Marcia Rowe, Gleaner Writer

A scene from the play 'Yes!' - Nathaniel Stewart/Freelance Photographer

"Yes!" It is an amazing production. Imagine, having to transfer your experience of over two decades from memory to paper. Then entrusting people with the responsibility of transferring that paper onto a stage into concrete images for an audience. Does it seem like a mammoth task?

That must have been the challenge faced by the production team (cast and crew) of Father Ho Lung and Friends 2008 production of Yes!, A Musical Journey of Faith and Love: The Story of One Man's battle for the Soul of Jamaica', playing at the National Arena in Kingston.

Struggles

Yes! was written by Father Richard Ho Lung and is based on his life and the journey of the organisation known as the Missionary of the Poor. Divided into two acts and 29 scenes the story begins with the character, Father Luke, a priest with no definite purpose. But this was altered in a vision while on a retreat with some other priests. However, through the characters, Evangelists and Detractors, Father Ho Lung showed the struggles of Father Luke.

The large, appreciative, audience, last Saturday, will concur that it is not often seen on a local stage whereby a director has to focus on moving a cast of approximately 60, and work with three different designers: set, lights and costumes. But Gregg Thames, director of Yes! and his designers Arlene Richards (costumes), Robin Baston (lights) and P.J. Stewart (set) manages to create a musical that demonstrates cohesiveness resulting in a great spectacle.

Stewart's challenge was to design a set for a production with 14 different settings. So, she opted for some flexible pieces of set such as an arch that represents the Eventide Home on one side and the entrance to the monastery on the other side, and steps that provide levels, along with a large backdrop depicting different buildings located in Kingston.

Creative

A backdrop of such magnitude, colourfully decorated, could have become an imposing aspect of the set, ie overshadow all other components of the production. But Baston's creative use of lights, seemed to give life to the backdrop only when required, and as such avert what could have been a split focus. Baston's selective use of follow spots (lights used to create isolation) also lends depth to the visual.

Another innovative concept was the use of two projector screens at the top right and left of the backdrop. And in this visual aid a clear demonstration of unity among Stewart, Baston and Thames. The screens were effectively used, by Thames, for two purposes: to show images of actual events such as pictures of the burnt Eventide Home and switching to the characters on stage, as was the case of the reporter covering the funeral of the two deceased brothers, Marco and Suresh.

Throughout the production Thame's brilliance as a musical theatre director was evident. There was clarity in his blocking, beautiful use of levels and double-staging for dramatic effects. But two memorable directorship decisions were in two of the cathartic scenes where Father Luke, the central character, received a letter from an inmate who was about to be hanged. Thames used the reading of the letter by the inmate, with the aid of lights, for transition from the monastery to the prison.

In the scene entitled 'Monastery Dining Room' just before the deaths of Marco and Suresh, Thame's intention seemed to be to remind the audience of the last supper Jesus had with his disciples, by having Father Luke and the Brothers seated at a table placed centre stage. And when the shots went off the audience the audience was emotionally prepared.

Versatile

Not to be outdone, Arlene Richards' costumes were colourful and versatile. Noteworthy was the speed in which Wynton Williams, as Father Luke, was able to make costume changes in the first three scenes, when in all three he almost initiated the dialogue.

Choreographer Paula Shaw was clever in selecting very simple dance movements, while Wynton Williams is credited for musical directives.

Yes! maybe described as "tweaking the conscience" of all Jamaicans. This is evident in the sub-plots, the life of Paul, which entails the events leading up to the fire at Eventide Home, and the story of the young brothers, Marco and Suresh. But despite poverty, crime and violence Jamaicans should say Yes! to the Lord.

Generally, the large cast lifted the characters off the script marvellously. Ranging from different age groups and physical ability, they performed with zest. Playing some significant roles were Michael Harris as Father Andrew; Carlos Henry, Father Timothy; Maylynne Walton, Melinda, Nicholas Clarke, Patrick; Antonio Campbell, Marco; Rosette Salazar, Marie and Simone Thomas as Rubeena the visually impaired.

Outstanding in their performances were Wynton Williams as Fr Luke, Craig Walters as M-16 and Chevaughn Clayton as Paul.

Yes! It is a family production and is a must-see production. Well done cast and crew.