Profile: Matthew Kelly


Matthew Kelly at Express Yourself. (Courtesy of M.Kelly)

How long have you been involved in Theatre?
Somewhere around 18 years: if you’re counting high school. 

What inspired you to become involved?
Wanting to understand and be a part of performance and story, and then there was that whole teenage love thing.  After that first production if it’s in your blood you’re addicted.

In what capacity do you participate in Theatre?
Primarily I’m a director, but I’m a jack of all trades and believe in having a broad background.  It’s also pretty impractical for us in The Bahamas to paint little lines on the stage and say “I’m an actor!”, “I’m a director!” when what they really mean is “I don’ wanna do that over there, so I’ll give myself this job description right here, thank you very much.”  Even writers should be forced to be involved far more.  To mangle a maxim, if a playwright should write what he knows then he’d better know theatre.

Can you list the productions that you have been involved in over the years?

The Caucasian Chalk Circle

Scrooge / A Christmas Carol.

Snow White and the Seven Dudes.

Cinderella.

Black Crab‘s Tragedy.

Slaps.

The Hold Up.

Island Sex (’02).

Play Time.

Devil on the Cross.

Diary of Souls.

Da Market Fire.

Island Sex (’06).

Da Rally.

Love in Two Acts (The Bear and The Open Door).

Light.

What are some of your most memorable moments in Theatre?
So many!  A random selection: 

Screaming “A fart has no nose!” in the Chalk Circle. I was pretty bad, but it freed me of stage fright.  

Performing Black Crab’s Tragedy (30 member cast) to and audience of two in Freeport

Selling out the National Center for the Performing Arts.

Having my eyes opened during Da Market Fire.

How do you feel about Theatre in The Bahamas? What are its weak and strong points? How active is it?
Thankfully theatre is on the rebound.  

Theatre in The Bahamas is in a fledgling state, a bit weird considering its decades and decades of history.  In a sense it’s really being reborn.  Not all of it or all of the people are new, not by far, but part of our legacy was a disconnect from the previous generation to the current one in theatre.  That’s no-one’s fault per se, but one consequence has been a lot of new groups pushing forward, making their own way (which is excellent) but not having the benefit of the previous generation’s experience and wisdom to pick, choose and refuse from.  It’s also meant that the public’s perception has been one of spotty theatre instead of a steady continuum which helps make it harder to build audiences

An up side is that there are all these great, energetic, passionate, and dedicated people on the scene now doing what they have to to tell their stories and express their creativity.

How do we make it better?
We all know what needs to be done, but these things are just addressing symptoms.  I’ve come to the conclusion that a lot of what really plagues theatre, other arts, and even broader social issues in The Bahamas comes down to us not committing the time to building functional community.  If the mechanisms and social constructs and social capital of functional community are in place then dealing with issues becomes an automatic and second nature response because it’s in the interest of the community.  A lot of the fracturing of the ‘community’ that was present is showing signs of subsiding and this is a great time be building stronger bonds.

How do you prepare to direct a show? Are there any special challenges that you must overcome when directing in The Bahamas?
There’s some prep work that goes on before a play is chosen, but once the script is in hand there must first be a familiarity with the text. After several readings I can begin making decisions on style, spine, technical and creative design, and rough rehearsal and production schedules. All these decisions have an impact on one another but it all comes back to understanding your role as director and the considerations of the play, the place (venue, time and atmosphere), and the audience.  My style of note taking is a mash-up of a few recommendations I’ve come across and I recommend Backwards and Forwards by David Ball and On Directing by Harold Clurman as great books to start with regarding initial preparation. 

There are many challenges when directing in The Bahamas, but I suspect they’re challenges that are common anywhere that there’s not a highly functional theatre community, and that’s most places that an industry isn’t thriving in.  Time, money, skilled people, but much more than these we face a culture that’s still pretty void of thinking about theatre as a part of their lives.  Cultivating audiences and a general atmosphere where going to plays is an integral part of life is the biggest collective challenge we must address as a community right now.

