Thirteen-year-old Olivia Anderson was one of many celebrants at Friday night’s opening of the current Jamaica pantomime, Big Yaad Vibes, at the Little Theatre, Tom Redcam Avenue. She said she has been enjoying the “comedic plays” for three consecutive years, and on the previous night she and others in her family had been up late “practising all the parts”. Her mother, Marguerite Anderson, is a member of the cast. For Olivia’s grandmother, Patricia Andrews, who grew up in America, it was her first pantomime.
Another grandmother, Zonalin, told The Gleaner in the lobby of the theatre before the show that she had been to the pantomime “many times” and brought her grandchildren along as “a custom”. During the 15-minute intermission, which helped to stretch the show from a 6:05 p.m. opening to an 8:50 p.m. closing, it was announced that one patron, Lola Wallace, was celebrating her 82nd birthday that day.
But the happiest people were probably the producers, the 17-strong cast and the various directors and technicians who had expended much time, talent and treasure over the past few months to get to curtain time. The technicians, all of them also artists, include the multi-talented Duane Nelson who was responsible for the set design, as well as the design of the costumes (along with René Thomas) and the props (along with Ryan McDonald).
The script and the lyrics for the musical’s 10 songs were by Anya Gloudon Nelson. Musical Director Astley ‘Grub’ Cooper also arranged the music. The singers were backed by a band comprising leader Calvin Cameron (trombone); Jermaine Gordon (guitar); keyboard Daniel Edwards or Meshach Brown; and Calvin Mitchell (congas and percussion).
Friday night’s audience’s responses – the applause, laughter and talking back to the performers – moved from lukewarm in the first half to fairly hot in the second. The much-desired standing ovation, the ultimate accolade, was not to be. Critiquing the production’s main components – story, music and visuals – may show why.
The story unfolds as the characters address their needs and desires in a flow of action that should be dramatic, tension-filled and climactic. This story swirls around the underhand efforts of the villain of the piece, the landlady of 50 Poinciana Street, which is situated in an unnamed parish in Jamaica. She tries to sell the premises without the knowledge of the tenants, some her cousins, in order to buy a housee in the hills.
We get a bland first half, mostly a set-up of the problems. Happily, the second half has more action, twists and excitement. The major message, the importance of family unity, triumphs in the end. It’s a pantomime, after all.
CHARACTERS
The chief human characters in the story are Clarissa, the conniving landlady (played by Latoya Newman) and her tenants. They include Tamara and her daughter, Shelly (Fabenelle Wiliams and Maxann Stewart Legg) , Eddie and Mrs Eddie (Shama Reid and Quickoré Bennett), and an insightful vendor at the gate (Kevin Halstead).
One important non-human character is Poogle (Ray Jarrett), a dog that strayed into the yard and stayed. Poogle talks a lot, but in dog-talk, which, in one of the clever twists in the tale, is understood briefly. With his jerky movements accentuated by Cameron’s trombone, Poogle is easily the most amusing character. The other characters, though convincingly portrayed by a troupe that works well together, are run-of-the mill.
The music includes a lively overture and the hummable, but not memorable, songs. It seems that The Company lacks good singers, a major weakness in an ensemble which produces musicals. So, there is some “cheating,” with the singing being helped by recordings.
Under “visuals” comes a large, mixed bag. In it are elements as diverse as the set, the choreography, the blocking (the movement and arrangement of the actors on stage), the props, costumes and lighting.
With the death of the powerful, longtime company chair and book and lyrics writer Barbara Gloudon and the separation of the Pantomime Company from its “mother”, the Little Theatre Movement, there came many internal shifts. For years Gloudon Nelson – daughter of Barbara – was a chief designer, but this year, with her shift to writer, Duane Bennett has got a big promotion as a designer, as mentioned earlier.
Veteran Michael ‘Rufus’ McDonald has been replaced as lighting designer by Rohan Gowie. Kevin Halstead, who started performing with the pantomime way back in 1998, directed the show with help from fellow actor and board member Newman. Longtime choreographers George Howard and Patrick Earl got some assistance from actor, Theran Richardson.
In her programme notes, Gloudon Nelson is looking back several decades when she writes: “Our goal has been to cement the legacy given to us from the lineage of Greta and Henry Fowler, Louise Bennett Coverley, Ranny Williams, Rex Nettleford and Barbara Gloudon. We continue their work, exploring our rich and diverse culture through the songs, dance and drama for the engagement of a new generation.”
This year’s production is much better than last year’s, which suggests that The Pantomime Company, while still young, is growing nicely. May the growth be continuous and rapid. The pantomime has been a major driver of Jamaican theatre since 1941. Here’s to another 84 years.
‘ The preceding article may include information circulated by third parties ’
‘ Some details of this article were extracted from the following source jamaica-gleaner.com ’
