Tanya Batson-Savage, Freelance Writer
Left: Baby Moses is the centre of attention during the Father Richard Ho Lung and Friends play 'MOSES Encore', at the National Arena, Kingston on Sunday. Right: Moses struggle with one of Pharoah's men in 'MOSES Encore' at the National Arena on Sunday. - WINSTON SILL/FREELANCE PHOTOGRAPHER
MOSES, DIRECTED by Alwyn Bully, remains a visually arresting production the likes of which is not often seen on local stages. The Father Ho Lung and Friends production, originally staged in 2004, has returned for an encore performance for two weekends, ending next week end at the National Arena.
The play is wonderful, in the most basic sense of the word. It deals with issues that inspire wonder, and it effectively renders them so as to in turn generate wonder in the eyes and mind of the audience.
The musical stages the life of the biblical prophet Moses, his rise from Egyptian boyhood to potential ruler of Egypt and finally to his stance as leader of the Israelites, freeing them from slavery and leading them across the desert. As such, the play has a lot of information it needs to cram into its close to three hours of running time and it manages to do so without chopping the tale to bits.
A significant part of this was achieved through its heavy dependence on music and movement to articulate meaning. Music is of course composed by Father Ho Lung with Wynton Williams as Assistant Composer and Music Arranger while Alex Martin is Musical Director and Conductor.
EXTRA TOUCH
Last weekend's performances had an extra touch with the inclusion of the ARS Flores Symphony Orchestra which accompanied the performances. The play benefits from strong musical arrangement and lyrics as well as good voices. Indeed, the play's dialogue is not very strong and there are only a few moments when the dramatic impetus is derived from the dialogue. However, most of the emotional drive for the production is derived from its music and thus the play still soars.
Dance, choreographed by Paula Shaw, is also a significant part of the performance and was beautifully enhanced by Marissa Benain and Marlon Simms guest performance. Other dancers included Charmaine Blake, Roberta Daley and Dwight Moore (who delivered a good solo).
Furthermore it benefits from good performances by its male lead Wynton Williams and Karl Williams remains fascinatingly 'wicked' in his supporting role, Ramses. However, female performances were occasionally amusing but were largely unremarkable.
Great imagination, technical skill, and once can imagine blood, sweat, and migraines clearly went into rending the exotic, rich costuming, gripping make-up, and various manifestations of Yahweh's might, particularly the burning bush, writing of the ten commandments and the parting of the red sea. Additionally, the play is made relevant to the Jamaican cultural experience through the movement and music which uses a Jamaican and Afro-Caribbean vocabulary.