A producer/production manager takes care of a lot of challenges the play has, so for the director I would say that finding a team that commits to the work a play requires is number one.  There are many who say they’re really interested in acting but they never explore the craft at all.  What they really mean is that they want to be in front of an audience and be applauded, and they expect you to give that to them.  If there’s someone with potential I’ll try to show him everything I’ve picked up along the way, but if you’re not interested in learning I quickly stop you from wasting everyone else’s time.  I give you the conditions up front and if you don’t play by the rules I fire you.  Whether it’s a paying gig or not you’re fired because you’re not working as part of the team and it’s my job to keep things honest and fair for everyone; there’s nothing personal about it.

Any advice for those who want to get involved in Theatre in any capacity?
Read, discuss & do.  Read plays, read books on the part of the craft you’re interested in, support that with books about the other parts of the craft.  Don’t think that information from books is enough, you have to discuss and do what you learn to really grasp it and you have to discuss it with people more experienced than yourself.  So get involved with one or, better, several theatre groups.  And go expecting to work while you learn. Maybe you’ll be amazed that work can actually be fun.

Who were your mentors in Theatre?
I’d have to credit my junior high English teacher, Mrs. Hunter, for showing such passion around plays and literature and learning in general.  The main thing though, was that she cared about us and our learning.  I’ve also picked up a lot of dos and don’ts from people I’ve been around, but I haven’t really had any mentors as such.  Perhaps it’s best to count good books and mistakes and a willingness to learn from them. 

How do you see your future in Bahamian Theatre?
Um… with the all new Future 5000 Glasses Combo Kit?  By reading tea leaves?  

I’m going to direct plays, actively pass on what I’ve learned and try my hand at writing.  I’ll also be involved in the work of building community in theatre.

What is your favorite Bahamian play?
Ha!  I don’t believe in favorites. Seriously.

In your years in theatre, have you seen the government support the arts in a tangible way?
Of course, but if you’re asking if it should be better the answer is also of course!  Still, I’m a big believer in going out and getting it done then shoving it in government’s face to support.  They’re always keen to swoop in for the credit and the photo op once the work is done.

What role, if any, should the government play in not just theatre but the arts as a whole?
Government should expect us to get together and figure out what we want as a community and then to reasonably fund our needs in the same way others receive funding.  They shouldn’t just prop us up, but instead should be taking care of infrastructural needs, like improving the National Centre. They also need to help in maintaining a framework that enables the arts to flourish but otherwise stay the hell out of the way.  Until we get our collective butt together I don’t think it reasonable to expect much.  It’s obvious that a national program is needed, but again I think that’s a cart-before-horse conversation.  That said, even without looking at the arts community government should recognize the value of art, and much more importantly, creativity and have a basic system in place to support consistently both the production of artistic works and the cultivation of creativity in the broad populace.

Advertisements

Profile: Claudette “Cookie” Allens


Cookie

Allens in SiP's "God's Trombones" 2010 (Courtesy of ringplay.org).

How long have you been involved in Theatre?
From 1970 – 41 years.

What inspired you to become involved?
A workmate – the university players was having a membership drive.

In what capacity (ies) do you participate in Theatre?
Actor, front of house, costumes, and any other area requested.

Can you list the productions that you have participated in over the years?
The list is very long, here goes;

The Chance,

God‘s Trombones,

Chippy,

You Can Lead A Horse To Water,

Woman Take Two,

Agnes of God,

Mama They Raising the New Flag Now,

Them,

Fathers Day,

Amen Corner,

A Raisin in the Sun,

Ceremonies In Dark,

Old Men,

I, Nehemiah, Remember When….

What are some of your most memorable moments in Theatre? Good and bad. How do you feel about Theatre in The Bahamas?
The Bahamian theatre has been at my soul for more than 40 years.  I have been there when it was at its peak, saw it fall and I’m here now as it takes an upward turn.

What are its weak and strong points?
I feel that it’s weak points is that there is no training ground for young theatre artists.  No major programs at the Dundas or other institutions.  And the strong point is that the productions are of a high standard and there are persons still interested in viewing and participation.

How active is it?
Not as active as it has been in previous years when there were groups performing throughout the year on a very regular basis.

How can we make it better?
We have to continue the role that we are playing at the moment. This will encourage continued support. With programs like SIP I can see us providing a training ground for young people through the support and influence of the persons we attract here during our one week festival.

