I wanted to create from a Caribbean diasporic lens, and to do it in New York City I needed to be in community with all the above. In discussion with my friend, the Guyanese-born director Eugene Williams, I attempted to answer the question about what makes a Caribbean musical in particular different from all others. Though our list is not exhaustive, we landed on the following criteria: the title of the show, genres of music, distinctive themes and issues, the people involved and their heritage, and the folklore, especially the connection to the African continent, though not dismissing other global influences. Below I’ll reference some musicals that mostly fit this criteria, or at least are worth examining to explore the point.
Naming and Titles: Specificity and Relatability Count
Alwin Bully, a playwright, actor, and Caribbean cultural icon who also designed the national flag of his country, Dominica, once said to me that “what you call your work of art is just as important as what it’s about. It must speak to where you come from; it must be identifiably Caribbean.” I also believe that if you’re in the business of authentic representation, rather than just in business, these distinctions matter.
In 1980, the musical Reggae landed on Broadway. Clearly, the title is specific to the island of Jamaica and its most popular musical export. From the production team to performers and designers, it was loaded with Jamaicans, other Caribbean folk, Black Americans, and African diasporic artists. Among them were Sheryl Lee Ralph, Woodie King, Jr, Ras Karbi, Stafford Ashani, Jeffrey Anderson-Gunter, and Professor Rex Nettleford. Reggae explored the conflict between a Rastafarian who was torn between loyalty to his faith and seeking his fortune through music. The setting is Jamaica, the music is Jamaican, and the show opened with Jonkanoo, a traditional festive procession popular in Jamaica and the Bahamas rooted in African resistance and mockery.
Back in 1947, the musical Caribbean Carnival was created by Trinidadian Calypsonian Samuel Manning in collaboration with the African American business man Adolphe Thenstead. They shared credits for composition and lyrics, and Thenstead served as producer and co-director. Trinidadian Pearl Primus and Black Swedish performer Claude Marchant choreographed the musical revue, and though it did not focus on any one island, it centered Calypso music, folk songs, and West Indian storytelling traditions. The musical is remembered as a pioneering platform for Black and Caribbean artists on Broadway.
When it comes to a Caribbean identifier, the name “Bob Marley” tops most lists. In 2013 Bob Marley’s Three Little Birds premiered at the Adventurer Theatre MTC in Maryland. It takes its title from a popular Marley song, so it’s already in the culture. The story is about a young boy named Ziggy who is afraid to leave his house because of tropical storms and evil spirits, but his friend Nansi helps him overcome his fears. The island life couldn’t be clearer in this tale, from the looming presence of a hurricane to the reimagining of characters from Afro-Caribbean folktales like Anansi and Brer Mongoose. African American director Michael Bobbit adapted a story by Cedella Marley for the stage, and the music is from Cedella’s legendary father, Bob Marley! Lots of boxes ticked here.
Even more recent is a musical called The Children from the Blue Mountain, named for the famous range that spans four parishes in Jamaica, and for which the even more famous coffee is named. The book and lyrics are by Jamaican-born Jermaine Rowe. It’s the story of Jack Mandora, a boy mesmerized by thunder. Jack and his best friend, Tacooma, start a journey guided by River Mumma (a half fish/half human protector of the waters) and Mungie, an island dog who rises from the depths of the Eight Rivers (Ocho Rios). The score reflects a mix of folk forms: ritualistic kumina, reggae, dancehall, and traditional folk ballads.
