Krista Henry, Staff Reporter
Members of the Independent Actors Movement perform the play 'Two Can Play' at the Best of Tallawah, held at the Philip Sherlock Centre for the Creative Arts at the University of the West Indies last year. -Andrew Smith/Photography Editor
"From the start it has been the theatre's business to entertain people ... it needs no other passport than fun," once said playwright Bertolt Brecht. In Jamaica the situation greatly differs, as the theatre world is plagued by many woes.
Up-and-coming playwrights are finding it difficult to break into the world of Jamaican theatre. There are difficulties stemming from venue, money and sponsorship, as well as recognition by patrons and the theatrical world.
One of the major issues for a number of writers is the cost of putting on a production. Playwright, actor and producer of such works as Licky Licky Matey, Ruth Samuels, says "The venues, they price us out of the venues. Putting on a play right now at a venue that a crowd will follow is always difficult. It cost a lot of money by the time you finish promote a play at the Ward Theatre; when you start to collect you might not collect back half of that.
"To promote your play on television is a way lot. It don't mek no sense promote your play and put on two little spot for the day; it don't reach the market. You see yourself a spend at least a $200,000 with CVM and TVJ, that will give you a little mileage. But where that money going to come from? People like a Ruth Samuels will not get a good sponsor. They price out the little people, so you can hardly produce a play," she said.
money talks
According to Samuels, "You money going to mek you be known. If you come tomorrow and have the money to make yourself be known then you'll make it, otherwise it's very hard ... Ralph Holness have a play at the Ward Theatre recently. The play is very good, but him don't have the money to promote it the right way. It don't bring in a big crowd and people seh the play not good; that's not true. In some theatres, the play is like stupidness but them have the money to promote it. But if your play good and you don't have the money to promote it then its gonna flop."
Playwright Basil Dawkins, who recently did Hot Spot, said "Rental is a major expense and so is advertising. If you don't spend on advertising you won't be able to spend on rent. If you have a good product then you have to spend money on media advertising, television and newspapers. Television and newspaper advertising is expensive, especially as a young producer. Plus, sometimes you have to give away tickets to get the word out there, encourage people to come and watch."
There is also the matter of lack of sponsorship. Dawkins says "It's not easy to get sponsorship for theatre in Jamaica. They prefer to deal with dancehall. If there is sponsorship, theatre gets a minimal amount."
Another passport needed for entertaining theatre is the space itself. In Jamaica there is a handful of theatres, most located in Kingston. Limited space means fewer chances for newcomers. Ruth
Samuels complains that "Little Theatre they always book us for five years. Ward Theatre is one of my main ground, but because of the violent crime now people hardly want to go to the Ward Theatre. Not to say that the Ward Theatre won't pull a crowd, but you have to advertise a whole lot".
Basil Dawkins started off his productions at the Barn Theatre and has since moved on to Little Theatre and Little Little Theatre. Dawkins says "it's an everlasting problem. There aren't enough theatre spaces in Kingston, in fact, Jamaica. The cost of putting up a proper theatre facility is so astronomical. A suitable venue for a theatre would ideally be in a location that would attract a lot of patronage. The ideal location would always be competing for another commercial entity that would give more return than the theatre".
"People who have spaces and a theatre they put you on a cycle, like six weeks to three months. They try to rotate among people who have things to do. There are spaces that are in high demand, so it's hard for you to get them because the people generally work with people they have been working with over the years. It's hard for a new person to get through," Dawkins said.
Kenny Salmon has staged his plays at the Ward, Barn and Little Theatre. "I have a play called Seduction to do but I'm waiting on a space. I use the Ward, but I can't afford it for more than a weekend. The Ward seats over 800 people; in a regular play your anticipating between 200 to 150 persons. So your're paying for a larger venue than you can fill. Little Theatre is more affordable, but you find that venues are always booked. Some persons book the theatre in advance, so even if you don't have a play, your're going to go and find one," Salmon said.
Carolyn Allen, tutor/co-ordinator of the Philip Sherlock Centre for the Creative Arts, University of the West Indies, Mona, says "the difficulty with the Philip Sherlock Centre is that we are primarily booked to students. We have developed a tradition that is dedicated to certain acts. One season is dedicated to student groups, almost a standard three to four months. Then there are other events that are university or centre related. Outside of that there are other things; there is basically a standing calendar. Its hard to get in for a run, maybe for a weekend".
The availability of good actors is another issue, as Salmon says "shortage of good actors is also a problem. The mentality is that when your're putting on a play people ask 'who is in it?' Those of us who want to give young actors a chance can't, because people want to see established actors. It doesn't encourage the grooming of new talent. So when Oliver Samuels is no more, then it will be difficult to find actors".