What do you do to prepare for a part?
First I study the character, make the choices that are not obvious together with those that are obvious in the script, consume myself with the choices and living the person.

Any advice for those who want to get involved in Theatre in any capacity?
Participation in the theatre is a total commitment.  If you are not prepared for that type of commitment, your best bet is to be an audience member.

Who were your mentors in Theatre?
Pandora Gibson Gomez and  Cicely Tyson.

What is your favorite Bahamian play?
You can Lead a Horse to Water.

In your years as an actor, have you seen the government support the arts in a tangible way?
…. Carifesta, the Arts Festival…..

Profile: Philip Burrows


After a show

A photo of Philip in 2009 after his production of "Music of The Bahamas" at The Marley Resort. (photo by T.Cartwright-Carroll)

How long have you been involved in Theatre?
I began my involvement as a child in church productions and also performed in High School productions. I got involved in the local amateur theatre scene in 1974.

What inspired you to become involved?
I loved the stuff I was doing at church and school and wanted to do the same on the bigger stage so it was just the desire to get up there and do what I had seen others doing.

In what capacity do you participate in Theatre?
Directing, lighting, sound, a little writing, set design and construction, make-up, some acting and anything else that needs to be done.

Can you list the productions that you have been involved in over the years?
Having directed approximately 100 productions:

DIRECTING
Lester B. Pearson College – Victoria, B.C., Canada
Sweeney Todd
The Rimers of Eldritch 
True West
Once On This Island
Agnes Of God
House Of Blue
Leaves Night
Mother
Six Degrees Of Separation
Twelve Angry Women
Glengarry Glen Ross
The Runner Stumbles
The Odd Couple (Female Version)
Burn This Arsenic And Old Lace

Philip at work. (courtesy of N.Bethel)

Dundas Centre for the Performing Arts – Nassau, Bahamas

And Miss Reardon Drinks A Little
The Good Doctor
Zoo Story
You Can Lead A Horse To Water
Wait Until Dark
Sammie Swain (Co-Directed with Winston Saunders)
The Odd Couple
Dark of the Moon
Mr. Speaker
Thesolanicus
The Gingerbread Lady
A Case of Libel
Bedroom Farce
The Foreigner
Crimes of the Heart
The Rimers of Eldritch
I, Nehemiah, Remember When…
Our Boys (Co-directed with Winston Saunders)
I’m Not Rappaport
Brighton Beach Memoirs
Buried Child (Co-directed with David Burrows)
The Prodigal’s Brother
I, Nehemiah, Remember When…(Chapter II)
True West
Pa and the Preacher
The Mysterious Mr. Maphusa
Powercut
Of Mice and Men
Driving Miss Daisy
Blues for Mr. Charlie
No Seeds in Babylon
Agnes of God
Music of the Bahamas
Olemi’s Passage
I, Nehemiah, Remember When…(Chapter III)
Fatal Passage
A Pack of Lies
Father’s Day
The Runner Stumbles
The Amen Corner
Twelve Angry Men
Smile Orange
Other People’s Money
God’s Trombones
The Children’s Teeth

Edinburgh Festival FringeEdinburgh, Scotland

No Seeds in Babylon
You Can Lead A Horse To Water
Music of the Bahamas

Julian Theatre – San Francisco, California, U.S.A.

You Can Lead A Horse To Water (Co-Directed with Richard Seyd)

Buena Vista Restaurant – Nassau, Bahamas

Dedicated To The End

Casuarinas Hotel – Nassau, Bahamas

Roots, Rhyme and Rhythm

Caribbean Festival of the Arts (Carifesta) – Barbados

Them
Single Seven

Regency Theatre – Freeport, Bahamas

You Can Lead A Horse To Water
I, Nehemiah, Remember When…
I, Nehemiah, Remember When…(Chapter II)

Le Cabaret Theater – Paradise Island, Bahamas

Sammie Swain (Co-Directed, with Winston Saunders)

Ardastra Gardens – Nassau, Bahamas

Father’s Day

Rainforest Theatre (Formally The Bahama Rhythm Theatre) – Nassau, Bahamas

Sammie Swain (Co-Directed, with Winston Saunders, a command performance for Queen Elizabeth II at CHOGM (Nassau) 1985)
Women Talk

