By Tanya Batson-Savage, Staff ReporterDUCKOONOO TOWN, the summer production of the Little Theatre Movement (LTM) company, is not as full-bodied as blue drawers, but it can be nibbled at. The production, now playing at the Little Little Theatre, Tom Redcam Drive, St. Andrew, is a collection of songs from recent pantomimes, with a few poems thrown in.
Duckoonoo Town is essentially a pantomime without the storyline and, as such, the music is its strong point. One should therefore not go with any other expectations, since disappointment will ensue. Of the 21 songs performed, most featured music created by Grub Cooper with lyrics by Barbara Gloudon, who also directed the piece. Songs by Noel Dexter and Lloyd Lovindeer are also featured.
The songs are loosely strung together by a plotline, which should provide the reason for the movement from one song to the next. The plot follows the idea that the citizens of Duckoonoo Town (a generic rural community) are meeting to plan a Duckoonoo Festival. This is of course not surprising, since duckoonoo is probably the only food without its own festival now. The first half deals with the plans for the festival, while the second half covers the actual festival.
Intentionally thin, the plot line occasionally becomes invisible. In defiance of where the plot is supposed to be headed some of the pieces are introduced with walk-ins, which Gloudon never bothered to tie in.
GREETED
A person would simply walk in off the street, make an announcement or be greeted, launch into their piece and then, at the end of the song or poem, the show would move as though it had never happened.
However, since it was quickly established that the songs were the main point, this feature did not detract too greatly.
The first half is stronger and more interesting, especially because it is filled with witticisms related to Jamaican society. Songs in this segment, such as Tief Tek Ova Town, Cellularitis and Freenis, speak to a range of issues, namely theft, cell phones and politics. They are generally witty, including statements such as the observation that while one cellular phone is for communication, three are essential in order to 'pap big style'.
The first act was also more impressive, simply because it was more cohesive. During the second segment there was no longer even a pretence at creating a plot, even though there was conversation between the songs or poems.
Four poems were included in the repertoire, Louise Bennett's House O Law and three by Lorna Goodison. Goodison's Woman Speaks to the Man Who Hired Her Son, read by Nadean Rawlins, was the first poem presented.
Her delivery was wonderful. While her performances are generally good, watching her perform Lorna Goodison's Woman Speaks to Man was one of the high points of the evening, especially since it was one of the few moments which brought in real drama. The poem was one of those introduced by way of an irrelevant walk-in. However, its delivery made its well worth its inclusion.
STEREOTYPE
As is regular with pantomime, the characters are steeped in stereotype. Rawlins' role as the 'granny' was no different. This made the delivery of the poem, without robbing it of its depth and nuances, even more laudable.
Goodison's poetry generally added to the texture of the piece. Clayton Lynch, himself an aspiring poet, delivered Road of the Dread, a poignant piece about the hills and valleys of life. Another walk-on delivery, Lynch was characterised as a 'broom selling Bobo', which worked very well with the poem's content.
Kevin Halstead performed For A.N. Other. Unfortunately, the decision to make him do so in the guise of a retarded boy adversely affected his delivery.
Duckoonoo Town is not a brilliant work, but those who want to catch up on their Pantomime music can take a look at it. It has its funny moments.
