Tag Archives: Gus Edwards

Antigua & Barbuda Literary Works Reviewed XI

This picks up where the previous installments of Antigua and Barbuda Literary Works Reviewed pages left off (use the search feature to the right to dig them up). As with those earlier pages, it features reviews about A & B writings that I come across as I dig through my archives or surf the web. You’re welcome to send any credible/professional reviews that you come across as well. They’re not in any particular order, I just add them as I add them; some will be old, some will be new. It’s all shared in an effort to underscore, emphasize, and insist on Antigua and Barbuda’s presence in the Caribbean literary canon.

Dancing Nude in the Moonlight also explores themes of racial and ethnic intolerance, however, the spirit of this narrative is more in the nature of a true love story. Hillhouse cleverly crafts the tale through the eyes of Selena and Michael, alternating each chapter between these two characters…This style provides the reader with both a male and female perspective highlighting how the genders can perceive the same situation so differently…Michael is presented as a determined but sensitive man struggling with the vulnerabilities life has dealt him. This is a rare opportunity for the reader to be exposed to raw Caribbean emotions and feelings…Dancing Nude in the Moonlight is lyrical, sensual and gentle…(it) provide(s) a valuable glimpse of the Caribbean female.” – The Caribbean Writer, 2005

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“(Jamaica) Kincaid is a lucid writer who uses precise, economical prose to present a sharp and moving perspective on adolescence and British colonialism. I’m so glad this project brought Lucy into my life and I’m looking forward to reading more of Kincaid’s writing.” – Bookmarked

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‘Here are poems that reward several concentrated readings to mine their full, harrowing flavour: in this world, men fly through the air on the demolished doors of their houses, like a nightmarish scene from a game no one wants to play in reality. Children ask questions of adults who ask the same things of the dispassionate heavens. Answers are slow, and hard to read when so much is crumbling or has been swept into the sea. Instructions for survival often read more like stolen bits of catechism, monuments to prayer: “Find your bearings in the darkness / by the light in the channel. / The light in the channel is a warship . . . Use anything you can to collect the rain. / Cup your hands to your ears if you must. / They must clear the mounds of coral from the road first. / The coral are not bones. / They are bright flowers.”’ – Epiphaneia by Richard Georges (Richard is a BVI author with Trinidad roots who also has roots in Antigua and Barbuda). This review is by Shivanee Ramlochan in Caribbean Beat.

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MUSICAL_YOUTH_Cover_FRONT_Final“From the first pages, we get to witness the mental havoc that colorism creates. Colorism feeds on the perception we have of ourselves. It feeds on our perception of other people and on the perception other people have of us. Joanne Hillhouse is subtle in the way she approaches this theme with several points of view by highlighting different elements about the character involved. … Zahara finds confidence in herself and in her music. The apparent confidence Shaka showed at the beginning becomes real as he defines his identity as an artist. There’s nothing they can do about colorism, but they hold themselves accountable for their own prejudices before trying to let go of them. They knowingly choose each other. … What resonated with me was the discourse on what being Black is, on what being a young Caribbean girl/boy is in the 21st century. …I want it to become a Caribbean classic for the upcoming generations. And why not even get a film and/or TV adaptation to turn it into a time capsule and immortalize our era?” – Karukerament re Musical Youth

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“Gus Edwards is a new playwright to reckon with.” – The Hollywood Reporter

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“A new departure for drama by a black playwright.” –  NY Magazine

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“For a first play it is remarkable. ” – NY Times

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“The coming of age story is well crafted, lively and absolutely believable.” – Mickel Brann, on The Boy from Willow Bend in Daily Observer, 2003

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“…amazingly true characters…weaves a tapestry of village life in the Caribbean…captures the importance of women in social hierarchy of Caribbean households and the everyday issues that these same women have to deal with. She explores their sexuality, their love, their hate and their desperation to escape a life that seemingly goes nowhere – a dead end. Hillhouse also exhibits an incredible understanding of social issues in the Caribbean – child abandonment, abuse, promiscuity. She touches the problems of classism and the gulf that separates the ‘privileged’ and ‘not-so-privileged’…Quick, tight and thought provoking writing holds the reader in its grip…A lovely and engaging book that, in my opinion, is destined for the classrooms of Antigua, if not the entire Caribbean. This is a great and insightful look at Caribbean life and the future of our children.” – Karen Walwyn writing about The Boy from Willow Bend in the Expand Your World, Daily Observer, 2003

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“The book stands out as an example of self-redemption, self-motivation, and self-preservation…” – D. Gisele Isaac writing on The Boy from Willow Bend in She Caribbean, 2004

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“In the tradition of the best YA stories, Hillhouse’s characters are convincing because they’re unfailingly realistic in their interactions, interests, and struggles. Her players sound like actual people, and specifically like Antiguan teens. Through their personal journeys, readers learn about issues that affect young people in Antigua and across the globe, including internalized racism, colorism, economic inequality, generational trauma, and old-fashioned teenage angst. This is not to say that the book is heavy or maudlin in tone; on the contrary, Hillhouse’s writing is overwhelmingly joyful 3and explicitly invested in the power of Black joy, Black excellence, and Black self-love….A charming and edifying work with a romance that will make YA fans swoon.” –
Musical Youth reviewed by Kirkus Reviews

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Antiguan and Barbudan Plays/Screenplays

N.B. This is specific to items written for the stage or screen which have been published in book form (not including screen/plays excerpted in journals which will be posted to the journals list). It’s short but I decided to share it anyway. The list of produced plays and films is longer (though still comparatively short). Use the search feature to find it. This list is also cross-posted to the main list of Antiguan and Barbudan writing which I started building in 2005 for the Independence Literary Arts exhibition at the National Museum. Use the search feature to find that. For other genre specific listings , search for fiction, non fiction, poets, children’s literature, songwriters, or whatever else. This list is all books all the time, but you can also search this site for publications by Antiguans and Barbudans in journals, contest wins, and performances. Chances are it’s somewhere here on the site. Some listed books are traditionally published (i.e. the rights acquired by trade publishers for sale with writers receiving an advance and royalties per contract), published with a small or independent press (still traditional but on a different scale), published via a hybrid press (a mix of traditional publishing and self-publishing), or self-published (including vanity press or any mechanism through which the author pays to publish). If you’re looking for Wadadli Pen winners, use the drop down menu on the right or search Wadadli Pen by year, name, story or other feature. Do your own research re the quality of any books posted here (we even have some reviews posted to the site) and if you share, credit. Hope you find what you’re looking for.

PLAYS/SCREENPLAYS

Name: Zahra Airall

Book:

Over the Hill and Through the Wood in She SexShe SEX – Prose and Poetry: SEX and the Caribbean Woman. Bamboo Talk Press. Trinidad. 2013.

About the Book:

Sex, Prose and Poetry, SEX and the Caribbean Woman has been described as “an important gathering of women’s voices” (Tiphanie Yanique, author of How to Survive a Leper Colony). Airall’s story, “Over the Hill and Through the Wood” is about an older woman finding sexual gratification for the first time.