Acting Roles:
 The Odd Couple (as Felix)                                  
 Orphans (as Treat)
 The Gingerbread Lady (as Lou)
 The Sign in Sidney Brustein’s Window (as Alton Scales)
 Blues for Mr.Charlie (as Pete)
 The Sea Gull (as Dr.Dorn)
 Journey to the Day (as Dr. Gutera)
 Wedding Band (as Nelson Green)
 The Music Man (Harold Hill)
 Hello Dolly (as Barnaby)
 Finian’s Rainbow (as Woody)
 Lovers and Other Strangers (as Johnny)
 Zoo Story (as Jerry)
 The Odd Couple (as Speed)
 Of Mice and Men (as Boss)
 Poison Tree (as Smiling Man)
 The Hollow Crown (Various)
 Shakespeare and the Indians (as Brack)
 Dinner At Eight (as Fitch)
 Major Barbara (as Bilton)

"The Children's Teeth" was featured at Carifesta in Guyana. Here Philip is building the set. (courtesy of N.Bethel)

What are some of your most memorable moments in Theatre?
A moment that stands out for me was a rehearsal of Cleophas Adderley’s opera “Our Boys”. I was co-writer, with Winston Saunders, of the Libretto and co-director of the production. The Orchestra, from Julliard, had arrived and it was during our first full rehearsal that I realized what we were in fact doing, not only in The Bahamas but also in the wider Caribbean.

How do you feel about Theatre in The Bahamas? What are its weak and strong points? How active is it? How can we make it better?
Theatre has had its up and downs. I feel it was at an up period in the late sixties and early seventies when all of the Dundas member groups were active. In the late seventies came a down period as the ability to constantly have something going on became more and more difficult. The eighties ushered in the Repertory Season and theatre thrived for almost twenty years. The biggest down point, in my opinion, was the late nineties when the theatre was pretty much on life support. We are in the midst of an upturn and our challenge it to make sure that we never go back to being on life support again.

How do you prepare to direct a show? Are there any special challenges that you must overcome when directing in The Bahamas?
Read the play. Read the play. Read the play. Oh, and read the play. I feel we have pretty much the same challenges here as people have everywhere.

Any advice for those who want to get involved in Theatre in any capacity?
If you are serious about being involved you have to commit. If you have doubts about committing then be an audience member because we need those as well but people depend on you if you are in a production and it’s most frustrating to be missing someone from rehearsal or arriving late for a performance when you are trying to pull a work together and it’s not fair to the other cast and crew members.

Philip giving advice to the 2009 cast of "Music of The Bahamas" (courtesy of N.Bethel)

Who were your mentors in Theatre?
My mentors were my teachers from acting school. My understanding of the crafts of both acting and directing began with them. I admire the work of a number of actors and directors but I’m not sure I would say they were actual mentors. When I think of a mentor I think of someone who helps and guides another individual’s development, the example set by the original Mentor in Homer’s “The Odyssey”.

How do you see your future in Bahamian Theatre?
As I mentioned earlier, we are now on an upswing and it seems as if more people are becoming interested in many aspects of the theatre so I think the future is bright for Bahamian Theatre as long as we can maintain a high standard of quality and not settle for just anything being acceptable.

What is your favorite Bahamian play?
You Can Lead a Horse To Water is not just my favorite Bahamian plays it’s one of my favorite plays period.

In your years as a director, have you seen the government support the arts in a tangible way?
No.

Philip and the late Winston Saunders in a production of "Zoo Story" (courtesy of P. Burrows)

What role, if any, should the government play in not just theatre but the arts as a whole?
I think that all an artist can ask for is support. I don’t believe that artists would want any Government involved in their actual work. The facilitation of rehearsal spaces, reasonable venue rentals, duty free supplies, grants etc. would all be greatly appreciated and some form of respect and the understand that what an artist does is their job and it’s no less important than the work of lawyer or any other professional.

Profile: Ian Strachan


IS

Ian Strachan in Track Road's 2001 play "The Hold Up" (photo by Derek Smith)

How long have you been involved in Theatre?
For about 20 years.  But before I was involved in “theatre” I was involved in “drama,” through church and school.  I adapted and directed and starred in a Tolstoy play when I was a teenager and performed it for church at C. W. Sawyer Primary.

