Jamaican Plays

By Anthea McGibbon, Writer

In Jamaica, its always about God’s way as more persons self-appoint and self-anoint themselves leaders and prophets. Playwright Dahlia Harris is no less or different, and pleads the notion to choose ‘God’s Way’ at The Theatre Place in New Kingston Haining Road, for peaceful prosperity. She answers the question on many lips “Does the Righteous have to suffer?

Totally set in an uptown home, the play begins with a prayer meeting with three of the only four characters. Deacon (Ainsley Whyte), Samantha (Trudy Campbell) and Valarie(Dahlia Harris, wife of unseen Carlton ‘Donald Martin’. Georgia (Sabrena MacDonald), as Valerie and Carlton’s daughter is the fourth and enters eventually.

The play is one of balance in bringing out issues typical of the Jamaican church, easily applicable to other cultures highlighting the silent question ‘Why Me’ by those seemingly righteous and suffer for the ’cause of Christ’. There is much superfluity of naughtiness in the pious Valerie so heavenly minded, she is almost no earthly good. She is the envy of her church sisters and her close friend Samantha because of her ‘blessings’ having climbed the social ladder until… it is revealed that her husband is a drug lord. Interesting as one so near to God and playing matchmaker between her prayer partners, Samantha and Deacon, Valerie is oblivious of her own reality – her criminal husband and ‘fallen’ daughter.

The play highlights this as main issue encapsulating reactions of the church on a whole, through the supporting characters and references in discussion so church members in attendance could take stock. The message is clear and the play could very well be labeled a gospel roots play influencing change through choosing God’s Way. Valerie is humbled further by her experiences and like Job of the Bible strengthens her faith in God until her change is wrought and hence answers her own question – Do the righteous have to suffer.

The second climax of the play is arrived when Valerie moves back to the ghetto world to start anew, but is at peace on God’s Way..

The play’s drama is slow in unfolding but ripens with excitement especially when there are Bible verse matches and gripling scenes, like how the revelation is made on a broadcast about the criminal husband, the fight between the Valerie and daughter which lands Georgia in hospital and the car park scene where Georgia is almost arrested. The developing relationship between Deacon and Samantha though not as a direct result of Valerie’s promting occurs nonetheless and adds value to the script.

The turning point although scripted early in the play is among the strongest features – the revelation of Carlton as criminal lord and the scene is convincing by actors deft with skill, and the props.

There are a few hiccups which were challenging such as the lack of flow in how the relationship between Deacon and Samantha matures, and the quickening relationship between Samantha and Georgia which sped past the natural pace of the plot’s overall plot.

Minor details needed more attention such as consistency in which phone answers to which ring.
Still why would anyone get upset with Dahlia Harris for the minor hiccups such as her not being dramatic enough in a few scenes? After all, she is literally head cook and bottle washer, being producer, director, playwright, eventually substituting for lead actor unavoidably absent.

The scene with her lamenting over the current ‘wrath of God’ as punishment for her past ‘sin’ in allowing her friend to drown could have been far more dramatised, at least the night when I saw it. This is the culture of Jamaicans – interpreting current mishaps as recompense for some past ill, however forgotten.

All the issues addressed combine to make the play an ideal case study of the church today. Other issues include the straying child caught up in a material rush., the manipulations of females bent on getting their heart’s desire. Samantha comes across as the Delilah of the bible, not because she is manipulating a male, but she manipulates Georgia into preferring her to her own mother – Valerie until she herself is put in he spotlight. She must choose between supporting Samantha’s indiscipline, going against God’s Way or standing with her friend and stand the risk of suffering for righteousness. At least when it comes to children the pious Valerie is truly righteous.

God’s Way is down right Jamaican roots culture of the church. Bible touting believers, too self righteous to recognise the true value of Christianity – love, selflessness and entity for others. The play is a good tool in teaching penalties of going against God’s Way, following the Bible as a map, and answers “Do the righteous have to suffer?

Overall the construct of the play is solid, creativity mediocre. The scenes from room to room is complimentary and makes it easy for scene change – it could not have taken place any where else. Let alone the props and lighting that give life to the play. To be thanked for complete package are:

Executive Producer – DMH Productions
Director – Dahlia Harris
Script – Dahlia Harris
Stage Manager -  Bridgette Smith
Set Design – Douglas Prout & Kirk Nunes
Set Construction – Atlan Lopez & Andrew Roache
Set Décor – Karl Hart & Douglas Prout
Lighting Design – MarlonWilliams
Light & Sound Tech – Robert Vaughn
Costumes – Marie Lovelock
Photography – Michael McLeish & Aston Cooke
Publicity – Dahlia Harris & Associates
Box Office – Helen Steele
Front of House -  Shauna-Kaye Baker

ANTHEA McGIBBON is a journalist, artist for over 10 years and reviews creative works by nd for Jamaicans. Write her at islandartattack@yahoo.co.uk.