Tanya Batson-Savage, Freelance Writer 
WITHOUT GETTING too dramatic about it, poetry has been hitting the stage. Over the past two years several theatrical productions have used the language of the poet as its muse or have simply staged dramatic poetry.
The latest of this set comes in the form of the two mini-productions which are being staged by the Drama School at the Edna Manley College of the Visual and Performing Arts. This weekend, the Drama School presents Callaloo, directed by Robert 'Bobby' Clarke, and Ringa Linga Ling, directed by Damion Radcliffe. The productions opened on Friday night at the Dennis Scott Studio Theatre at the college on Arthur Wint Drive.
Callaloo, like the Eastern Caribbean dish which shares its name, takes in a mix of ingredients, using dance and music along with the poetry. The production uses the character 'The Spoiler' (which symbolises decay and destruction), scooped out of Derek Walcott's The Spoiler Returns, while the production explores the concerns and experiences of Caribbean people.
Ringa Linga Ling uses the poetry of the revolutionary figure and poet Martin Carter. Carter's poetry is then used to explore the possibility of a revolution in Jamaica. It looks at the rising cost of living in Jamaica, the nature of the human condition and combines classical Greek and modern theatre.
RESTAGING
This weekend also sees the restaging of another production which employs poetry, The Black That I Am, written by Karl Williams and directed by Brian Heap. The Black That I Am, a production of the University Players, first staged earlier this year and beginning its rerun last weekend, examines the nature of blackness in the modern world.
Heap has staged other productions that use poetry, including The Domestic Science of Sunday Dinner using the poetry of Lorna Goodison. "I have been saying for some time to my students, and I think in other public fora, that I think our playwrights need to catch up with our poets," said Heap.
He notes that while poets like Goodison have been using the personal to explore the universal, playwrights have been keeping their fare light.
"It's almost like they're reluctant to confront the issues and when they confront them it turns into a ... sex comedy," said Heap. "Maybe they're reluctant to confront the pain that the society is going through."
Poets, however, seem to have no problem tackling life's harsher realities. Of course, the average poet has no delusions about making his living from the art, so he can be more controversial in his topics. Not surprisingly, most of the productions using poetry as their vehicle have been experimental and not very commercial-driven.
Heap believes, however, that the depth and breadth of issues which can be found in poetry is what is allowing some producers and directors to turn to poetry. Since this year, other productions to also include or use mainly poetry were Gina Rey Forrest's Reality Check and Amina Blackwood Meeks' 'Matters Arising', which incorporates poetry from the Royal African Soldiers.
All these productions also seem to be willing to deal with the harsher realities of life. 'Reality Check' looked at the issues of drug abuse and HIV/AIDS. While 'Matters Arising' was not quite dark, it looked at some of the very serious issues rising in modern Jamaica.
Radcliffe, who is a guest director of the Edna Manley School for this production, notes that the sense of resilience found in Carter's poetry spoke to him. He explained that he had to choose between the works of Carter and Walcott, but was pulled to Carter. In tackling the 12 poems to be used in Ringa Linga Ling, Radcliffe chose to incorporate the motif of the bell - hence the production's name.
The sound of the bell is both the school bell, the bell in the school of life and gunshots. He notes that the revolution which he explores in the production is not a political one. "The revolution I speak of is not so much one where anarchy takes place. It's choice," he said.
Owen 'Blakka' Ellis' 'Tick Tock', which was first staged as a drama school mini-production, is also scheduled to take the stage once more early next year. In an interview, via email, Ellis admitted that staging a poetic production is very risky business, but it is important enough for him to take that risk.
Interestingly, 'Tick Tock' is one of those productions that explore the harsher issues of life, but Ellis hopes that he is able to strike a balance. He explained that his director, Carol Lawes, noted that the production should not be the same as watching the evening news.
"But people watch dark movies and read horror novels," he said. "I just need to ensure that the moments of light I introduce are truthful. 'Tick Tock' explores inner-city reality; and the beauty about that reality is that people party every night and bling out every chance they get. They laugh and love and live (all that light) in the midst of the darkness of poverty and crime and aggression."
Heap notes that if playwrights are worried about the darkness of an issue, they could employ satire. He points out that Aston Cooke has done this. Cooke's Jamaica 2 Rahtid, currently playing at the Barn Theatre, is a great example of insightful satire and breaks with the general trend of musical revues.
Interestingly, Jamaica 2 Rahtid provides an example of poetry making it through to commercial theatre. One of the sketches uses a dub poem by Sheldon Shepherd, entitled 'Tell Yuh Self'.
"Poetry is powerful ... and truthful," says Ellis. It seems that many other directors and even writers will continue to explore the power and truth to be found in a verse.
