Walcott's Trinidad Troupe Elevates West Indian Arts
Elizabeth Levitan Spaid, writer of The Christian Science Monitor, The Christian Science Monitor
IN scene after scene, Don Juan swaggers across the stage, seducing women at every turn. But in "The Joker of Seville," the legendary Spanish libertine is Caribbean, and the setting is the colorful West Indies. In this adaptation of Tirso de Molina's 17th-century play, calypso, carnival, and folk rituals meld with Trinidadian humor.
"The Joker of Seville" is a play by Derek Walcott, a Boston University English professor and native St. Lucian, who won the Nobel Prize for Literature in 1992. It was performed by the Trinidad Theatre Workshop, a group Mr. Walcott started in 1959 that has gained critical acclaim throughout the Caribbean and elsewhere. In Boston through July 31 for its only United States engagement this year, the Trinidad Theatre Workshop is presenting two of his plays: "Joker" and "Dream on Monkey Mountain."
The Trinidad Theatre Workshop began as an experiment in theater development, where actors from fledgling groups in Trinidad met to exchange ideas and training. Eventually, a number of these actors formed their own group under Walcott's inspiration and vision; by 1966, it had developed into a repertory company.
Since its beginning, however, the troupe has had to jump over hurdle after hurdle to survive. "We had a lot of difficulty for many years," explains senior member Albert Laveau, who with three other members gathered recently at a Boston University theater to talk about what defines Caribbean theater and the group's struggle for better recognition.
One hurdle has been attracting audiences. In Trinidad, there is little awareness or appreciation of art, culture, and literature. This is partly because people had to pay for secondary education until the late 1950s, so many didn't go past primary schooling. Thus, says Laveau, "The perception of the arts as a career to be seriously pursued was never given any serious thought, except in pockets here and there." Though their audiences have grown over the years, they're still mostly made up of intellectuals.
In Port of Spain, Trinidad's largest city, another problem is a lack of theaters, says troupe veteran Stanley Marshall. For years the workshop rehearsed in living rooms and presented its plays in high schools and other spaces. …