What inspired you to become involved?
My mother was a playwright (though not a nationally recognized one) and I was inspired by her I believe. So I was writing short plays since Junior High.  I remember dramatizing scenes of the Bible for my Religious Knowledge Class at CH Reeves.  Scenes like “Joseph and his Coat of Many Colors.”

In what capacity(ies) do you participate in Theatre?
I have done it all.  Directing is by far the hardest.  I can write a play much more easily than direct one.  In writing I have only myself to coax, to discipline and to engage.  Once a story takes hold of me the scenes just come.  Directing is an entirely different animal.  Particularly directing in The Bahamas when you have no money to spend.

Can you list the productions that you have participated in over the years? 
I have written seven plays.
Pa and the Preacher (1990),
The Mysterious Mister Maphusa
(1990),
No Seeds in Babylon
(1991),
Fatal Passage (1992),
Black Crab’s Tragedy  (1998),
Diary of Souls (1999),
The Devil and Jacinta (2009)  (also called The Devil on the Cross).

I have directed nine plays for national audiences.  My own work:
No Seeds in Babylon.
1997,
Black Crab’s Tragedy. 1998,
Diary of Souls.
 1999,
The Devil and Jacinta, 2009
Pa and the Preacher 2010.

And the original work of other Bahamian playwrights:
Deon Simms’ Slaps (2000),
Charles Huggins’ The Hold Up (2001),
Nickeva Eve’s Island Sex (2002),
Ward Minnis’ The Cabinet (2011)
I produced Da Market Fire by Emille Hunt (2003).

What are some of your most memorable moments in Theatre? Good and bad.
Performing to three people in an auditorium in Freeport.  Definitely the low point of my theatre career.  Either that or the catastrophic opening ceremony of the CAC Games when the athletes stole my set before we actually put on our show. (The bad comes to mind more easily.)  High points: performing No Seeds in Edinburgh in 1991.  The staging of Fatal Passage (which coincided with the 1992 election and a hurricane).  Taking Diary of Souls to New Orleans and Barbados.  And restaging my first play, Pa and the Preacher in 2010.

How do you feel about Theatre in The Bahamas? What are its weak and strong points? How active is it? How can we make it better?
To make theatre stronger in this country we need: an endowed national theatre company; an equipped national theatre space; an endowed Dundas Centre; a Bachelors degree in Theatre or Performance at COB; a transparent national grant system for theatre projects; cash prizes for new plays.  These will go a long way.  Shakespeare in Paradise is a great thing.  I think also, the state should commit to funding quality recordings of theatrical productions (ones that they have helped fund through grants, for instance, or any production where the producers are willing to allow the public station broadcasting rights).  This will ensure that all Bahamians are exposed to this important form of cultural expression.  Theatre is the most socially relevant Bahamian art form; it should be experienced by as many Bahamians as possible.

Strachan as Pol in TRT's "Diary of Souls" (photo by Peter Ramsay)

What do you do to prepare for a part? 
It would take a while for me to reconstruct my process for you here. But I would say I try to guided by The Method.  The actor must believe in and be loyal to the character.  The actor must join the world of the character.  The actor must summon real lived emotions and experiences and manifest them.  Pay attention to detail.  If it feels like you’re “acting” then you are. Your actions and utterances, should feel real and authentic to you.  If they do, they will be real and authentic for your audience.   Be what you know.  If you intend to imitate, go beyond mastering the simple speech of a well known person.  Yes. you can talk or laugh like a certain public figure.  Good.  Can you cry like him?  Really cry?  Really feel scared like he would?  That takes a level of commitment and surrender of self that most are incapable of or unwilling to attempt.  I am not a great actor.  I hope  I am competent.  Perhaps one day I will take on a role that I feel is important enough to strive to be great in.  Probably not.

