- Contributed
A scene from the Jamaica Junior Theatre's production 'Scheherazade's Tale'
Reviewed by Jan Machado
SINCE ALADDIN back in 1992, I have wondered when the Jamaica Junior Theatre might stage another musical based on the famous Arabian Nights. I was pleased therefore to attend Scheherazade's Tale, on stage currently at the P.S.C.C.A., and found it to be a remarkable and lavish production. It offers so much more than the usual musical fare for it includes elements of opera and ballet and happily this present cast contains persons with a degree of talent to do justice to such items. It seems then that this group is well on its way to having shows locally produced that can match the excellence of Broadway hits like Beauty and the Beast and Lion King. Sonia Gordon Scott has created a smooth flowing script to take us through this strange and wonderful story.
Scheherazade's Tale offers two tales for the price of one. Firstly, there is the famous story of the Wazir's daughter seductively spinning a tale to a woman-hating King but feigning exhaustion to make him postpone her execution night after night. If Scheherazade can do this for long enough, hopefully he might fall in love with her. Kristina Rochester handled this demanding acting and dancing role extremely well while Orrin Scott-Stewart, despite a throat impediment, acted strongly as the King who gradually fell under her spell. The second story, that of the actual tale Scheherazade spins, is set in Persia, Tartary and Tibet in ancient times and Carolyn Chin Yee's well-researched costumes are truly sumptuous, flooding the stage with a myriad of vibrant colours. The one variation I would have liked to see is a costume for the Chief Priestess that would have made her rank more obvious. The glorious costume colours complement Peter Haley's simple but workable set and backcloth, both painted beautifully by Marian Thwaites. The imaginative lighting of Rohan Garrick further enhances the overall visual effect.
The musical items selected by Doug Bennett and utilising Jon Williams' backgrounds are quite brilliant although we have to wait until the second act for the real blockbusters. Director Peter Haley keeps the action clicking over smoothly without the necessity for blackouts so that the interest of the audience never wanes and he has coaxed some fine performances from the huge cast of 70. There is a large and dynamic dance group headed by Nikkia Brooks, Jilliane Lewis and Kimberley Thwaites who brought excitement to Tony Wilson's varied dance routines, while guest artiste Samantha Chin Yee performed a fascinating solo dance with special lighting effects. The singing choruses were put over acceptably well, especially in the bright 'Baubles, Bangles and Beads' sequence.
The story calls for many principal and semi-principal roles, too many to mention individually, and some act better than others, but the main action revolves around a villainous Sheikh Haroonal-Rashid, played outstandingly well throughout by Jason Jones, effective also in his song of conceit.
His bloodthirsty daughter Zorda and his two sons Calaf and Vacek who oppose their father are well portrayed by Tamaisha Eytle, Rory Baugh and Matthew Gordon-Martin. Rory Baugh acts convincingly and is developing into a good tenor.
He sang his duets well and made a good job of the Pavarotti hit None Shall Sleep Tonight, which would sound better however if he could rid himself of that disturbingly strong wobble in some of his sustained higher notes.
The curious riddles and the many twists in the plot are much too intriguing to reveal here but the villainous Sheikh is challenged in his deadly battle of wits by Princess Dunyazade, played by Ana Strachan, the first time I have seen her or heard her on-stage. Slimly built and stunningly attractive, she outwits the villain, giving a most convincing acting performance depicting bravery, resolve, despair and tenderness and she entrances the audience with a soprano voice of astonishing beauty and power, quite the most impressive I have heard on a Jamaican stage.
Also acting commendably in supporting roles were the other three princesses played by Tobi Lawson, Lisanne Gage and Raecine Williams, the two Wazirs Andrew Chung and Michael Marshall, the amusing court jesters Denise and Deborah Arnold, Rejan and the Lady Tamsin played by Pierce Lindo and Maya Groves who sings very well, and Kim Harvey-Lewis the High Priestess Kai-Su. Among the group of younger children, the charming antics and facial expressions of Samantha Strachan captivated the audience every time she appeared on stage.
Scheherazade's Tale is sparkling theatre suitable for families and I urge you not to miss it. My lasting memory of this show however is undoubtedly that of Ana Strachan's incredible voice, majestic in Highest Lama and heart-rendingly poignant in her hauntingly beautiful solo No Peace Within My Heart with its electrifying final note. She is surely destined for internal operatic stardom.
