For many years I have advocated that the relevant arms of the state, inclusive of the ministries of Finance, Tourism, and Arts & Multiculturalism, National Security, as well as the National Carnival Commission (NCC) and its related special interest groups (Pan Trinbago, NCBA, TUCO) do long term planning for the annual Carnival festival.
It is why I am heartened by Rhoma Spencer's suggestion, published last Monday, that, "by the time Ash Wednesday is done, we should be beginning to plan for the next Dimanche Gras show."
Spencer is an actor, director, storyteller and broadcast journalist who resides in Canada. Having won much acclaim for her role in Tony Hall's 1994 play Jean and Dinah, she directed this year's Dimanche Gras and acted in Kurt Allen's The Barrack Yard Tent Experience kaiso theatre show. I would take Spencer's suggestion even further and suggest that planning be ongoing for carnival for the next five years. We should already be thinking of what format, shape and intricacies Carnival 2020 should have.
We are now well aware of the world's economic challenges and having that information should be seriously looking at the fiscal elements of Carnivals to come and how global prices might impact on our annual festival. Yes, we are in an election year and the administration could change but, with prudent and established procedure in place, some modicum of smooth transition and planning could be achieved.
Arriving early at the Queen's Park Savannah, Port-of-Spain for shows staged this Carnival I was disheartened to witness the unpreparedness of the special interest groups in having their productions begin on time. Punctuality is critical for any stage production especially if producers are serious about having shows transmitted and streamed live, especially to global destinations. I am yet to comprehend how, after having an entire year to plan an event, a producer can still be late in actually commencing a show.
The face and nature of T&T Carnival is changing quickly and significantly. For instance, crowds no longer throng to the Savannah to see productions, aside from the national Panorama semi-finals. The demographic for patronage has shifted significantly for every aspect of Carnival stage show. This fact makes one wonder why millions of dollars are wasted on constructing and dismantling a North Stand that is full for just one show.
Years ago it was the norm for calypsonians vying in the national final to practice singing two of four verses to a packed North Stand; the other two to an equally packed Grand Stand. Now that is but a memory as the wider public is no longer interested or inspired to spend lots of money for admission to the North Stand for Dimanche Gras, not to mention that at least 50 per cent of the calypsoes being sung should not be there in the first place.
The jury's still out on the relevance of The Greens at the national Panorama semi-final. Originally seen as a cash cow for generating much needed revenue for Pan Trinbago this year's venture seemed fraught with problems and not as attractive as that of the previous year.
As far as Panorama is concerned, it may be beneficial to the 20 participants in the national finals for medium and large bands to have their eight minutes of glory before the judges? But, for the average spectator, no production should last for nine hours, regardless of how much of a pan jumbie you might be. Simply have the medium bands category on a different night; maybe at a different venue as well, and produce a tight, properly coordinated five-hour final for ten large conventional steelbands?
In terms of new ideas, the Socadrome offers some relief to a congested parade route on Carnival day. But, it is yet to be embraced by the public as attendance continues to be low. In contrast, Carnival Village at the Savannah can be deemed a success story, maybe because it is free, in the heart of the city, and offers much more than just pan, calypso and mas. Attendance on closing night of the City suggests that this idea is crying out for a much extended life span, perhaps something that can be kept alive for at least a couple months after Ash Wednesday.
Another success story, although I didn't actually witness it, seemed to be Kurt Allen's The Barrack Yard Tent Experience kaiso theatre show, pitched on the grounds of the National Academy for the Performing Arts (Napa). Allen's production came as a blood transfusion into the Carnival and calypso this year and should be continued and better subsidised.
Seeing that T&T Carnival unfortunately continues to be a competition-driven phenomenon, protests and threat of law suits by begrudged participants continue to be the norm. In competition of any nature contention comes with the territory. So, it's no surprise that both the NCBA and Pan Trinbago are being villified for some of this year's results. Complete transparency and the hasty release of results must be mandatory in all results.
Years ago, I also suggested that, if competition has to continue among steelbands, Pan Trinbago gives seriously consideration to the methodology used in adjudicating diving and gymnastics at the Olympics. At the end of every performance, post the composite scores of the band on huge video screens strategically erected in the venue. TUCO might do well also implementing this technology, especially at the national monarch semi-final at Skinner Park, broken down to display what scores have been awarded in every category for a performance.
Speaking of the semi-final, there is no need to select 40 calypsonians, with more than 20 of them singing mediocre songs for Skinner Park. Why not select 20 semi-finalists, each singing two songs?
On the subject of calypso, this year's Kaisorama could be deemed a crowd-puller, especially for its Extempore semi-final, staged at the Kaiso House tent in the Savannah. This is a well produced show with patrons getting value for money.
