By Tanya Batson-Savage, Freelance WriterDESPITE THE music, laughter and dancing, Ossie Davis' Purlie, performed by the Jamaica Musical Theatre Company (JMTC) is serious business. Set in Georgia, in a time of racial inequality, Purlie tackles issues of racism and the possibilities for racial integration. The play is running at the Phillip Sherlock Centre for the Creative Arts at the University of the West Indies, Mona.
In his director's message, Alwyn Bully puts the play in its proper context. He explains that with the headline 'A Hilariously Serious Musical Comedy' the decision to stage Purlie was inspired by UNESCO's designation of 2004 as 'The International Year for the Commemoration of the Struggle Against Slavery and Its Abolition.'
SELF-STYLED PREACHER
Purlie, played by Hugh Douse, is a self-styled preacher who goes up against the white establishment to get an old church house called 'Big Bertha', that has been converted into a barn.
In this case, the establishment is Ol' Cap'n Cotchipee, well-played by Peter Haley. Ol' Cap'n, who in his white suit and red bowtie looks as though he just stepped off a chicken bucket, is the perfect white supremist. He is the owner of the plantation on which Purlie is set and as such embodies many racist notions.
UNDER HIS BOOT HEEL
With his ever present whip, Ol' Cap'n argues time and again, that 'the darkies' have to be saved from themselves and that they have too much freedom for their own good. Purlie is among those he has kept in their place, held firmly under his boot heel. However, through his second-hand education, Purlie has liberated himself and intends to take his family and race with him, even though this means swindling Ol' Cap'n. Though Purlie is a preacher, his prophecy is not religion, its freedom. Purlie is joined in the quest to get back what's rightfully theirs by his strong-willed, bat-wielding sister, Missy (Teisha Duncan), and his more reluctant brother Gitlow (David Tulloch), who is literally brow beaten into joining.
Purlie has a talented production team and it shows. Peter Ashbourne is the play's musical director, while Paula Shaw is Movement Director. Both aspects are strengths in the production. However, the voices of some of the players still need work from vocal coach, Lyndel Bailey.
The costumes are skilfully designed but their construction is less consistent. As such, the costuming falls below the usually exemplary standards. However, the set is beautifully done by Bully, who doubles as set designer.
STRONG ENOUGH SCRIPT
The strength of the performances varies but the script is strong enough to make even more questionable performances relatively enjoyable. Together, Duncan and Douse - though he is hampered by inconsistency of his southern drawl - leads the cast through an entertaining musical.
Tulloch gives an inexplicable wooden performance as Gitlow, moving almost mechanically, but it seems to work for the most part. Karla Josephs (Lutibelle) gives a decent performance. Unfortunately, her voice needs much more work. Though she has an interesting sound, her voice breaks often and she falters on the high notes.
It is interesting that Bully chose to allow Charlie (Orrin Scott-Stewart), the only white person in favour of racial integration, to be a childlike spineless creature. His role, and the archetype he stands for, is essential to changing racist ideas, thus why make him so unappealingly weak? Nonetheless, Purlie is an entertaining look at racism and quite a tribute to the tradition of 'tekkin kin teet kibba heart bun'.