About the Author:

Zahra is an educator, photographer, spoken word artist, poet, and stage and TV writer, director, and producer. She is a part of the following teams: Women of Antigua (which brought The Vagina Monologues and When a Woman Moans to the Antiguan stage), August Rush (producer of the Expressions Poetry series), and the team that brought the first TEDx event to Antigua. She’s also put on several well-received productions under her Sugar Apple Theatre and Zee’s Youth Theatre banner, in Antigua and abroad, and has racked up several awards as writer-director in local and regional secondary schools theatre competitions. She is, also, a teacher, writer, and photographer.

Wadadli Pen connection: Zahra was part of a small grouping of Antiguans who organized a week of Black History Month activities culminating with the Wadadli Pen Challenge awards. This was the return of the Wadadli Pen Challenge after a three year break and the first year of the Wadadli Pen visual arts challenge. The Wadadli Pen/BHM week of activities included a national Museum exhibition of visual art by Antiguans and Barbudans including Zahra/byZIA Photography, who, also directed ‘Word Up! 2010’ (sequel to ‘Word Up! 2006’, a joint Museum-Wadadli Pen fundraiser and literary arts showcase) which was a mix of fashion, poetry, calypso, theatre, with Zee’s Youth Theatre headlining, and the Challenge awards. 2010.

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Name: Edson Buntin

Book:

Anu Bantu: Treasure Island and Haunted Park. Antigua Printing and Publishing. Antigua. 2007.

About the Book:

“The format of this book is that of both a novel and a play rolled into one”–p.324.

About the Author:

Edson Buntin is a dramatist and an instructor in French at the Antigua State College. His contributions to theatre are both onstage and off, as an actor including serving as a cast member in the 1979 production of Dorbrene O’Marde’s Tangled Web and as founder of the Scaramouche Theatre and overseeing several productions at the College, such as Conjugal Bliss. Plays written by Buntin include Con Man Sun Sun, Mr. Valentine, and Wedlock. He has also acted in local films such as Once in an Island.

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Name: David Edgecombe

Book:

Book-Front-Cover-Lady-of-Parham-300dpi-184x300Lady of Parham. Caribbean Reads Publishing (second edition). St. Kitts. 2014.

About the Book:

Lady of Parham, set in Antigua, introduces the audience to five revelers who have come together to form a Carnival troupe but settle for dramatizing the tale of the Parham ghost. In the telling of the ghost legend, Justin, Tulip, Sauna, Kyle, and Mabel must confront the demons that threaten to derail their lives. Lady of Parham is based on a local Antiguan legend. The play has been staged, including an eight night run at the Little Theatre, University of the Virgin Islands.

About the Author:

Edgecombe’s inclusion on this list is due to the Antigua-specific nature of this play. He hails from neighbouring Montserrat where he was the founder of touring company, the Montserrat Theatre Group. He has written over a dozen plays which have been staged throughout the Caribbean, in Canada, and in Nigeria. He joined the faculty of the University of the Virgin Islands in 1990 to teach English and was artist-in-residence in 1991. He also taught Journalism, Speech Communication, and Theater before becoming Director of the Reichhold Center for the Arts. He went on to become a full-time professor in the College of Liberal Arts & Social Sciences, University of the Virgin Islands. He has published several of his plays with Caribbean Reads Publishing; but, notably, Lady of Parham was shortlisted for the Guyana Prize for Literature Caribbean Award.

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Name: Gus Edwards

Books: gusThe Offering & Other Plays by Gus Edwards.

Black Heroes in Monologues (ed.). Heinemann. US. 2006.

50 African American Audition Monologues (ed.). Heinemann. US. 2002.

More Monologues on Black Life (ed.). Heinemann. US. 2000.

Monologues on Black Life (ed.). Heinemann. US. 1997.

Classic Plays from the Negro Ensemble Company (w/co-editor Paul Carter Harrison). University of Pittsburgh Press. US. 1995.

The Offering. Dramatists Play Service Inc. US. 1978.

Old Phantoms. Dramatists Play Service Inc. US. 1969.

About the Books:

Black Heroes in Monologues – What is a hero? How is one defined? When Gus Edwards discovered that the majority of the young actors, playwrights, and teachers he encountered didn’t know who Nat Turner was—nor many other key men and women in black history—he summoned the power of theatre to correct the situation. Black Heroes in Monologues brings these and other influential African Americans to life once again. As he did with Monologues on Black Life, Edwards offers black actors and actresses a host of new, original audition and performance pieces. Black Heroes in Monologues features twenty-seven monologues in the voices of heroes from every walk of African American life. From Civil Rights-era leaders Martin Luther King Jr., Rosa Parks, and Malcolm X to freedom fighters Harriet Tubman and Joseph Cinque; from Hall of Fame sports figures Jackie Robinson and Joe Louis to influential artists Paul Robeson, Mahalia Jackson, Hattie McDaniel, and Oscar Micheaux. Heroes come from all walks of life. Some we recognize easily; others are unknown or forgotten. With Black Heroes in Monologues, we can not only return them to our consciousness, but bring them to life for people of every color to cherish and enjoy.

50 African American Audition Monologues – Finding authentic African American material has never been easy for actors. Gus Edwards continues to remedy that situation with this third collection of powerful, original monologues for African American men and women. The pieces offer a refreshing alternative to recycled standards. And they showcase the language and frame of reference that are immediately recognizable, both emotionally and culturally, to the people who will perform or view them. Edwards has arranged the monologues by performance length, a key component in auditioning. Need a 30-second or a 3-minute piece? No problem. Just turn to these pages to find honest, vibrant material.

More Monologues on Black Life – Gus Edwards returns with a second collection of probing and practical monologues on Black life. Whether you are an African American seeking audition and performance material written in contemporary language or an educator trying to offer students of color something more than tired, hand-me-down monologues, this collection presents fresh material written in a voice that reflects the modern African American experience. The collection offers the complete text of Gus Edwards’ remarkable Lifetimes on the Streets, in a volume with another collection of monologues entitled Reaching for the Dream. Together, these two sets of monologues are a vital resource for actors and actresses looking for honest, vibrant material. The characters in Lifetimes on the Streets range from a woman on her way to her hairdresser who enters into a strange relationship with a painter who invites her to have a cup of tea with him, to the Common Man, an old man carrying a bag who warns that Harlem is entering a new ice age, to a businessman who, on the death of a homosexual friend, wanders into a porn movie and is forced to confront his own discomfort and lack of confidence. The rest of this volume is a collection of monologues for men and women, ranging in age from 15 to 50. We meet Kiana, 15, who wonders why boys are such jerks, Jaims, 16, who wants to know why it’s so hard to talk to girls, Harold, 30, who has four wives and is about to cop an insanity plea, Lisata, in her 20s, who encounters a man with strange eyes on the subway, and a host of other people making their way as best they can in this last part of the 20th century.

Monologues on Black Life – In acting classes all over the country, African American students are routinely given monologues either from old Black plays like A Raisin in the Sun or contemporary Anglo plays, prompting them to ask, “Where are the new works aimed at us?” Students need material that is fresh and authentic, material that speaks in their language and to their concerns.

