a stereotype about gay people in society at that time or Treadwell's view that all gay people are like this?
- p32 - "snaps fingers" - degrading. "she comes running" - patronising. Paints the First Man in a less respectful tone
- Is the action between the Boy and the Man meant to be repulsive to the audience or funny?
- The Man is hitting on the boy even though he's underage and homosexuality is illegal. Lot's of dual meaning e.g "taste pleasure". He's not subtle in his hints. The Man is also trying to get the Boy drunk.
- Raises a question already about the legality but also the morals of the issue
- Table 2: Abortion is illegal. This would have been illegal at the time. She is standing up for herself.
- p34 - "entertain some dame" - about masculinity and how you are the alpha if you get all the ladies
- The names Dick and Harry come from the phrase "any Tom, Dick and Harry" meaning this could be anyone. These guys just represent men at the time.
- p35 "How's every little thing?" -  kind of downplaying her worries as small and tiny.
- The fact they light the cigarettes for the women - is it polite or charming to get what they want?
- p35 "interrupts, restlessly" - shows the Young Woman isn't 100% comfortable in the situation yet
- p36 "I just want to keep moving" - reference to how unnatural she feels in this situation
- p36 "Helen don't run with any crowd" - she doesn't fit the machine
- p36 "Here's - happy days" - completely contrasts life with her Husband
- p37 "any other daddies?" - a nod to the fact that everybody is in this speakeasy for the same reason
- Young Woman on p38 "I know what business is like" - how do we say this? Does she know what's going on or is she still innocent?
- Telephone gag = excuse to get out the house (needs an excuse due to his affair)
- p39 "Spig" - racial term for hispanics/Mexicans.
- The man brings up that he killed some Mexicans. The Young Woman is suddenly interested and this gives her an idea
- p40 again - even more predatory - the man is trying to get the boy drunk. "Your first taste!" - double meaning. "Are you a lover?" - a euphamism for are you gay?
- Edgar Allan Poe was a romantic poet which perhaps reduces the masculinity of the Man
- Key line "I had to get free, didn't I?" - a reference to the Young Woman's earlier monologue
- The man almost downplays his deed
- p42 Key stage direction - "he puts his hand over hers" and she doesn't pull away. This sheds light onto the contrast between her feelings for Second Man and her Husband. This could be marked by slow mo and a lighting change. Also reinforces the theme of hands.
- Back to table 2 - how old even is the boy. My opinion is 15/16
- By this time maybe the boy is drunk, shown in his change of tone. Maybe he is about to get predated on.
- The Man is followed by the boy - he leads the boy out. How do we show this? Could they be holding hands or is he following him like a puppy?
- Crosscuts back to the table with the Young Woman. Raises the question, is this crosscutting or is it a simple lights down lights up and that time passes while the lights are down on a specific table.
- Also, the YW marks the moment with her tone of voice.
- Young Woman costume idea: in this scene she is sleeveless, revealing her arms and hands. This is more revealing and reinforces the reason why she is here. Contrasts with her more conservative approach when with her Husband
- The Second Man is really condescending. "girls like that" p43. Goes back to the idea that the Young Woman is different
- The pair are very up front with each other e.g "don't you like me? // Yes" - she gets on with this guy and is actually interested in him.
- Her hesitancy is shown when she asks "Do - you - like me?" perhaps reinforcing the idea that she shouldn't be here
- p43 - "Angel" - connotations of white, delicacy, innocence. Ironic because it contrasts with what she is doing (adultery)
- Another costume idea is that she is always wearing white, but her costume changes later. Perhaps after this scene - she's got into adultery now, thus her innocence is lost.
- p44 - the Young Woman keeps going back on herself. e.g "Oh I couldn't - is it far?" - this can be shown visually (eg her leaning out and in) as well as vocally (tone of voice)
- Both of them know that what their doing is morally wrong
- p44 "She remains, her hands outstretched on the table" - visually looks like she is eagerly awaiting his return
- They go out together
- Sound at the end is very muffled and quiet. This hugely contrasts the riveting of the previous scene, showing know she feels comfortable

Set:
- Because it is a "speakeasy", all of the tables and chairs should be mismatched and a little tattered
- The chairs could be representative of the characters? - e.g the Men have fancy armchairs while the women have normal chairs.
- The man could have a fancy chair (e.g pink) while the boy could be on a stool, representing his youth
- The YW's table could be white to reinforce her innocence, and make the table much larger than the others. This implies that the other stories are less significant than hers.
- Maybe they could be drinking Bloody Mary's on the YW's table for foreshadowing and reinforcing the violent crimes she will commit and the crimes he has already committed
- As a whole in the play, the set / props could get progressively more modern to reinforce the fact that society is still quite like this today.

# data[].attributes.body
Set in a speakeasy (place where people could buy and drink alcohol during the prohibition. People would also go here to partake in illegal or 'frowned upon' activities in society).

Table 1:
The Man and Woman are described as "ordinary", maintaining the idea of a universal play.
They are used to show a parallel to the Young Woman's desires. The Woman can be seen as more 'ballsy' as she has the option to keep or terminate her pregnancy, however, the Young Woman never had this chance. "What about your job? (silence) You got to keep your job, haven't you?" - emphasises the idea that the Young Woman never had these choices. She has to keep the child and marry Jones in order to support herself financially. However, we can also see the idea of a controlling male power in this couple as in the end, his influence to have an abortion over-powers her want to keep the child, which can also be seen in the Young Woman's relationship with Jones.

