Ringplay Productions

By Amielle Major, appearing in The Nassau Guardian’s Weekender

The first question a person asks, after knowing the history of the very successful play You Can Lead a Horse to Water, is ‘Why would you do it again?’ I asked myself this question as well, then directed it towards Philip Burrows, the original and only director of the play, on opening night, to which he responded: “It’s just a brilliant piece.” After watching the play opening night, which was under the beautiful musical direction of Cleophas R.E. Adderley Jr., I’d have to agree. It is “the signature play of The Bahamas”, to quote Mr Burrows.

The heart-wrenching tale of You Can Lead a Horse to Water, written by Winston V. Saunders, follows Son, a young man on trial for murder, from his childhood into adulthood. The two normally opposing facets -comedy and drama- are seamlessly woven into this amazing play, enabling it to have the unique ability to provoke not only laughter but tears.

“I think it’s an incredibly written play. I think the audience is surprised to see this kind of quality work. People are used to seeing people laugh but it also gives you the opportunity to think and see,” says Burrows.

To that I concur full heartedly. I can’t say that I have ever seen a play that portrays Bahamian culture in such an interesting and dramatic format. The chorus undoubtedly verbalises a significant introspective analysis of The Bahamas, hearing out both the good and bad aspects of our culture. Between the laughter and the remarkable performances of Son (Cleveland “Anku” Eneas), Mother (Erica Lightbourn) and Lawyer (Leah Eneas) lies a serious message that incites a much needed introspection of our society, which is so richly interwoven with poverty, rumours, drugs, crime and desolation. The main characters -Mother, Son and Old Fool (Raymond Neymour)- symbolise such a large part of Bahamiania that sort of invite a part of you to jump out of your seat and join them.

The play was originally performed in 1983 at the Dundas Theatre and has since been performed numerous times in places such as Freeport, Scotland, Michigan and San Francisco. Two of those castings were with all American actors who had to learn to speak in Bahamian dialect. It’s incredibly refreshing that for once Americans are performing Bahamian plays, instead of the other way around. In my opinion, this play is on the same level as Death of a Salesman and by no means is close to receiving the recognition it deserves. Opening night was last Thursday and it continues this weekend (July 13-15) and the next (July 20-22) Thursdays – Saturdays only at the Dundas Theatre.

I am impelled to suggest that instead of us complaining that our culture is becoming too Americanised, that this weekend or the next we opt for a Bahamian play with Bahamian actors instead of an American film with its American actors.

No Comments »

Trackback URI |