Classic Plays from the Negro Ensemble Company – This anthology celebrates more than twenty-five years of the Negro  Ensemble Company’s significant contribution to American theater.  Collected here are ten plays most representative of the eclectic nature of the Negro Ensemble Company repertoire. The Negro Ensemble Company (NEC) was formed in New York City in 1967 with support from the Ford Foundation to aid in the establishment of an independent African-American theater institution.  Under the artistic directorship of Douglas Turner Ward, the NEC offered a nurturing environment to black playwrights and actors who could work autonomously, guaranteeing authenticity of voice, full freedom of expression, and exploration of thematic views specific to the African-American experience. Since its inception, the NEC has introduced audiences to more than 150 theatrical works.  Classic Plays from the Negro Ensemble Company allows scholars to review a diversity of styles which share common philosophical, mythic, and social ideals that can be traced to an African worldview.  A foreword by Douglas Turner Ward and an afterword by Paul Carter Harrison and Gus Edwards assess the literary and/or stylistic significance of the plays and place each work in its historical or chronological context.

The Offering – The scene is a shabby basement apartment on New York’s West Side, where Bob Tyrone, an aging black, lives with his young wife, Princess. Now on welfare, Tyrone spends most of his time dozing, or glass in hand, watching television. Unexpected visitors arrive in the form of Martin, an obviously prosperous young black man, and Ginny, his beautiful white girlfriend. Martin offers Tyrone a large sum of money, but Tyrone declines and invites his visitors to stay the night. In a series of highly atmospheric scenes, it develops that Martin, a hired killer, had known Tyrone when he too was a power in illegal activity, and he still regards him with awe. At first the action seems to be concerned with Martin’s desire to help his former mentor. But gradually, as the sense of menace deepens, we are aware that a struggle for sexual dominance has now become the focus of their relationship – as Tyrone seduces Ginny, and Martin, suddenly powerless, yields to the psychological battle of wits to which his now reinvigorated master has subjected him. Successfully produced by New York’s renowned Negro Ensemble Company, this arresting first play blends menace and humor, with unique stylistic originality, as it details the confrontation between a young man, his aging mentor and the women with whom they share their lives.

About the Author: Gus Edwards was born 1939 in Antigua and raised in St. Thomas. He moved to New York in 1959. His plays have been showcased by the Negro Ensemble of NY among other companies across the US. Initially, a protégé of Stella Adler, he worked as an actor in films and on stage. But limited by his accent, he began writing his own material. These included The Offering (1977), Black Body Blues (1978), Old Phantoms (1979), These Fallen Angels (1980), Weep Not for Me (1981), Tenement (1983), Manhattan Made Me (1983), Ramona (1986), and Louie and Ophelia (1986). Most of his plays are reportedly set in “the slums and ghettoes of New York…his characters often exist outside of the boundaries of what is thought to be appropriate behavior in society.” (Notable Caribbeans and Caribbean Americans: a Biographical Dictionary, p. 157). His works for television include Aftermath (1979) and a TV adaptation of James Baldwin’s novel Go Tell It on the Mountain. He also wrote narration on the Negro Ensemble Company for PBS. Though self-taught, the critically acclaimed playwright has taught theatrical writing at several US colleges and became associate professor of theatre at Arizona State University, directing  where the multi-ethnic theatre and teaching in the film studies programme. In 2000, he was appointed artistic director to the Scottsdale Ensemble Theatre in Scottsdale, Arizona. “Gus Edwards is one of the first Caribbean writers  to contribute to American theatre.” (Notable Caribbean and Caribbean Americans: a Biographical Dictionary, p. 158)

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Name: Fransene Massiah-Headley

Books:

Pepperpot…A Caribbean Woman’s Story…Poems for the Stage. Dominica. 2008.

About the Books:

Pepperpot is a Look at the Antigua culture. It documents a  Caribbean woman’s life story while revealing some of Antigua’s rich history employing the Antiguan Nation Language to tell the story of the characters.

About the Author:

Fransene Massiah—Headley is an Antiguan educator, writer and dramatist. Writer and Dramatist.

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Name: Ian McDonald

Books (select):

The Tramping Man (one-act play) in A Time and A Season (a collection of eight Caribbean plays). UWI’s School of Continuing Studies. 1976.

About the Books:

Tramping Man was performed in Guyana in 1969, broadcast by GBS in 1972, and published in A Time and A Season ed. Errol Hill, 1976. It is about a Dionysian carnivalesque figure, a spirit of unquenchable freedom who is seen by the state to challenge its power. The play has been frequently staged.

About the Author:

McDonald is the author of several books of fiction and poetry, including Caribbean Classic The Hummingbird Tree – which has been made in to a BBC production. He has described himself as “Antiguan by ancestry, Trinidadian by birth, Guyanese by adoption, and West Indian by conviction.” Ian McDonald’s Antigua connection is through his father (who is of Antiguan and Kittitian extraction, while his mother is Trinidadian). He himself was born in Trinidad in 1933 and went to Guyana in 1955. He has lived there ever since. From a white West Indian family, he worked in the sugar industry, pre-and-post retirement.  He wrote a weekly newspaper column and worked to revive the seminal literary journal Kyk-over-Al. His writing began in the 1950s with publications in BIM and New World. He has considerably more publications than mentioned here, including appearances in The Caribbean Writer, Poui, and the Caribbean Review of Books. He has received an honourary PhD from the University of the West Indies. Adept at sports – specifically tennis – he was Guyana’s 1957 Sportsman of the Year. His backstory includes a five times great-grandfather Edward Dacres Baynes, 1790 to 1863, who served as a soldier in Jamaica just after emancipation and after that a colonial civil servant in the Leeward Islands including the post of President of the Council of Montserrat, who eventually settled in Antigua with his wife and fifteen children. Baynes published a poetry collection entitled Child Harold in the Shades. His family line also includes a great-uncle Donald McDonald, an Antiguan trader, businessman and Assembly member who also wrote verse and published a volume in London in 1917. His grandmother, Hilda McDonald was the first female member of the Antiguan House of Assembly and author of a small booklet of verse, Sunflakes and Stardust.

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Name: Motion

Books: 

Aneemah’s Spot (pg. 181 – pg. 207) in Give Voice: Ten Twenty Minute Plays from the Obsidian Theatre Company Playwright’s Unit (edited by Rita Shelton Deverell). Playwright’s Canada Press. 2011.

About the Books:

Aneemah’s Spot is a riveting dramatic duet set over one night in the Toronto mega-city. The real-time tale is a stealthy mix of dialogue, rhyme and spoken word that follows two childhood friends – Aneemah and Wan – left to deal with the fallout of a tragedy that comes too close to home. The murder of “G” brings them together to mourn and share histories as they are forced to let go of the past, and decide how they will navigate life from this moment on – apart or together. Written by Motion, the most recent award-winning production (up to this posting in 2018) was directed by Charles Officer, starred Amanda Parris and Shomari Downer, and featured an infectious sound-scape by DJ L’Oqenz.

About the Author: 

Motion is the daughter of an Antiguan mother. She is an award winning artist whose accolades began when she became the first female Hip Hop artist to be nominated for MuchMusic’s Best Rap Video. Her pioneering presence continued when her commentary on urban life and love in Toronto made her the winner of the CBC National Poetry Face-Off with her nationally acclaimed poem ‘Connect the T.Dots’. Motion is the first Hip Hop artist in Canada to publish a collection of writings, Motion in Poetry, with the companion album, the Audio Xperience. She’s performed at Russell Simmonds Def Poetry Jam on HBO and is a member of the Obsidian Theatre’s Playwrights Unit. She’s written for stage and screen.

