By Tanya Batson-Savage, Freelance Writer 
A scene from Basil Dawkins' suspense action 'dramedy' 'No Disrespect', now playing at Little Little Theatre, Tom Redcam Avenue. - Winston Sill/Freelance Photographer
NO DISRESPECT, written and produced by Basil Dawkins and directed by Robin Baston, is another attempt by Dawkins to provide much more than something to laugh about. Unfortunately, this time around the comic elements are the only successful parts of the production.
No Disrespect unfortunately seems to have bitten off more than it can chew because of the technical limitations of the theatre, but nonetheless it presents a very digestible fare. The show attempts to be a suspenseful, action 'dramedy' but the action is limited greatly by what is possible to produce at the Little Little Theatre. Dawkins' pen fumbled the dramatic elements and the tag team effort of writer and director to create the suspense was simply not enough. There are a few twists in the plot, but no suspense.
Nonetheless, No Disrespect works with an interesting concept. It tells the story of Dexter (Maurice Bryan), a man living in an abusive relationship who tries to regain his self-respect and assert his manhood through physical and emotional strength. Dawkins then uses interesting archetypal choices in his creation of this fight of good versus evil. The good guys are led by a pastor (Charles Hyatt), while evil is headed up by a business man (Volier Johnson). It therefore contrasts spirituality with capitalism, and righteousness with corruption.
Additionally, the cast is quite good featuring an admirable mix of some of theatre's most experienced actors and budding talent. Indeed, both Bryan and Christopher McFarlane, who plays a supporting role, continue to prove themselves talented actors who are quite engaging on the stage. McFarlane's role as Carlton will probably not earn him another Actor Boy award, but it is quite entertaining.
In as much as Byran is clearly a good actor his character needs to be further fleshed out, both from the acting and writing perspective. Though it is important that one understands Dexter's need to regain his self respect, it is not as clear why he lost it. Additionally, he is quite an unimpressive hero, though this may well have been the intention of the production.
No Disrespect also suffers artistically because it is most ideally suited to film. While it might be possible to do a pretty good job with a well equipped theatre, the Little Little Theatre falls well short of this. Indeed, even the set is unable to live up to the production's requirements of five settings.
It is therefore unfortunate that No Disrespect borrows the worst element of the action movie (a hackneyed romance), but cannot benefit from the best of it (intense action). Tony Robinson provides some decent fight choreography, but it is not very dramatic. In much the same way, the torture scene, which bears a striking resemblance to Lethal Weapon 2 falls short.
The romance between Millie (Nicole Brown) and Dexter is the weakest element of the play's plot and characterisation. It is unnecessary and unbelievable clearly happening because it is written into the script rather than any discernible chemistry between the two characters. Millie's character is also quite disappointing. Millie supposedly trained Dexter and yet when it comes time for the grand rescue mission he is the one who goes charging off while she cries Penelope-like, wailing that she does not want to lose him.
No Disrespect does provide however, much of what one would expect from Dawkins, an attempt to reflect important issues in society and be a little different from the pack. Unfortunately, it falls short of at least his last two productions.