How do you prepare to direct a show? Are there any special challenges that you must overcome when directing in The Bahamas? 
Many who want to act do not want to study, prepare and be instructed.  They lack discipline.  I hate the fact that actors won’t take notes during practice.  You have to give them the same direction day after day. Acting is a craft and a discipline.  There is natural talent, or a natural disposition which makes it easier for you to be successful but you still need to listen to instruction, advice or critique.  Some people lack humility and are selfish.  Such people are harder to direct.  I confess I have also been my own worst enemy because I cast some people sometimes who don’t have any facility for acting the part; I do it because I want a warm body.  But truly, they cause me such grief that I’d be better off hunting for the right person.  

 The director’s job is also harder if he doesn’t have the right support; if he must be his own stage manager, his own set builder, his own producer, his own marketing man, if he must be one of the actors.    Each of these takes you one more step away from being optimally effective at directing. 

What does it take to write a play?
Your questions are unreasonable!  I’d be here for days answering this.  The dramatist must ask the question: why do I want to tell this story?  Is this the story for this time, or a story for all time?  As for that last question, both have their place. Most of all, though, what is the conflict?  Who are the contestants in the struggle?  Why should someone care who wins this particular struggle?  Are you always complicating, deepening, tightening the conflict? If not, then cut, cut, cut.  Always remember, the degree to which things are getting more and more effed up is the degree to which your audience is interested in your play.

Any advice for those who want to get involved in Theatre in any capacity?
Try out for a part.  If you don’t get a part, volunteer to work on a show in any capacity where help is needed.  Be positive, friendly, generous, and remain focused on the job at hand.  People underestimate how important concentration and focus are in theatre, whether you are on stage or off. 

Who were your mentors in Theatre?
Shakepeare. Senorita Strachan.  James Catalyn.  Winston Saunders. Philip Burrows.  Nicolette Bethel.  Wole Soyinka. Derek Walcott. Amiri Baraka.  Stanislavksi. Harold Clurman. Brecht. Artaud. Beckett.  August Wilson.

How do you see your future in Bahamian Theatre?
Every time I direct I swear it’s my last time.  So this is not a good question for a man like me.  Right now I feel like theatre is either an irresistible whore or a syphilitic prince charming.  Take your pick.

What is your favorite Bahamian play?
Horse and Father’s Day: Bahamian. Caribbean: Dream on Monkey Mountain.  African: Death and the King’s Horseman or Lion and the Jewel.  Euro-American: Chalk Circle and Threepenny Opera. Shakespeare: Tempest, Merchant, Othello.

In your years as an actor, director and writer have you seen the government support the arts in a tangible way?
I have received government support. Yes.  The government helped fund my documentary.   The government has granted me lower rates on rental facilities.  The government has supported a children’s summer drama workshop I was involved with.  They can and have helped.  They can do more also.

What role, if any, should the government play in not just theatre but the arts as a whole?
See above.

Profile: Ward Minnis


Ward as Cartwright in "The Cabinet" (courtesy of Ward Minnis 2011)

How long have you been involved in Theatre?
All my life. Or since 2003. Whichever came first.

What inspired you to become involved?
I believe playwrighting is the best medium to reach the Bahamian masses. I like all forms of writing, but if you want to reach people you have to become a playwright, I think that’s why I decided to become involved.

In what capacity (ies) do you participate in Theatre?
Producer, actor, writer and in marketing.

Can you list the productions that you have participated in over the years?
The Landlord, Playtime and The Cabinet. I did something in Canada but it was pretty bad – so bad I won’t include it here.

What are some of your most memorable moments in Theatre?
The Good. My first time on stage. The exhilaration  of being on stage was like nothing before.

The Bad. That show in Canada proved how bad theatre can go sometimes. It was a dress rehearsal and it was bad. The script was an abomination and the actors never took it seriously, so we ended up with a disaster of an opening night.

The Ugly. Skeebo forgot his lines and I had to feed them to him one night during The Landlord run.

The Landlord poster. (courtesy of nicobethel.net)


How do you feel about Theatre in The Bahamas? What are its weak and strong points? How active is it? How can we make it better?
I think it’s fine. The problem is with Art in general or how Art Intellectuals view the public. They think the public is retarded and that they must elevate them to their level. So what we end up having is popular theatre and the ‘good’ theatre. There isn’t much effort to reach the people, instead we create art and we feel the people must understand. What we need is some serious playwrights who are trying to capture the imagination of the people.