Wadadli Pen connection: Motion and her publisher Women’s Press (Canada) contributed copies of her debut collection Motion in Poetry, a poetry book/CD combo, to the Wadadli Pen Challenge prize package. 2005.

As with all content on wadadlipen.wordpress.com, except otherwise noted, this is written by Joanne C. Hillhouse (author of The Boy from Willow Bend, Dancing Nude in the Moonlight,Oh Gad!, Musical Youth, Dancing Nude 10th Anniversary Edition and Other Writings, Lost! A Caribbean Sea Adventure, and With Grace). All Rights Reserved. If you enjoyed it, check out my page on Amazon, WordPress, and/or Facebook, and help spread the word about Wadadli Pen and my books. You can also subscribe to the site to keep up with future updates. Thanks.

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Playwrights and Screenwriters (the Antigua-Barbuda connection)

I wanted to create a separate page for playwrights and screenwriters. You won’t find these in the listing of Antiguan and Barbudan writers or any of the genre listings, unless they’ve written books. This list refers specifically to contributions as writers for screen and stage, and specifically to productions which have had a public viewing. It is a work in progress, so please inform me of any errors/omissions/oversights. T’anks.

Antiguan & Barbudan Theatre – a brief background (source: The Cambridge Guide to Theatre edited by Martin Banham) – “A party of amateurs opened Antigua’s first theatre in 1788…visiting companies came for a week’s run, their performances reinforced by local actors. The West India Sketchbook (1835) mentions a theatre in Antigua with amateurs performing Goldsmith’s She Stoops to Conquer along with a PANTOMIME called Harlequin Planter, or The Land of Promise. This latter – containing ‘aboriginal savages’, their evil spirit Maboya, white settlers, black slaves [edit: enslaved Black people], Astraea, the goddess of justice, members of the Anti-Slavery Society, HARLEQUIN and Columbine – might count as one of the earliest pieces of native Caribbean theatre, dealing as it does with the local scene…Antiguans recall, from the 1930s, the OPERETTAS and MUSICALS presented by one Nellie Robinson of the TOR Memorial High School. In 1952 the Community Players were formed, causing a stir in local circles when, led by the drama tutor of the University of the West Indies, they created the village play Priscilla’s Wedding using local dialect…in 1967 the Antigua University Centre was established, with a 400-seat open-air theatre. Several short lived theatre groups sprung up at this time.” (p. 319) – bold and italics mine.

This list has several sources (cited as much as possible), including: Windies_drama_bibliography_master_Aug_2013

PLAYWRIGHTS

(Playwright?)           – Rising from the Ashes (toured to Dominica, 1988). Performed by Popular Theatre Movement (“…started in village communities, where role-playing, discussion and creative play-making help to identify issues and suggest solutions” – The Cambridge Guide to African and Caribbean Theatre).

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Eleston Nambalumbu Nambalala Adams b. 1954. Founder, in 1979, of the Rio Revealers, which according to the World Encyclopedia of Contemporary Theatre, Volume 2, the Americas Volume 2, his plays, referred to as “slapstick drama, have been taken to the islands of Montserrat, St. Martin, and St. Thomas.” The bibliography of drama in English by Caribbean writers, to 2010
compiled by George Parfitt and Jessica Parfitt indicates that he is believed to have authored 14 plays but could not confirm. Adams has been a teacher, reporter (Daily Observer newspaper), and minister of government, including a stint as culture minister. (listing lacks itemization of individual plays and year of first production – help fill the gaps if you can)

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Zahra Airall – Airall has founded, written, and directed several theatre companies. Her  Zee’s Youth Theatre produced the well-received School Bag (2009). In 2015, her adult company, Sugar Apple Theatre, teamed up with Dorbrene O’Marde for a revival of Harambee’s Tangled Web (read my reaction post). Sugar Apple Theatre returned with Eve Ensler’s Vagina Monologues (previously staged in Antigua by Women of Antigua of which she was a founding member and co-director) in 2019 (my review here). It’s worth noting that Airall, a teacher, also took the winning local team (Antigua Girls High School) to the 2015 Caribbean Secondary Schools Drama Festival where she served as writer and director for their performance of her play The Forgotten. Read review/coverage of that outing here. She followed up this production with Whispers in Wallings which netted her and her Antigua Girls High School students best production, best direction, and a number of other prizes (8 overall) at the 2015 National Secondary Schools Drama Festival. She’s also taken youth theatre to other Caribbean countries e.g. in 2018, AGHS’ Honey Bee Theatre went on a UN sponsored tour to Turks and Caicos with her play Light in the Dark which was also performed domestically.34866707_10216231041392992_5275010203664777216_n51570598_2280465188855414_7601810432784859136_n In 2019, Honey Bee Theatre presented The Long Walk (reviewed here) in Antigua and again, that summer, at the Caribbean Secondary Schools Drama Festival, winning a plethora of prizes including best production, direction, and screenplay. Also in 2019, Honey Bee Theatre took on Derek Walcott, while Sugar Apple Theatre, after a triumphant 2019 outing with the revival of the Vagina Monologues, announced plans for an original production and its take on Shakespeare in 2020. Zahra Airall, a multi-National Youth Award winner, and Woman of Wadadli awardee for fine arts, was born in the theatre, figuratively speaking, as her parents were performers with Dorbrene O’Marde’s Harambee; and she won her first prize in 1992 at age 9 as the youngest person to submit to the Rick James Ensemble One Act Play Competition.

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Antigua Community Players – This group was inaugurated in 1952. Musical dramas written and performed by the players include Priscilla’s Wedding (groundbreaking for its time as a benchmark in local theatre), Night Must Fall, Guest in The House, Outward Bound, See How They Run, Charley’s Aunt, A Christmas Carol, and Celebration in the Market Place – all collaborative pieces written by the Players. The group eventually morphed into a choral group well known for its folk music presentations and musical productions. Dame Yvonne Maginley (deceased as of 2019) was instrumental in this aspect, taking on the role of musical director in 1957. The Antigua Community Players’ first operetta was Betty Lou; annual concerts followed, and, in 1972, the Players produced Ballad Antigua, written by well known composer of Caribbean songs Irvine Burgie,  and presented it in  Antigua, Montserrat and in Guyana.  Following the success of Ballad the Community Players produced Gilbert & Sullivan’s Mikado (in 1973), HMS Pinafore (in 1975 to commemorate the 250th anniversary of the commissioning of Nelson’s Dockyard and in 1995 to mark the Players’ 43rd Anniversary), and Pirates of Penzance (in 1986). The Antigua Community Players performed at the 1982 World’s Fair in Tennessee, and, in 1984, during the 150th anniversary celebrations of the founding of the city in Rochester, New York and also in the Annual Lilac Festival. The Players have performed in New York; Miami; Washington; Toronto; London Ontario, Canada; Birmingham and Leicester; the News Day Parade in London, England; Syracuse; St Croix; and St Thomas. As musical director, Dame Yvonne Maginley composed many songs over the years that have added to the Antiguan and Barbudan catalogue of folk music.

