'Stanley, Fay, Pularchie & P' well produced

Marcia Rowe, Gleaner Writer

In a positive move, the Gloria Lannaman-penned Stanley, Fay, Pularchie & P' has been remounted under the umbrella of the Jamaica 50th anniversary.

The remount is marked by wonderful acting, great directing, clean rollicking humour, a flashback in history and a nicely developed story.

From the outset, the story is engaging. Three dock workers, Stanley (Dennis Titus), Nathan (Maurice Bryan) and Silas (Carl Davis) are having a heated conversation about whether or not dock workers were to strike for a pay increase from nine or 10 p to a shilling per hour.

Stanley and Nathan are in favour of the strike but the older Silas objects. Fay (Sherando Ferril) Stanley's girlfriend also objects, likewise Pularchie (Marguerite Newland) especially as her husband Joe-Joe is unable to find a job.

With the arrival of Joey (Donald Anderson) from the country, another subplot begins. On discovering that he owns a house in addition to being a supervisor at his job, he is elevated by Doris (Kajha Escoffery) who sees him as her ticket to country and a better life. Doris takes Joey to Pearlie (Suzette Barrett), the antagonist's, room for an overnighter. Joey is without a place to stay.

There are revelations as the plot unfolds that provide high interest.

While continuing to shift from location to location and at different times of day, it is revealed that Pearlie and Stanley were involved before his three-month relationship with Fay. And Pearlie is still smarting from being rejected. Silas was promoted to supervisor after Stanley and Nathan were fired. He is severely beaten and Stanley is accused and arrested. Joey not only has a house, but he is also the father of five children "plus a baby one".

All unfold with humour; however, the play ends with a very emotional twist.

Though written and produced in the 1970s, Stanley, Fay, Pularchie & P is set in 1938, a period that marked a significant milestone in the political and social fabric of Jamaica. While the political component was not addressed in the play, the theme of migration is addressed in two ways.

The language of the play is nostalgic but also becomes the base for continuous humour, captured by beautiful acting from the six main characters.

They, Titus, Bryan, Davis, Newland, Barrett, Anderson and Ferril were all very believable.

If the audience disliked Pearlie, it was due to Barrett's fine performance. And when Purlachie gets into the fray as she defends her daughter's integrity and the audience found it rather entertaining, it was also due to Newland's excellent acting.

Challenging

However, it must have been challenging for all to speak in an accent and use words from a time alien to them.

It must have been harder for Anderson and Ferril, who played the two characters from rural Jamaica. Both were able to do so without making their characters look and sound ridiculous, which is the accepted route in modern theatre.

Pablo Hoilett's directing was also generally of a high standard.

The director's interpretation was further reinforced by Quindell Ferguson's costumes and props, and Lauriston Watson's set designs.

Watson's set was perfect for the wide stage at The Theatre Place.

It allowed for quick changes from one location (inside, and outside of Pearlie's room as well as on the market truck and in the open yard) to the other.

His choice of colours and set also reflected the period of the story.

Ferguson's costumes and props also complemented the period. From Stanley and Joey's grip (suitcase) to the enamel utensils, all were well chosen.

Stanley, Fay, Pularchie & P is timely presented, but most of all it will appeal to everyone regardless of age, class or beliefs.