Spirit Of The Dance – A Theatrical Review of:

“Three Boyz, Three Countries, One Dream

King Ah De Dancehall”

It is an ambitious organization that attempts to produce a new genre of art as it emerges from the cocoon of creative consciousness. With Vivine Scarlett as Program Director, “dance Immersion” does just that in its 2011 annual showcase. Scripted by Joseph Jomo Pierre, “Three Boyz, Three Countries, One Dream (a.k.a. King Ah De Dancehall)” shares a message of hope and determination, delivered through spoken-word and dance, under the direction of Dian Marie Bridge. This intricate tale of a single, shared dream travelling through history to its inevitable birth on the stage is brought to life by the choreography of Trevor Brown, Kevin A. Ormsby, Kay-Ann Ward and the Baby Boyz Dance Group.

Told in two acts, the story begins appropriately in Western Africa with Dr. Afua Cooper as the griot (a role continued throughout the play) where she introduces us to the genesis of the dancehall. Deep in the forest of Ghana, a hunter learns a ritual dance, realizes his purpose and teaches this dance to the young people in an attempt to preserve tradition so that the spirit of the dance will never die.

The streets of Jamaica then appear on stage, complete with huge speakers for the street dance. There is an accurate portrayal of violent political rivalry between the country’s two leading parties (Peoples National Party and Jamaica Labour Party) showing “PNP” and “JLP” emblazoned across makeshift banners of red and green. Warring factions dressed in party colours (red for PNP, green for JLP) create the backdrop for new birth, as a woman (Ms. Brown) delivers a child with her back against speakers and dancehall music blaring around her. The father of that child is named Secret Weapon. His name is perhaps an allegory for the potential of dance, an individual, a nation and a people.

Dancehall king Secret Weapon’s son, Stripes, grows up in the dancehall alongside his parents, only to see his father gunned down in front of him. It is with crystal clarity, that this scene first shows the fierce often volatile side of the dancehall. As he matures, Stripes is fuelled by the memory of his father and the call of the dancehall. He uses dance as a quest for his own identity, and he finds it. Quickly becoming the new “King Ah De Dancehall”, Stripe travels across Jamaica with the DJ Fatta and his sound system “Kirkland Sound” while struggling with the everyday nuisance of putting food on his family’s table. An attempted continuation of the cycle of violence is thwarted by Fatta, when Stripe is briefly targeted by a local Don to whom he owes money. As Stripe gains popularity in his own country and across the world through dancehall videos, he realizes that he might have the opportunity to use dance and the dancehall as a vehicle to extricate his family from poverty.

Learning of the possibility of travelling to Japan, Stripe rushes home to share the news with his mother. Their elation is cut short by the sound of gunshots. She is dead. Tradition revisits the stage with a Jamaican “Nine-Night”, complete with Kumina dance by white robed and African fabric clad dancers. In this ceremony for the dead, there is a marriage of cultures, a weaving of the dance and the creation of a lifestyle. Here we see that Kumina is indeed the mother of dancehall.

Having witnessed both parents murdered, an orphaned Stripes is dejected. He turns to alcohol to soothe his pain before he is visited and encouraged by Fatta. Though he feels as if there is no reason to go on, the thought of dance is still with him. “If the dance can’t make you feel good, it is the wrong dance.” Stripes remembers the words of his father, Secret Weapon, “never let the spirit of the dance die.” He triumphs over pain and his circumstances to slowly begin again to dance.

Germination of a vision is both complete and begins, as the dance travels to a cold Canada where we meet an equally depressed young Ghanaian dancer. He is encouraged by a fellow dance student, who reminds him of his dream to open a dance school in his native Ghana. The two share a video of Stripes, which serves to put the Ghanaian back on the path of dance and realizing the dream of his ancestors – Never let the spirit of the dance die. Both young men continue to strive to emulate Stripes, with the help of Tasha, herself a hopeful dancehall queen.

The competition has come – King Ah De Dancehall! Kirkland Sound and Fatta have brought Stripes to Canada where he will crown the new king. An extremely talented group of young people showcase complex dance routines as they vie for the coveted title of Dancehall King / Queen. By far the most memorable person in this scene is Tasha. She captures the raw sexual energy of the Jamaican dancehall queen. Her moves are crisp and authentic. Tasha’s man attempts to bring violence to the dancehall when she gets too close to her dance partner, but is quickly thwarted by the dance.

The coup de grâce is deftly delivered as Stripes introduces the dance group. Baby Boyz treats the audience to a precise, impeccably choreographed routine. While those who have seen this group perform have come to expect only excellence, it is always a refreshing experience to be gladly reminded of their tremendous talent. Their performance, incorporated with the gyrations of “Tasha”, elicited screams of glee from an appreciative audience.