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Antigua Dance Academy – Antigua and Barbuda’s premier Afro-Caribbean folk dance group since 1991, ADA has put on several productions that have included drama scripted by members of the troupe. This includes, as part of ADA’s Out of the Drum folk rhythm festival, a 2008 street theatre presentation on national hero King Court/Prince Klaas/Tackey’s rebellion with guest performances by Nevis’s Rhythmz Dance Theatre and Trinidad’s Shashamane recreating, respectively, plantation fieldwork and African stick fighting. Francine Carbey, as the ADA’s resident drama tutor and artistic director, is, with founder Veronica Yearwood, the force behind these dramatic turns. Other members have contributed plays to ADA productions – e.g. Samantha Zachariah who wrote her first play for the group in 2010. Read more on ADA.

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Barbara Arrindell – Call Me Klass (1998) – based on and inspired by the life of National Hero and leader of an aborted 1736 uprising of enslaved Africans in Antigua and Barbuda Prince Klaas/King Court/Tackey. Initially staged as a Black History Month fundraiser.

Dreams…Faces…Reality (2001). The play tells the story of a healthy young man whose life is turned upside down following a routine physical which showed that he was HIV positive. Arrindell was author and director. Stagings included an initial 2001 World AIDS Day performance by the Optimist Club of St. John’s Youth Drama Group, a 2002 Black History Month performance, several 2003 stagings, including one in Anguilla, by the Optimist Club at the Pares Secondary School. Between 2005-2006, it was staged over 15 times by the Friends Hotline for Youth to stir conversation among secondary school students in Antigua and Barbuda. Another drama group performed select scenes in 2007 at churches across the island to reduce the stigmatization of HIV/AIDS. It has been adapted for radio broadcast, running for several years on Observer Radio in the build-up to World AIDS Day.

Barbara Arrindell speaks with the audience after a performance of the AIDS themed ‘Dreams…Faces…Reality’ performed by the Optimist Club of St. John’s Youth Drama Group

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Edson Buntin – Anu Bantu: Treasure Island and Haunted Park (published). Dramatist, instructor in French at the Antigua State College; his contributions to theatre have been both onstage and off, as an actor including serving as a cast member in the 1979 production of Dorbrene O’Marde’s Tangled Web and as founder of the Scaramouche Theatre and overseeing several productions at the College, such as Conjugal Bliss. Plays written by Buntin include Con Man Sun Sun, Mr. Valentine, and Wedlock. He has also acted in local films such as Once in an Island. (Dates unknown – help fill the blanks if you can)

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David Edgecombe – Edgecombe, a theatre and public speaking lecturer at the University of the Virgin Islands, is not Antiguan and Barbudan but his play Lady of Parham (shortlisted as of 2015 for the Guyana Prize for Literature), published by Caribbean Reads (2014), is set in Antigua and based on the mystery surrounding the ghost of Parham. Per the Caribbean Reads description, it “introduces the audience to five revellers who have come together to form a Carnival troupe but settle for dramatizing the tale of the Parham ghost. In the telling of the ghost legend, Justin, Tulip, Sauna, Kyle, and Mabel must confront the demons that threaten to derail their lives.” Lady of Parham premiered in St. Thomas and has since played in other Caribbean countries like Dominica and Montserrat, where Edgecombe was a founder of the Montserrat Theatre Group. His other works (unrelated to Antiguan and Barbudan theatre – to the best of my knowledge) include For Better For Worse, Making It, Coming Home to Roost, and Heaven.

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Gus Edwards – b. 1939 in Antigua and raised in St. Thomas, he moved to New York in 1959 – his plays have been showcased by the Negro Ensemble of NY among other companies across the US. Initially, a protégé of Stella Adler, he worked as an actor in films and on stage. But limited by his accent, he began writing his own material. These included The Offering (1977), Black Body Blues (1978), Old Phantoms (1979), These Fallen Angels (1980), Weep Not for Me (1981), Tenement (1983), Manhattan Made Me (1983), Ramona (1986), Louie and Ophelia (1986), Moody’s Mood Cafe (1989), Lifetimes on the Streets (1990), Restaurant People (1990), Tropicana (1992), Frederick Douglass (1992), Testimony (1993), Confessional (1994), Dear Martin, Dear Coretta (1995), Slices one-acts (1996), Drought Country (1997), Night Cries (1998), and Black Woman’s Blues (1999). Most of his plays are reportedly set in “the slums and ghettoes of New York…his characters often exist outside of the boundaries of what is thought to be appropriate behavior in society.” (Notable Caribbeans and Caribbean Americans: a Biographical Dictionary, p. 157). His works for television include Aftermath (1979) and a TV adaptation of James Baldwin’s novel Go Tell It on the Mountain. He also wrote narration on the Negro Ensemble Company for PBS. Though self-taught, the critically acclaimed playwright has taught theatrical writing at several US colleges and became associate professor of theatre at Arizona State University, directing  where the multi-ethnic theatre and teaching in the film studies programme. In 2000, he was appointed artistic director to the Scottsdale Ensemble Theatre in Scottsdale, Arizona. “He has published Classic Plays of the Negro Ensemble (1995), Monologues on Black Life (1997), and More Monologues on Black Life (2000). Several of his plays have also been published… Gus Edwards is one of the first Caribbean writers  to contribute to American theatre.” (Notable Caribbean and Caribbean Americans: a Biographical Dictionary, p. 158)

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Lonne ElderCeremonies in Dark Old Men (1971) – performed by the Open Air Theatre.

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Oliver Flax – A Better Way (1976) – directed by Edgar Davis – and The Legend of Prince Klaas (1972) – the latter of which was sent to be performed at Carifesta in Guyana in 1972. Performed by Bobby Margetson’s Little Theatre.

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Linisa George – one of the writer/directors and producers (as part of Women of Antigua) behind the production When a Woman Moans (below). Brown Girl in the Ring, a poem from that production has become a significant part of her brand (as a publication aesthetic) and has been performed at different fora including the CARA Festival in Antigua in 2009 , the 2012 Poetry Parnassus in London, and, after publication in a special Antigua and Barbuda edition of online journal Tongues of the  Ocean, Shakespeare in Paradise, 2015, in the Bahamas.

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Tom Green – Tom Green is British, not Antiguan, though he did lead a masterclass on playwriting here in Antigua and is listed here because of a play of his that is based in Antigua. The play is entitled Antigua and it is the story of bestselling writer Katherine Sampson, whose second book is overdue by two years when her agent sends her to the Caribbean with instructions not to return without a finished manuscript. In Antigua, she meets an enigmatic American be-devilled by his own problems. This play was first produced at the Tabard Theatre in London in 2006. Green’s other plays (unrelated to Antigua and Barbuda – to the best of my knowledge) include The Death of Margaret Thatcher, A Place in the Sun, and Talking in Bed.

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Joanne C. Hillhouse – known, primarily, as a fiction writer/published author, but some of her first public writings were plays: e.g. Barman’s Blues, not staged but joint second placed winner  (her first creative writing prize) in the Rick James Theatre Ensemble One Act Play Competition in 1992; Changes (Sisters and Daughters), Hillhouse’s first full length play, staged in 1990, by the State College Drama Society one of two done while she was a student at the Antigua State College; and Trials of Life, showcased as a Taylor Hall entry in dramatic competition at the University of the West Indies while she was a student there (sometime between 1992 and 1995). The actress in that play received honourable mention. Several of her poems were incorporated into scripts for stagings of Women of Antigua’s When a Woman Moans in the early aughts. Hillhouse who has scripted documentaries, ads, and public service announcements for clients or as part of public education programmes, on the creative tip had her (short) screenplay, Is Like a Like It, excerpted in The Caribbean Writer Volume 27 in 2013.

