Tanya Batson-Savage, Freelance WriterTO CREATE a play with the distinct purpose of teaching something is to risk getting the audience to bite off more than they can chew and then not choke on it. It is therefore quite commendable that Positive adequately creates a bridge between entertainment and education.
The production is a gripping, entertaining work that provides as much information as it does laughter, and the drama of it never plays second fiddle or drum to the laughter.
Positive began its very limited run at the Barn Theatre on Thursday, February 16, and clearly benefits from a massive fusion of talent, complemented by an almost fatal dose of reality.
The play is written by Trevor Rhone, with lyrics by Fabian Thomas and music by Grub Cooper, while Bob Kerr is production manager and set designer and Michael Holgate created the choreography.
Positive's mandate is clear from the opening song, The Numbers Are Rising. What it hopes to do is open eyes to stem this increase. A thermometer which rests in the middle of posters from the few sponsors is a constant reminder of this.
That the director (who also advised on the writing process) is an HIV educator is clearly a plus, as the production is grounded in stark, disconcerting reality. The language is kept at an authentic street level, so a few new terms can be added to the vocabulary as it presents a veritable buffet of slang. The production also presents a graphic look at the impact of economics on sexual practices and therefore the practice of unsafe sex. The production presents sex workers, a pastor, a nun and a young man who may be aptly described as "a wayward youth".
The production takes place on two days that are a year apart. Joe (Robert Clark) takes to the streets with his HIV/AIDS education. While there, he comes across a wide spectrum of people, all of whom have been exposed to HIV/AIDS and not all knowingly. The story attempts to weave in their stories using a series of flashbacks. Fortunately, they are directed with such life that rather than slow the story down, they propel the plot forward.
Aptly directed by Thomas, Positive is marked by good performances. Though they have been creating their own spaces, as directors Robert Clark and Michael Nicholson show, they remain competent actors. Also among the more experienced members of the cast, Dorothy Cunningham gave a great performance.
PARTICULARLY STRIKING
Tiesha Duncan continues to defy her own age by convincingly playing much older women. Though she plays two roles in the production, she is particularly striking as the desperate common-law wife Delores, who compromises her own health because of her economic situation.
Christopher Gordon has a little trouble straddling the dual language scenario, as his diction was more comfortable with standard English. However, his tone and actions quite made up for it. Everaldo Creary's engaging and infectious stint as the HIV virus, leaves one in the awkward position of declaring that HIV was fabulous.
GREAT VERSATILITY
Camille Davis also played dual roles and displayed great versatility and talent as she moved from a business woman to a
bubbling dancehall nymph. Keneisha Bowes gave a chilling rendition of a 13 year-old
exotic dancer's commitment to peddling her body.
Indeed, the production's weakest link was its set which lacked the vibrant nature of the rest of the production. Additionally, on occasion, the dialogue struggled under the weight of all the information that was shoved into it. Nonetheless, it remained for the most part funny, gripping and oh so real.
