Rehearsals are well underway for the highly anticipated restaging of STREAK, the seminal theatrical work written and directed by the late Alwin Bully. First staged in 1975, the play is being revived in 2025 to mark its 50th anniversary, under the direction of Severin McKenzie, chairman of the Alwin Bully Foundation.
McKenzie, who was inspired to join the theatre movement after seeing the original production, is leading the effort to bring STREAK back to life with a new cast composed largely of young actors unfamiliar with the play’s historical context. Despite this generational gap, rehearsals have made solid progress, with casting now complete and blocking in place.
The original STREAK was a cultural phenomenon in Dominica, drawing audiences repeatedly to the theatre at a time when cinema dominated popular entertainment. The play captured the spirit of the 1970s, dramatizing the tensions and transformations of the era—including the emergence of the Dread and Rastafari movements, the rise of Black consciousness, and the political shift from colonial rule to associated statehood.
Set against this backdrop, the story follows two young protagonists, Jeanne and Ken, navigating romance, identity, and societal upheaval. Themes of police brutality, racial dynamics, and political unrest are woven into the narrative, including references to real-life incidents such as the killing of foreign tourists—though names were fictionalized in the script. One of the play’s most memorable lines, “Too much worries for one man,” was drawn from a real suicide note and resonated deeply with audiences at the time. McKenzie believes that such moments will continue to connect with viewers today, especially as older generations share the historical context with younger ones.
While STREAK was previously restaged by Roosevelt Richards, McKenzie notes that this current production is rooted in a deeper understanding of the original work and its significance. The restaging is part of a broader initiative by the Alwin Bully Foundation and La Cour des Arts de la Dominique to commemorate Bully’s prolific output during the 1970s, which included Ruler in Hirouna, Night Box, Folk Nativity, and the radio serials Green Gold and Winds of Change.
Reflecting on the evolution of theatre in Dominica, McKenzie highlighted the contrast between the organized, disciplined theatre movement of the 1970s and the more fragmented landscape today. Nevertheless, he expressed optimism about the current cast’s enthusiasm and the production’s potential to reignite interest in Dominican theatre.
That optimism is tempered by the realities of today’s theatrical landscape. Unlike the past, when actors were reliably available months in advance, modern productions face unpredictable circumstances and frequent last-minute withdrawals. To address this, the production team has adopted a double-casting strategy, assigning two or even three actors to key roles to ensure continuity. This approach differs from traditional understudying, as all cast members will perform—one group on November 1st and another on November 2nd.
Given the decline in theater participation, the team welcomed anyone who expressed interest, regardless of experience, as a way to revive the art form. This inclusivity, while refreshing, brings its own challenges—particularly with inexperienced actors and inconsistent rehearsal attendance. To adapt, the team has incorporated virtual rehearsals via Zoom and received generous support from the University of the West Indies Global Campus, which provided rehearsal space.
A major concern remains the venue. While St. Gerard’s Hall has been booked as a backup, the team is hoping for the availability of the newly renovated Arawak House of Culture, a space that would better reflect the production’s historical and cultural weight. The technical team is managing logistics, sponsorship, and publicity, but the production’s cost exceeds $60,000, not including cast compensation. Despite these hurdles, the cast remains enthusiastic, and the goal is a high-quality performance that could potentially tour the Caribbean—echoing the success of past productions like Night Box at Carifesta in 1981.
The premiere of STREAK is scheduled for November 1st, with an additional showing on November 2nd. Organizers are also exploring a pay-per-view livestream option for Dominicans overseas, allowing them to experience the production in real time. This is especially meaningful as many original cast members—including Albert Panman-Bellot, Lennox Rock, Joan Bernard, Noreen Joseph, Vivian Rene, and Ingrid Angol—now reside abroad and may not be able to attend in person.
The Alwin Bully Foundation continues to honor Bully’s contributions to Dominican theatre. Beyond the restaging of STREAK, the foundation is working toward establishing an Institute of Theatrical Arts to train future talent. Though limited manpower and resources make multitasking difficult, the team remains committed to elevating the standard of Dominican theatre. McKenzie laments the lack of national attention and support for the arts compared to sports, but remains hopeful that this landmark production will spark renewed interest and inspire a new generation of performers and audiences alike.
As preparations continue, STREAK stands poised not only to celebrate its legacy but to serve as a rallying point for the revitalization of Dominican theatre—reminding audiences of the power of storytelling to reflect, challenge, and transform society.