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Cleopatra Isaac, Paula Henry, and Darleen Beazer -co-scripted Journey to Heaven which was performed by participants in The Young Leaders programme at Sir McChesney George Secondary School and members of the Barbudan community. April 10 2006 Daily Observer(article published April 10th 2006 in the Daily Observer)

The play, performed in 2006 in Barbuda and Antigua, focused on a young man’s gradual understanding of repentance and forgiveness ‘after death’, and explored the concept that no more than 6 degrees of separation exists between people, meaning an individual’s actions always affects the lives of others. The actors were Devon Warner, Tenesha Beazer, Salim Cephas, Adonia Henry, and Leona Desouza. “Shaping the Future” was the theme of the 2006 Young Leaders’ project, and it encompassed cherishing life, embracing family values, and respecting one another. In the play, the value of respect is addressed in drama, dance, and song, using all aspects of the arts to embrace a vision.

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Owen Jackson – As writer/director with the National Youth Theatre, Jackson produced several plays including After 9/11 (2007) and My Birthright (2007). (entry incomplete – help fill in dates and other productions if you can)

Owen Jackson taking high school students through a drama warm up exercise.

Youth drama club – tableau in downtown store window … and attracting a small crowd doing it

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George ‘Rick’ Jamesdeceased September 2018. Various plays including the one man play Oulaudah Equiano (1990) about “the engrossing story in living detail of an Igbo prince, his enslavement, and freedom” (book summary), Gallows Humour in 2005, and 2007’s Our Country, timed to coincide with the bicentenary of the abolition British Empire Atlantic Slave Trade, and unique for telling, on a stage constructed in the open air of the King George V grounds, drawing a vast cast from a mixed pool of local professionals who were amateur thespians, and tracking the life of Antigua and Barbuda from pre-Columbian times to present.

Our Country: an arawak chief Our Country: Slave ship scene

slaves at market

His Rick James Ensemble encouraged young and future Antiguan and Barbudan writers like Zahra Airall and Joanne C. Hillhouse through its One Act Play Writing Competition. James was also an actor in US and especially British theatre and television

James performing in Sit Quietly on the Baulk

for many years, and an award winning costume designer in local mas.

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Colin Jno Finn – playwright and director with the Nazarene Drama Team – On the Block (2008) of a young man’s struggles with the church; Nine to Five (2009) about challenges in the work place; It’s Too Late (2010) of a strained relationship between a father and son; and Power Struggle (2011) of one person’s attempts to boost another from office. Read my review of Power Struggle here.

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Jamaica Kincaid – Her 1998 book A Small Place was staged at the Gate Theatre in London in 2018 in what was described as so faithful an adaptation that the text is performed entirely in its original form.

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Edgar O. LakeSome Quiet Mornin’; Matters of Antiguan Conspiracy: 1736; The Stone Circle; The Killing of Arthur Sixteen; more… (incomplete + unsure of publication production status + dates unknown – help fill in dates and other productions if you can)

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Iyaba Ibo Mandingo – ‘He is a Poet, Painter, Writer, Sculptor, Actor, Teacher, Mentor, Author and “continued work in progress”, as he puts it…His Self-Portrait, a one-man play performed in his studio, speaks of his life through poetry and prose, concurrent to him painting his self-portrait during the show.’ – from this interview with the artiste which also references his chap books (41 Times and Amerikkkan Exile), his company (Iyabarts), his art series (War, Spirit Drawings), in addition to his plays (Self-Portrait which has grown into unFRAMED, his first full length play), and forthcoming work (novel Sins of My Fathers, chap book 30 Days of Ink, ad the off Broadway run of unFRAMED). As his biography shows, he is a native Antiguan who migrated to the U.S. as a boy.  These roots as well as his experiences in America infuse unFRAMED as seen in this excerpt.

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Motion (Wendy Brathwaite) – Canadian of Antiguan descent, Motion’s stage productions (as writer, director, performer, or any mix of the three) include  Aneemah’s Spot/The Base, 4our Woman, ORALTORIO: A Theatrical Mixtape, and Dancing to a White Boy Song   featured at several renowned venues such as the International Black Playwrights Festival, Cross Currents Festival,  the Rock.Paper.Sistaz Festival, and the Summerworks Theatre Festival.

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Andrew O’MardeO Lord, Why Lord? and Tell It Like It Is with Harambee Open Air Theatre.

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Dorbrene O’Marde –  – synonymous with quality theatre in Antigua and Barbuda in theatre’s heyday (i.e. the 1970s to early 1980s), his Harambee Open Air Theatre (a 1972 merger of the Grammarians and the University Centre’s Open Air Theatre) is “considered the most important group of recent times” (from The Cambridge Guide to Theatre by Martin Banham). O’Marde is a graduate of the Antigua Grammar School, UWI Cave Hill, University of Toronto, and Tulane University where he obtained a Masters of Public Health. He has been credited as a playwright, director and producer of theatre and music, newspaper/magazine columnist, public speaker, and calypso writer, judge and analyst. His involvement in calypso has included crafting hits for artistes like Scorpion, Stumpy, Singing Althea, and others; though his biggest contribution to the art form is arguably the seminal Calypso Talk magazine, an annual chronicle of the art and the issues surrounding the art. He also wrote Nobody Go Run Me, the biography of  Antigua and Barbuda’s Monarch King Short Short, which was longlisted for the 2015 Bocas prize, in addition to the novel Send Out You Hand.

O’Marde’s career in theatre began with the Antigua Students Association in 1965 (You the Jury, Devil’s Advocate, Androcles and the Lion – English classics). Jezebel (1955) and Star Bomber (1962) are credited as two of his earliest works. His involvement in theatre continued, between 1968 and 1971, with the Cave Hill Drama Group (UWI, Barbados) when other theatre notables like Dominica’s Alwin Bully, St. Kitts and Nevis’ Clement Bouncing Williams, and St. Lucia’s Robert Lee were all students.

O’Marde was a member of the Theatre Information Exchange (TIE) and the Eastern Caribbean Popular Theatre Organization (ECPTO) and was involved in cultural research with both these organizations. He formed Harambee in 1972.

In addition to directing plays by other notables from the Caribbean theatre scene and beyond, O’Marde wrote and directed Homecoming, For Real: A Caribbean Play in Three Acts (1976), Fly on the Wall (1977), Fire Go BunFor Real, We Nativity, The Minister’s Daughter – which was adapted from the novel of the same name by Nigerian writer Obi Egbuna, We Nativity – which included songs by Antiguan and Barbudan lyricist Shelly Tobitt, Tangled Web (1979), Badplay (1991 for the Family Planning Unit), and This World Spin One Way (1998); and directed several others. Read more about his work in calypso and on the stage, plus his other cultural work in BIOGRAPHY deo 2010 . Tangled Web, according to the World Encyclopedia of Contemporary Theatre, Volume 2, the Americas, Volume 2, prompted the government to legislate against civil servants participating in  plays critical of the government.