Table 2:
The Man and the Young boy are described quite differently. "The Man at Table 2 is a middle-aged fairy; the Boy is young, untouched." From this, we can tell that the Man is a homosexual and the Boy is on a date with him. During this time, homosexuality was illegal so the speakeasy would be the perfect place to meet as it was not accepted in society. After learning this, we question if Treadwell is making a point or if she feels homosexuality is something to be hidden.
Also, there are many innuendos in their conversation such as "pleasure". The Man is flirting the the Boy and is hinting at his sexuality whilst questioning the young boys': "Never in love with - a woman?"

Table 3:
We are introduced to an interesting group of people at the start of the episode: "At Table 3, First Man is pleasing, common, vigorous. He has coarse wavy hair. Second Man is an ordinary salesman type." Later, the girls join their table: The Telephone Girl and Young Woman. Through the mens descriptions, we learn that the First Man has wavy hair, something that the Young Woman desires for her children to have - possible foreshadowing.
During the mens starting conversation, there is heavy use of derogatory, misogynistic and controlling actions and language - snapping fingers, "baby". We get an idea that men during this time believe that they control or own woman and can call them and treat them however they want.
When the woman join them, the Second Man reacts badly as they are late, thinking that they should be at their beck and call and that they are superior. We also see that this is the first time the Young Woman is referred to as "Mrs Jones", solidifying her marriage to Jones in society.
Smoking: we can see an idea of gender roles here as the men (specifically the Second Man) must offer the cigarettes to the woman as a sign of masculinity and control. Also, in the speakeasy, women are allowed to smoke but in the real world and in society, it is frowned upon when women smoke as it was seen as a masculine action.
"Helen". In this scene, it is the first time that we are taught the Young Woman's real name. This shows us that she can be her true self when she is not in society.
The Telephone Girl: In this scene, she is not openly floozy but will leave with the Second Man with no problem. There is a double meaning when the mention "business" because they could be literally talking about work but they could also be referring to sex.
Paying the bill: there is a strange moment when they are paying the bill as the men are the only ones to partake in the decision and the women are watching and briefly talking, almost like they are watching a game. It is a large display of masculinity when you pay the bill during these times are you are 'proving' that you have the funds to do this.
When the Second Man and the Telephone Girl leave, we understand that the First Man and the Young Woman are going to have an affair. She is finally not submitting to the machine and is beginning to rebel the system, something she has always wanted to do. Interestingly, although she is going to rebel, she is connected to a man in order to do this. We previously saw her attached to Jones, but now she is attached to the First Man, showing us that she will always be connected to a man in order to survive, even when going against society.
The murder: Later in the episode, the First Man mentions that he had to kill two men in order to "be free". the Young Woman's strange interest in the topic foreshadows the murder that she commits later in the play. Before this, she was engaging in conversation but wasn't as interested in anything as much as she is when talking about the murder, the murder weapons and how he did it...

# data[].attributes.body
Location of speakeasy bar - Treadwell quickly establishes this bar as a place where taboo, illicit things take place(homosexuality was not yet widely accepted when Machinal was produced + an abortion was an illegal procedure in the 1900s). Mr Smith and Mr Roe are interlopers in the bar looking to have an affair - it seems that in order to undermine the institution of marriage, one must venture to the very edges of American society(Mr Smith does in this scene in an attempt to cheat on his wife)

Helen's speech: No references to being claustrophobic, no long jagged monologues - clear difference in behaviour to previous episodes

Though the audience may not be surprised to find Helen in this speakeasy bar, her presence and willingness to talk to Mr Roe says something important about her since the last time she was onstage she barely spoke. Before giving birth she was frustrated with George's control over her but never crossed his authority, whereas now she seems willing to exercise her independence, especially if it means undermining her husband.

Need to highlight difference in proxemics between her and Mr Roe compared to with husband - much closer in this scene.

Characterisation of Helen and telephone girl needs to be clearly different - telephone girl is more promiscuous + confident, Helen still remains reserved in parts of this scene as she is unfamiliar with the environment ("Helen don't run with any crowd - do you, Helen?")

Tone of voice of telephone girl - playful tone, she's playing into a submissive role - reinforces difference in power dynamics between the men and women

Different tone of voice affects the way Helen says the line "I used to be a business girl myself before-" Is she innocent or does she understand euphemism?

"What about your job? You got to keep your job, haven't you?" The man trying to convince his lover to get an abortion appears to have the same mentality as Helen's coworkers when it comes to love. He approaches emotional issues with a business-oriented, capitalist mindset, drawing upon the idea of financial failure in order to persuade the woman to get an abortion. By saying, "You got to keep your job, haven't you?" he uses the woman's independence against her, giving her the impression that she would be unable to work at all if she were a mother. In order for her to maintain her self-sufficient lifestyle, she must consent to getting an abortion.

Mark the moment - Helen becomes interested in the First Man's weapon - more active in conversation + asking questions, comparison to previous episodes. Foreshadowing.