by Susan Mains
Rivals, the latest play written and directed by Grenadian playwright Francis Urias Peters, delves into the complexities of friendship, loyalty, and betrayal.
Set in contemporary Grenada, the narrative follows 2 lifelong friends, Alvin and Patrick, whose bond is tested when they both fall for their childhood friend, now a captivating woman.
The privilege of attending this play in the intimate space of La Boucan cultural centre in Grenada cannot be overemphasised. The close proximity to the actors from any seat in the house creates an atmosphere of “Macomere” as if you were right there in the living spaces of this island drama as it unfolds. (Macomere is an island term for minding other people’s business.)
We first meet Nen, the mother figure in the story played by Kathy Ann James. A believable figure, everyone knows a mother who is exactly like this. The conversation with professional young writer Sonia portrayed by Hannah Douglas gives us the historical (and hysterical) background of the lead characters, Alvin, Patrick and Faye.
When Samuel Ogilvie bursts onto the stage in his first appearance, the energy in the room ramps up. Patrick is an ambitious young man who did not go off to university, but nevertheless has political ambitions. He loudly proclaims the wrongs he sees in society, and calls the names of previous prime ministers to justify his young age in approaching politics.
And we are introduced to the beautiful Faye, skillfully brought to life by Damali Phillip in her professional debut as a lead actress. She did well, and shows the promise of continued participation in the theatre.
Enter Pianki Toussaint, a seasoned actor who brought the character of Alvin to life as the convincing young lawyer, just returned from his education and travels abroad. He successfully shifted emotions from braggadocio to humble, hurt character, to tearful reconciliation.
The magic that happens when passionate young actors feed off the energy of each other sparkled.
Perhaps Peters knows this, and uses it to full advantage. The audience provided a “Greek chorus” that in increasing volume gave immediate commentary. It was a unified voice, laughing, shouting, applauding or murmuring in agreement. It reinforced the shared cultural and societal values of Grenadians. Through the spontaneous reactions, the audience helped to shape the play’s atmosphere, building tension or relieving the intensity. The engagement with the actors through prompts, encouragement and playful heckling added a personal back and forth. And the moral judgement given by approval or disapproval gave a guiding interpretation of the characters’ actions.
Decidedly, the loudest response was when Nen proclaimed, “All men cheat. Is only 2 men who never cheat, and that is Jesus and Obama.” Hilarious laughter ensued.
The hallmark of Peters’ craftsmanship lies in his ability to weave humour, pathos, and political commentary seamlessly. He expertly blends oral traditions, calypso rhythms, and vibrant Creole dialogues into a theatrical language that is at once familiar and invigorating. His works reflect not only Grenada’s socio-political landscape but also resonate universally, exploring the human condition through the lens of island life. He dares to say out loud what others only whisper behind closed doors.
It is a stark tragedy after decades of appealing to successive governments to build a national theatre, the art form only survives because of the passion of the playwrights and actors and the support of corporate sponsors.
The play continues in St George’s for 2 more weekends, then goes on to St Andrew. Your attendance would be an outward commitment to this noble display of our Grenadian Culture.