Any advice for those who want to get involved in playwrighting?
Ya gotta sit your ass down and write. Be prepared for criticism. Be prepared to destroy it and rebuild it. It takes time.

Who were your mentors in Theatre?
Ian Strachan. I’m a member of a playwrights circle in Canada but it’s hard to call them mentors.

How do you see your future in Bahamian Theatre?
Depends on how The Cabinet pans out. If it works out I have a potentially long future in Bahamian theatre.

What is your favorite Bahamian play?
The Cabinet of course!! Seriously though,  I have yet to read it. I’ve read You Can Lead A Horse To Water, but it’s not my favourite.

In your years as a writer, have you seen the government support the arts in a tangible way?
Not really. Not in any consistent way either. They do it when it’s convenient and when it helps to bring in tourists. Look at the national festival, Junkanoo – which they support – but are constantly trying to make safe for tourists and the middle class. They try to colonize Junkanoo and it resists because how can you colonize that which is meant to express resistance?

So, No. The government does not support the arts, but when they do it seems to come with unwanted and unnecessary meddling.

What role, if any, should the government play in not just theatre but the arts as a whole?
I think they should get out-of-the-way. It would be nice if they gave us money on a consistent and predictable basis, but we should not hold our breath waiting for them to get a clue. Artists should thus accept anything from the government as a gift, not a right – even though they deserve it.

Profile: Erin Knowles


Reva and Erin backstage at SiP's 2010 "A Midsummer Night's Dream" (left to right, Reva Cartwright-Carroll and Erin Knowles courtesy of R.CC)

How long have you been involved in Theatre?
9 months

What inspired you to become involved?

Travis & Reva Cartwright-Carroll. They were both actively involved in theatre and encouraged me to try out some aspect of theater.

Dr. Toni Francis also convinced me to try out for Horn of Plenty, I failed on that note, but ended up the assistant director.

In what capacity (ies) do you participate in Theatre?

I have worked as an assistant director, stage assistant and sound, currently directing a short film.

Can you list the productions that you have participated in over the years?

Horn of Plenty ft Indio: Shakespeare in Paradise 2010

Midsummer Night’s Dream: Shakespeare in Paradise 2010

The Cabinet: 2011

Sigma Tau Delta Short Film: 2011

What are some of your most memorable moments in Theatre? Good and bad.

My first really bad experience occurred recently. I never realized how frustrating it could be for a cast member to be missing when the production is scheduled to begin. On two separate occasions two of the main characters showed up 15-20 minutes after the show was scheduled to begin. The frustration was unnerving and the tension was beyond bearable.

I’ve had good experiences in all of the productions I’ve worked with so far. I particularly enjoyed watching every performance that I assisted with, especially Horn of Plenty, as I was the assistant director. I felt proud of the male and female actors, they were my colleagues and responded well to Dr. Wisdom’ direction, as well as mine. 

How do you feel about Theatre in The Bahamas? What are its weak and strong points? How active is it? How can we make it better?

Theatre in The Bahamas is underappreciated. It is gradually improving as more Bahamians are becoming aware of its existence. There are more weaknesses than there are strong points at the moment. I’m fairly new to the scene, but I realize that the competition between the few playwrights tend to disadvantage them, as well as the Bahamian people. When I say that, I make reference to the lack of communication between members of the world of theatre. With so little opportunities for staging a play, other than a festival like SIP, I believe it is pointless having five different productions going on at the same time. Who really benefits? There is no strategic plan for staging plays. Communication is non-existent; no one volunteers information that can prove beneficial to all. The populations of The Bahamas is less than 400,000, and by no means do they all support theatre, with the little support garnered from the public, I think productions should be staged in consideration/support of other playwrights as well as in consideration of the audience.

With my view on the weaknesses out of the way, I think playwrights should be commended for the continuous effort exerted in theatre. In an attempt to keep it alive and develop interest in it, we are privy to productions like “Woman Take Two”, “Not my Good Child” “Pa and the Preacher”, “The Cabinet” and many others. I believe the strongest point, and one that continues to develop, is the interest in unveiling the nuances of politics in Bahamian society. This I believe is beneficial and timely.

What does it take to be a stage manager/assistant to the director?