       

Before going dormant in the late-eighties, Harambee took productions to Montserrat, St. Kitts, Dominica, Barbados, St. Thomas, and Saba.

O’Marde has returned with a couple of productions since then, notably 1998’s This World Spin One Way – which has also had stagings by directors Jean Small, Director UWI Creative Arts Centre, and David Edgecombe, Director Reichhold Centre, and a revival of Tangled Web with Zahra Airall’s Sugar Apple Theatre in 2015. He also lent technical support to Women of Antigua’s first staging of the Vagina Monologues in 2008.
Read my review of This World Spin One Way.
Read my ‘review’ of Tangled Web. (some dates still missing + full listing – help fill in dates and other productions if you can)

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Sislyn Peters – One of her plays, Trust, was adapted by the City College of New York’s English Department, Division of Humanities & Arts, and performed at the Aaron Davis Hall, in 2001. Peters was born in Antigua and graduated Princess Margaret High School. As a child, she wrote verses, and short stories. As a teenager, she sang with local bands, including Pat Edwards’ Playboys, and Vere Anthony’s Teen Stars. See poetry for her other accomplishments.

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Eustace Simon – several plays including Crossroads, The Awakening, Betty’s Hope, and Illusive Dreams. 1990s. Modern Theatre. 2000s. National Theatre Group. Announced launch of a National Theatre channel on CTV in 2012. (dates missing + full listing – help fill in dates and other productions if you can)

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Lester SimonObeah Slave (taken in 1969 by the Grammarians to Montserrat and Barbados).

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Monique S. Simon – The Antigua-born, US-based writer adapted Adynah from a novel-in-progress, which has been illustrated, excerpted and published in Carib Beat, and which won a NY Council on the Arts Award for (First Chapter of a Novel in Progress) and a Cropper Foundation grant.  The play was based on one of the book’s character’s Adynah Williams, described as the kind of local cook whose delicacies are sold from her house on weekends and who is first to be called for catering a local event. The story was produced as a three vignette play for Know Theatre in New York in the Fall of 2003. Simon scripted and directed voices of Caribbean people living and working in the area, pre-recorded and editing those voices so that they could provide off stage interaction during the one-woman show. Simon not only wrote, directed, and starred in the play, she designed the set  – all while working as a full time professor at Broome Community College in Binghampton, NY.

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Elaine Spires – Elaine is from Essex in the UK and in the 2000s, after years of bringing tours to Antigua, also established a seasonal home here. She’s run workshops in Antigua and participated (as writer and actress) in Women of Antigua’s When a Woman Moans. She’s also created content for the stage and screen, some inspired by and set in Antigua. Her Adventures of Maisie and Em (later adapted to film with Spires playing Em and Heather Doram playing Maisie, characters debuted on stage in When a Woman Moans). Her Antigua plays include Singles Holiday, about a group of vacationing Brits, which was adapted in to a novel and then had a third life as a play on the English stage (2014), and Sweet Lady, about a mother and daughter and an island tryst, which was staged in Antigua before also becoming a novel. (missing dates – fill in if you can)

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Stage One – This youth drama collective led by Kanika Simpson-Davis favours adaptations (which involves some re-scripting) of popular tales like Cinderella , Snow White, and Anansi and Snake. 2004 – present (?)

Stage One: Anansi and Snake

Stage One: Cinderella Reloaded 2007 Stage One: scene from Cinderella

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Leon Chaku SymisterVoices of Protest (1976); and Time Bomb (1977); Tilting Scales (1980). Third World Theatre. According to the World Encyclopedia of Contemporary Theatre, Volume 2, the Americas, Volume 2, it was thought to be too libelous for public airing but played to crowded houses at the University Centre.

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Various writers – Women of Antigua – playwrights/actresses/directors Linisa George and Zahra Airall shepherd this femalecentric brand of theatrical activism. The original production When A Woman Moans  was staged in 2010 and 2012, and mostly scripted by Airall and George with inputs from Dotsie Isaac Gellizeau, Joanne C. Hillhouse, Floree Williams, Greschen Edwards (another WOA founding partner), Melissa Elliott, Marcella Andre, Carel Hodge, Mickel Brann, Brenda Lee Browne, Craig Edward, Nekisha Lewis, Kimolisa Mings, Elaine Spires, and Jihan Lewis. Women of Antigua debuted with Eve Ensler’s Vagina Monologues in 2008 and this locally conceived, similarly themed production, was its successor. Both productions over two nights brought the curtain down on WOA’s theatrical activities in 2012.

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Vaughn Walterdeceased as of 2019. Culture Director and head of Antigua and Barbuda’s CARIFESTA planning committee. Active in theatre and film, and in staged productions for pageants and festivals through the years. (entry incomplete – if you can help fill it out email wadadlipen@gmail.com)

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Amber Williams-King – In 2010, Amber Williams-King participated in the AMY (or Artists Mentoring Youth) project, helping to create Step Right Up which received 3/4 stars from Toronto’s NOW magazine. In 2011, she wrote a play: Love and its Dialects which ran in the Paprika Festival at Tarragon Theatre in Canada where she resides. In 2010, she received first-honourable mention in the Scarborough Arts Council’s inaugural Writer’s Month literary competition. Her poetry has been published in the anthology Holla! A Collection of Womenz Wordz and in So the Nailhead Bend, So the Story End.

SCREENWRITERS

Zahra Airall – When No One Is Looking (2012, short film, an ABS TV Production in collaboration with the Caribbean Broadcast Media Partnership on HIV/AIDS) – also co-director.

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Howard Allen (also producer/director) – (w/Jermilla Kirwan) Diablesse (2005, HAMAfilms); and The Skin (2011, HAMAfilms) – reviewed here.

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Alexis AndrewsVanishing Sail – here’s the trailer. Winner of the Caribbean Spirit Award for Best Overall Feature at the Caribbean Tales awards and People’s Choice for Best Documentary at the Trinidad and Tobago Film Festival.

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Oteh Thomas Anyandjuh (African born, resident in Antigua) – Love that Bites (2010,  OTA Entertainment and Third Eye Studios) – also director.

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Shashi Balooja (also an actor, director, casting director, and producer on stage and screen; from Antigua but resident in the US) – w/Cecile George and Michael Sandoval, film short Ariana (2004, ABC Film & Video/Andrisk Inc/Media at Large, USA); w/Roger Sewhcomar, documentary The Altruist (2009, Media at Large/ABC Film & Video, USA); w/Caytha Jentis Exposed (2012, Media at Large, USA) – winner feature film award and genre award at the New York International Independent Film and Video Festival; w/Stephen Kelleher, film short Promises of Home (2012, Media at Large/Reverse Momentum Films, USA). Balooja had plans to extend Ariana into a feature film.

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Francoise Bowen conceived and wrote Back to Africa (directed by Anderson Edghill) which she described as a “short documentary (depicting) a little piece of Antigua and Barbuda’s history (specifically that enslaved people thought Africa was nearby). Bowen went on to found the Francoise Acting Studio which, among other things, has run workshops and produced The Story of Four (a video series promoting safe sex).

