High demand for plays on video WITH the high level of roots play productions in Jamaica, the demand for them on tape is great both here and abroad. Roots plays have always been popular with some members of the Jamaican public. They are known for their almost farcial productions as well as its simple dramatic elements in comparison to the more elaborate ones of mainstream theatre. Some are known for their more raunchy plots and are known to attract a large following. Those who watch roots plays generally become ardent fans and are unwilling to let go of this side of Jamaican theatre if and when they migrate. Consequently, sometimes the plays are packaged and exported overseas. Not only are they sold overseas, they are also available in video rental stores across the island. "There is definitely a market out there for roots plays. They do well overseas and in the Caribbean islands. A lot of Jamaicans buy them when they go to Miami," explained Garfield Reid, roots play producer. At the moment some producers do door to door distribution of their work while others go through companies who distribute on their behalf. For example, Jamaica Amalgamated Cable System (JACS) handles Reid's play locally but overseas they are handled by Island Entertainment. The video rental outlets say the newer plays are easier to come by since the producers generally pay to have the plays taped. The producer then takes the plays to the video outlets. Sourcing older plays, however, is more difficult. "We buy them both here and overseas. The majority comes from overseas because a lot of the producers send their stuff overseas so we have to order them from there," explains Roy Thomas of the Video Centre in Montego Bay. The outlets say while the local market generally rents foreign movies they also enquire about local plays and some people buy them. "People generally ask for them and rent them but to tell the truth we don't have enough to rent or sell," explained Thomas. However, while all producers agree that there is a market for the plays, not all are willing to take advantage of it. "I don't allow my plays to be video taped because I would have to first set up a framework and make arrangements to deal with it," explained Ginger Knight. "Next thing you know the tape is in England and I don't know about it and actor hear that it reach that far and ask me for money. If I can't pay him he will say that I am ripping him off," he added. Knight is not the only one expressing the sentiment. Paul Beale has had to copyright his plays to ensure that he at least gets some money from the plays that are distributed. Reid says he generally sells the rights of his plays to JACS or any other person who wants to produce it since he cannot take the headache of collecting rights. They all know that it is a tricky business to distribute their plays since ultimately what they will make is chicken feed to what bootleg copies will fetch their owners. They are motivated by the potential earning power this aspect of Jamaican art can pull however. "I think you can make money if you just put out a bulk and then let it sell. If you put out only a few you will have a lot of bootlegs and you wont make as much money as those guys," added Reid.
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