It takes time, effort and a willingness to learn. I learned, as assistant to Dr. Wisdom, it’s not so much telling the actors what it is they need to do, but making them comfortable enough to want to do something differently. Being a stage assistant to Reva Cartwright-Carroll also taught me the importance of taking the initiative, regardless of your assignment backstage, it’s important to remain focus and look for avenues to offer assistance.

Any advice for those who want to get involved in Theatre in any capacity?

Theatre is not simply about acting, there are so many capacities available; finding what suits you will be the only task. I haven’t found my calling in theatre yet but through searching I’ve gained valuable experience in sound, directing and being a stage assistant, I’ve even dabbled in make-up. Taking an interest is the first step, volunteering is second, allowing theatre to embrace you is the final step and there you will be subject to possibilities.

Who were your mentors in Theatre?

Reva Cartwright-Carroll; Dr. Toni Francis

How do you see your future in Bahamian Theatre?

Good question. It is my ultimate goal to be a teacher, but I will offer assistance in any capacity if needed. I’m also determined to reach out for further opportunities to gain experience that will be useful in my classroom. 

What is your favorite Bahamian play?

“Diary of Souls”

In your years as a member of theatre, have you seen the government support the arts in a tangible way?

NOT AT ALL! For the short period of time I’ve been around, the only support I’ve noticed is the few politicians that turn out to see the production.

What role, if any, should the government play in not just theatre but the arts as a whole?

Beginning in the schools, it is important for students to focus on art in its entirety; it should not merely be about junkanoo. Students are ignorant to theatre; they are underestimated and considered too dumb to read Shakespeare or “Diary of Souls”, there is a need for elevation of the Bahamian students, through theatre, they can be raised from the slump they are in and given the necessary tools to garner an appreciation for art in its whole!

The support from the government can also come in the form of respect for theatre. 

Profile: Anthony “Skeebo” Roberts


Anthony as Stephano in SiP's 2009 "The Tempest" (courtesy of Ringplay.org)

How long have you been involved in Theatre?
For 23 years.
What inspired you to become involved?
I started out as a child in prep school under the hand of Thelma Gibson and really enjoyed it from that time. I have always liked performing & entertaining.

In what capacity (ies) do you participate in Theatre?
Actor, writer, director.

Can you list the productions that you have participated in over the years?
Will have to send you a bio (can’t remember right off). LOL

What are some of your most memorable moments in Theatre?
I have no bad memories, though sometimes things do not go as planned…they are all good memories. I always have fun on stage. There are really two good memories I can recall right now – I was MC for the Ministry of Tourism’s show in New York back called Celebration at The Apollo Theatre. It was my most euphoric moment on the stage & it had to do with the fact that at that moment I had the realization that I was in The Apollo Theatre where the immortals of actors/performers once performed.

How do you feel about Theatre in The Bahamas?
A couple of years ago, (perhaps two), I actually thought that theatre had a momentum but unfortunately it seems as if that came to an end. We are just beginning to get a new ‘drive’ I feel.
What are its weak and strong points?
Our strong point is that we are endeavoring to do Bahamian works and address those types of issues. Comedy seems to be the main draw & this is good.
How active is it?
The activeness would depend on good theatre (the physical).
How can we make it better?
By what we are attempting to do (S.I.P.) and other groups who can establish and recognize their niche’ doing the same thing.

What do you do to prepare for a part?
Try to find the essence of the character and the objective of what the character is trying to or could accomplish.

Any advice for those who want to get involved in Theatre in any capacity?
DO IT…JUST GET INVOLVED…DO WHAT YOU LOVE DOING!

Who were your mentors in Theatre?
Philip Burrows, Keith Wisdom (locally) and Humphrey Bogart, Richard Burton, Laurence Olivier and within the more recent years Quentin Tarantino (internationally).

How do you see your future in Bahamian Theatre?
Directing and getting more people to appreciate & become involved in writing/performing, etc.

What is your favorite Bahamian play?
The LandLord.

In your years as an actor, have you seen the government support the arts in a tangible way?
NO.

What role, if any, should the government play in not just theatre but the arts as a whole?
I feel that the government should seek to be one of the leading patrons not only in terms of finance (providing suitable performance sites) but should seek to encourage more corporate world involvement.