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Centelia BrowneIdle Hands – (A Wadadli Plus production, a short film).  Credits say ‘A Film By’ which is usually the director credit and there is no separate screenwriter credit. 2019.

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Courtney BoydThe Grove – (A Wadadli Plus production with C-BEN Pictures, a Nut Grove Production – web series pilot written and directed by Boyd who also directed other Wadadli Plus productions such as The Diagnosis) – 2019.

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Cinque Productions (Chris Hodge and Melissa Gomez, also producer, director) Deaf Not Dumb (2000, short fiction film), 2 Dolla Picture

Melissa assessing a shot as her camera man looks on.

(2001, animated short), Share and Share Alike (2008, documentary – 2010 winner of Best Documentary Production at the Berlin Black International Cinema Festival), Changing Course (2009, film short), and Silent Music (2012, documentary) silent-music-poster[1] co-writer/producer/editor Jay Prychidny. Silent Music, a portrait of Gomez’s deaf family won Best Documentary at the 2014 Maine Deaf Film Festival and the 2012 Caribbean Tales Film Festival, as well as the Audience Choice Awards at the 2013 Toronto Deaf Film & Arts Festival. Gomez, resident in the US, also has a project known as the Baby Mini Doc Project which creates day in the life documentaries which capture “every day moments and milestones with your littlest ones”. Melissa has worked on a number of other projects in the US, including co-producing Makers (PBS) and Nine for IX (ESPN), producing behind the scenes content for Hell on Wheels and Low Winter Sun (AMC), and serving as supervising producer on Me on My TV (FLOW). She has worked as a freelance production manager on advertising campaigns for H & M and Malibu Rum. Melissa has a Masters of Arts degree in Screen Documentary from Goldsmiths College, University of London, and a Bachelor of Arts in New Media from Ryerson University in Toronto.

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Alvin Glen EdwardsOnce in an Island

on the set of ‘Once in an Island’  Jermilla Kirwan in a scene from Once in an Island

(2009, Wadadli Pictures) – also producer. The feature film has since been adapted into a book (released 2012).

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Bridgette HannifordMy Time Now (A Wadadli Plus production, a film short directed by Melissa McLeish, 2020)

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Roland ‘Mayfield’ Hosier – He didn’t work from a written script but he’s the pioneer behind Antigua and Barbuda’s earliest forays into (largely improvised) film production producing The Fugitive, 1972, and Midtown Robbers, 1978.

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Noel Howell – He was the co-writer (with Courtney Boyd), director and producer of Redemption of Paradise (2009, Color Bars Production) – best actress and best Caribbean film at the 2010 Jamaica Reggae Film Festival; as well as a video producer and independent publisher on projects like Once in an Island (co-producer/co-director). In 2017, he also directed (per IMDB) a film adaptation of The Little Rude Boys/Girls, a child-written book he published in 2010.

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D. Gisele Isaac

  MANGO-Poster-800x400 The Sweetest Mango (2001, HAMAfilms); and No Seed (2002, HAMAfilms). Antigua and Barbuda’s first and second feature-length films. Isaac also wrote regularly for the stage in the form of the skits included in the annual (in the 2000s) ‘Programme’ put on by the Professional Organization of Women in Antigua and Barbuda; usually a political satire.

POWA’s Programme

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Tameka Jarvis-George –

Ugly – short film (2011, Wadadli Film Studios) for which she provided character monologue – 2011

Dinner

On the set of Dinner, Tameka with her co-star and husband.

(2010, Cinque Productions w/Chris Hodge directing and Jarvis-George also acting and serving as co-executive producer) – film short versed on her poem of the same name from the collection Thoughts from the Pharcyde. UPDATE Here’s her report on the screening of the film at the Jamaica Film Festival and of her involvement (as a writing contributor) to Shabier Kirchner’s film short, Ugly. ANOTHER UPDATE! The film! courtesy BGR Mag TV:

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Jamaica Kincaid Life and Debt (a documentary film by Stephanie Mack; written by Jamaica Kincaid). 2001. New Yorker Films. USA.

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Shabier Kirchner – a cinematographer cum filmmaker with his short, Dadli (2018).

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Jermilla Kirwan – (w/Howard Allen) Diablesse (2005, Hamafilms) – also actress in this and The Sweetest Mango.

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Dr. James KnightThe Making of the Monarch – independently produced documentary on the Monarch King Short Shirt. 2013.

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Motion (Wendy Brathwaite) –

Rebirth

Rebirth of the Afronauts: a Black Space Odyssey (episode 7 of season 2 of Obsidian Theatre’s 21 Black Futures series) – New Year’s Eve 2059, the night before the long-awaited Reparations Day. Chariott receives a mysterious call that leads her on a curious ride through the world outside her bubble – where cities are sky high, curfew is in the streets, and it’s harder to tell hue-mans from the holograms. On this surreal road trip, she tunes into BlackSpaceX, along with a cadre of cryptic guides, finding herself on the astronomical journey of her life. Directed by Jerome Kruin, Performed by Chelsea Russell, with Music by NON. 2021.

Screen Shot 2020-09-15 at 2.08.17 PM Akilla’s Escape – the Antiguan-Canadian poet/writer co-wrote this feature with writer-director Charles Officer stars Saul Williams and explores what happens when a simple, routine drug handoff goes sideway, landing 40-year-old drug trader Akilla Brown in the middle of a violent robbery. Akilla must set things right and retrieve the stolen goods over the course of one arduous night. Akilla’s Escape debuted at the 2020 Toronto International Film Festival.

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Nadya RaymondThe Diagnosis – (A Wadadli Plus production in association with Wadadli Creatives and C-BEN Pictures, a short film directed by Courtney Boyd). 2019.

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Elaine Spires – Elaine is from Essex in the UK and in the 2000s, after years of bringing tours to Antigua, also established a seasonal home here. Her writing credits (Spires is also an actress) include the TV series Paradise View, the Lawson Lewis edited promotional film shorts The Adventures of Maisie and Em – episodes Fix a Flat and Best Friend (Spires playing Em and Heather Doram playing Maisie, characters debuted on stage in When a Woman Moans) –

the vid clips were posted to youtube in 2013. Her novel Singles Holiday was reportedly also made in to a TV pilot.

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Chavel Thomas (credited as director; no writer credit is given) – Silence, Screams – short film (2016, Dotkidchavy x Jamzpari)

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Nigel Trellis (born Guyana, resident in Antigua) Hooked (2009, Tropical Films) Working Girl (2011, Tropical Films)

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Unknown/UncreditedThe Guest (2020, short film by Wadadli Plus)

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Keron ‘K-Wiz’ Wilson (credited as director; no writer credit is given) – The Date – short film (2013, Black Roots Records); Mechanic – short film (2013, Black Roots Records); Stationary – short film (2013, Black Roots Records)

As with all content on Wadadli Pen, except otherwise noted, this is written by Joanne C. Hillhouse (author of The Boy from Willow Bend, Dancing Nude in the Moonlight, Musical Youth, With Grace, Lost! A Caribbean Sea Adventure/Perdida! Una Aventura en el Mar Caribe, and Oh Gad!). All Rights Reserved. If you enjoyed it, check out my page on WordPress, and/or Facebook, and help spread the word about Wadadli Pen and my books. You can also subscribe to the site to keep up with future updates. Thanks.

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