The show ended to thunderous applause. After a moment to catch their breath, the gracious cast facilitated an open “talk back” session where we catch a glimpse into their personalities. We learn that this dance, this passion they all share, “comes from an ancient time and an ancient place.” It is seen not only as professional development, but also for personal experience. To learn the dance story, the African story. Tasha (played by Kay-Ann Ward) sums it up perfectly: “It is more than just the moves – it’s a lifestyle.”

All involved in this project have combined their collective talents to tell a story where spoken-word incorporated with dance creates high art.

I Marcus Garvey – A Theatrical Review

The Year for the people of African descent continues to generate great works of cultural significance. The city of Toronto is intimately familiar with art in general and with theatre in particular. The love affair reaches new heights, as Theatre Archipelago in association with “b current”, beautifully interprets the story of Marcus Garvey the man, as written by Edgar Nkosi White in, ‘I Marcus Garvey’. Under the experienced collective eye of director Rhoma Spencer and producer ahdri zhina mandiela the performance promises unsurpassed quality from the first notes on stage.

The true purpose of theatre is to entertain, provoke and educate – This play delivers!

‘I Marcus Garvey’ spans Garvey’s 1912 arrival in London, through his years in The United States, Jamaica and Canada before returning full circle to London in 1938. This powerful story is told through music, multimedia and six actors portraying sixteen characters. The sparse stage is decorated with stark white sails (representing Garvey’s Black Star Line) that also serve as the backdrop for various images throughout the play.

It is evident, that the entire crew was passionate about this production. The music, the lighting, the sound effects, the multimedia created scenes, the seamless transition from one scene to the next, produced an effortless quality that transformed the stage time and time again across 25 years and 5 countries.

The story is beautifully written. The playwright captures not merely the political Marcus Garvey that wanted to free a people from mental slavery; he captures the spirit of a personal Garvey. We see struggles, we see hard decisions made, we see tears and we see laughter. An entire emotional gamut permeates all three acts of this wonderful work of pure art. If you are shy about laughing out loud or being close to tears, even perhaps weeping in public, do not go to see this play.

The cast delivered excellent performances each in their own right. It is a testament to their personal professionalism and the vision of the play’s director.

Richard Stewart plays Marcus Garvey:

Act 1 Scene 1 shows Garvey arriving in London and shivering from the English weather. In the second row, I trembled when I saw him. Richard Stewart brings Marcus Garvey to life. Mr. Stewart’s oratory deliveries are flawless. The prose and poetry of Garvey becomes his own. When he speaks, you listen – You listen as if it were Garvey himself.

Quancetia Hamilton plays Indiana (Garvey’s sister) and Auntie (to Garvey’s second wife):

Ms. Hamilton is a powerful actress who throws herself into her craft. When Indiana talks about what she wants for herself, you feel her longing; when she laughs, her elation reverberates inside you. When Indiana tells her brother he can no longer live with her, you see the tears in Quancetia’s eyes.

Beryl Bain plays Amy Jacques – Garvey (Garvey’s second wife):

We first see Amy Jacques (before she is married) in Jamaica with her auntie. When she sees Garvey, her eyes light up. Ms. Bain passes that light on to us throughout her performance. Beryl Bain becomes the embodiment of a strong, loving, Amy Jacques Garvey.

Muoi Nene plays Wallace and West Indian Archie:

Wallace, the drunken British man of Indiana, first elicits laughter, then pity. Muoi Nene is spot on! West Indian Archie is eager for something new in Harlem, and finds it in Garvey. It is the commanding monologue from an Antiguan anticipating Garvey’s arrival on the island that puts Mr. Nene over the top.

Azeem Nathoo plays Hamil (A London shopkeeper) and Minister of Information (for Jamaica):

Mr. Nathoo is more than convincing in both his roles. In London, I almost expect Hamil to bring out a package of salt-fish. In Jamaica, the Minister of Information is instantly viewed with suspicion. Azeem Nathoo is admirable in interpreting these two characters.

Jack Grinhaus plays Jenkins, Attorney, Prison Warden, and FBI Agent:

The importance of these characters to the plot is invaluable. The ease with which Mr. Grinhaus transformed from one to the next was extraordinary. His linguistic mastery and professionalism was elegantly evident.

These talented players seized my attention and did not let go until the end of their long standing ovation. Their passion spilled over into our seats and we fed lovingly. This is a play well worth seeing.

You will laugh, you may weep, you will be provoked, you will learn.

‘I Marcus Garvey’ plays at the Papermill Theatre until March 27th, 2011.