Improvements needed in a viable Theatre Arts industry

Apr 02, 2017 News

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By Murtland Haley
In Guyana it is common for persons who are conscious about history, culture and the

arts to discuss the issue of preservation. This is with respect to preserving the arts and culture which are both distinct to Guyana and those which we embrace.
Preservation is relevant to existing phenomena which we would like to see survive, however as it relates to the Theatre Industry, the development of the sector needs to be included in the conversation.
The Theatre Arts Industry, despite being alive, is still in need of further development and investment to transform into a sector which is worth preserving.
In interviews with actors and actresses involved in the local Theatre industry, it was brought to my attention that like many things in Guyana, there is need for improvement in the area of Theatre, and the need became clearer when it was learnt that there has been a decline in enrolment at the National School of Theatre Arts and Drama (NSTAD).
Director of NSTAD, Al Creighton had said to me that there may be several reasons responsible for the decline. He said that the programme is both taxing and demanding. “It is full time, but run in the evenings and Saturdays, because students can’t come during the day.”
The School currently operates at the National Cultural Centre. Creighton said that on average, 40 to 50 persons would register for each academic year. Coupled with the declining number of students registering, the numbers dwindled further, since there is a very high rate of dropout and failure.
Creighton said that he would like to see a larger and more knowledgeable audience to witness and appreciate new ideas and techniques in theatre.
“The public does not really see the new work being done by the NSTAD and the National Drama Company.” Moreover, the experienced playwright said that performers need to earn more for their work.
Remuneration had been highlighted as one issue which needs to be addressed in the industry so that those involved in the entire production can receive what they are due. The young and talented Keon Heywood had stressed to me that Theatre is essentially work, and for some it is their job and a form of livelihood.
He said that being a professional, he places a lot of time, energy and resources into his art to ensure that it is of a high standard.
“I conduct myself as a professional and expect to be treated as such, but I’ve had issues with some producers who didn’t want to pay the fees I demanded. This is an ongoing problem which I believe, stems from people not truly understanding what goes into the creative process, and the benefits of the arts to society.”
Another challenge facing the industry was highlighted by actor Mark Kazim, who said that the industry lacks a vehicle that gives those involved, the exposure which great talent deserves.
He said, “If I can change just one thing about the industry it would be to have a concentrated programme where the government invests in a product, using local Theatre and our unique culture that can be exported.”
Kazim believes that Theatre in Guyana has not even begun to scratch the surface with regard to its potential. According to him, Guyanese Theatre can be a viable industry if it is led with great vigour and an understanding that our culture is unique. Further, he said that Theatre can be used as a vehicle to showcase Guyana to the rest of the world.
“We have amazing writers who can touch your soul, and Thespians who can match and surpass those of international Theatre.”
As it relates to a vehicle which can guide the direction of Theatre and protect those involved, it was suggested by another actor, Randolph Critchlow, that there needs to be a Union of Theatre Arts Professionals. Critchlow said that he has been advocating for many years, the need for a representative body to advocate on behalf of Theatre practitioners.
According to him, the Union will work with persons in the industry to set salary floorings and provide legal and other representation for each person involved in the industry. Like Kazim, he too believes the industry has potential for strong growth, whereby it can create meaningful jobs for persons.
“My vision is one in which we can build an industry that everyone has a fair share of what is offered; hence unionizing is the next logical step.”
Critchlow is convinced that he has a critical role to play in shaping and fashioning what would be the groundwork for a Union of Theatre Professionals. He said that with this entity, the industry is poised to expand.
Meanwhile, according to Ms Leslyn Bobb-Semple, despite the plethora of benefits which acting offers persons, she believes that the industry can be improved tremendously if actors are paid more for all the work and time they put into each production. However, outside of this, she believes that local actors and actresses will still continue to perform because at the end of the day, their love for theatre is deep-rooted.
History shows that theatre arts and drama has always been a part of Guyana’s culture for a number of years. Entities such as NSTAD and Theatre Guild continue to promote the arts through the programmes offered.
The passion for theatre still exists; however, it is in need of a comprehensive investment by relevant stakeholders to raise standards, especially as it relates to emoluments for performers.
The first theatre in this country was opened in 1810, and one of the first productions was done on February 24, of that year.

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