In terms of crowd-pullers, the most successful were Machel Monday, Ladies Night Out and Battle of the Sexes, all privately produced events. In contrast, we see diminishing audiences almost every other NCC-run event. Perhaps, just perhaps, the time has arrived for the NCC to consider leasing out some of its events to private entrepreneurs? Dimanche Gras is now staged to just a Grand Stand audience and every aspect of the King and Queen of Carnival competition is staged before disappointingly small audiences, audiences which shrink with very passing year.
The private promoters, like Ultimate Events (Tribe Mas), prove that they are serious about planning and successfully executing a production. For instance, one promoter who is ready for Carnival 2016 is Randy Glasgow Promotions (RGP). They already know that, after staging Ladies Night Out on a Friday night for the past 12 years, will stage next year's production on January 23–a Saturday–at Jean Pierre Complex. The show is being billed as Lucky 13 and will have its usual giveaways. This year, RGP gave a dozen women who attended this event $12,000 each as door prizes. This year's show was one of the biggest staged, second perhaps to Machel Monday.
Also ready, if their events were being held tomorrow, are St Mary's College Past Students whose Fete with the Saints is scheduled for January 16, most likely back at the college's grounds in St Clair, and Gerard Yorke's Masquerade all-inclusive, to be held the following evening, January 17.
100% Real Calypso
With Carnival 2015 done and dusted lots of exciting things have been happening in the calypso world. Two former national calypso monarchs–Black Stalin and Singing Sandra–are on the mend and live shows have resumed at De Nu Pub (The Mas Camp) in Woodbrook.
Last Wednesday night, Kalypso Revue deputy manager Carlos James (Skatie) premiered his 100% Real Calypso series hosted by Sprangalang and having musical accompaniment by The Joey Rivers Band. This week's show featured Abebele, Tenille Cooper, Sprangalang and Skatie and it was outstanding. Skatie's interpretation of David Rudder Calypso Music is worth every cent paid for admission as was Abebele's entire performance. The Joey Rivers Band was amazing and provided some of the best rehearsed and tight accompaniment I have heard for some time for calypsonians. The band's horn line is spot on,
One of the highlights of this series is Skatie's attempt to create unison between veterans in the art form with some of the young, upcoming bards. He explained that the youngster will be rendering "vintage kaiso" by some of the masters, like Roaring Lion, Spoiler, Radio and others.
The series continues next Wednesday and will feature Bro Valentino, Pink Panther, Ninja and Skatie. The cast for Wednesday 25 will include Luta, M'ba, D'Diamond and Skatie.
In hospital since February 10 after undergoing a hernia operation, Singing Sandra wad discharged last week Thursday and said that she spent "a great weekend."
Sounding much improved, Sandra added: "My husband cooked for me a delicious meal of vegetables and shrimp, a very healthy meal. This week I will be resting, mostly being on Facebook, playing Panda Cop. I have to do a thanksgiving soon."
Patsy Calliste, wife of Black Stalin had a hearty laugh when told of sightings of her husband in Port-of-Spain, at Wendy's in Woodbrook last week. Said Patsy: "Leroy is coming along nicely. He definitely was not in Woodbrook and has been at home convalescing. His weekend was great and he was on top of the world as he had a visit by Roy Cape and some people from Grenada. They had a nice little session on Sunday and Leroy enjoyed that."
The road to Carnival Medea
Lordstreet Theatre Company, producers of the critically acclaimed plays Miss Miles and Jean & Dinah, will present a workshop production of the new play Carnival Medea: A Bacchanal, written by Rhoma Spencer and Shirlene Holmes, directed by Spencer herself. On its way to the Edinburgh Fringe Festival in Scotland, Medea will make a pit stop in Port-of-Spain on March 21, at 8 pm, at Trinidad Theatre Workshop, Jerningham Avenue, Belmont.
This re-visioning of Euripides' Greek tragedy sets the timeless classic in 1950s Trinidad. The play brings it's audience an eclectic mix of traditional Carnival characters, Orisha deities and dance. In addition to a very stirring narrative written in poetic prose that will surprise even those familiar with the original.
Spencer and Holmes take a daring deviation from the known narrative of Medea's revenge against her unfaithful husband Jason, bringing the audience to both tears and laughter.
The director has brought together a cast of this country's leading theatre elders and young actors, including Kearn Samuel, Elisha Bartels, Theresa Awai, Brenda Hughes, Myron Bruce, Mark Nottingham to name a few in presenting this workshop production on the road to its T&T premiere in April 2016.