Minister Ramson casts a long shadow on the magic of Guyanese theatre

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Bring Back the National Drama Festival

The call is clear, resonating from the hearts of those who understand the profound impact of the National Drama Festival on Guyana’s cultural landscape. It is time to revive this extraordinary celebration of the dramatic arts, a cultural treasure that serves to inspire the next generation of thespians. The reasons to do so are compelling and essential for our shared future.

Rekindling a Unique Cultural Beacon:

The National Drama Festival stands apart in the Caribbean with a mesmerizing concentration of dramatic plays, captivating audiences for over three weeks. Organized by the National School of Theatre Arts and Drama (NSTAD), it has served as a torchbearer for theater’s growth and development on a national scale. This institution is the nurturing ground for budding talents across our nation, and its revival is instrumental in preserving our cultural heritage.

The festival offers a plethora of categories, each brimming with opportunities for recognition and celebration. In 2016 there were approximately 75 entries spanning five categories, including 16 plays from secondary schools, the festival was a true representation of our national spirit, echoing through regions 1, 2, 3, 4, 6, 7, and 10.

The years following 2017 saw the National Drama Festival transform into a different entity owing primarily to COVID-19, eventually fading into the background in 2019 and 2020 as the global pandemic cast a long shadow over all performing arts, including theater.

Enters Minister Ramson from stage left

In October 2022, the Minister of Culture, Youth, and Sport, Charles Ramson Jr., held a meeting with handpicked members of the theater community; this meeting was to announce his plan to rejuvenate Guyana’s theater scene post-COVID. His ‘grand plan’ involved staging four Guyana Prize-winning plays annually. These plays would be chosen from the works of Guyanese playwrights, with skilled directors bringing them to life at the National Cultural Center.

During the same meeting, members of the theater community who understood the important role the National Drama Festival plays inquired about the possibility of its revival. Unfortunately, the Minister’s response reportedly left much to be desired expressing concerns about the festival’s cost, suggesting that funding was scarce. This surely raised my eyebrows; in a nation basking in the newfound wealth of the oil economy, it seems inconceivable that the festival, with a modest budget of approximately 7 million dollars, should be left in the shadows because of cost.

As great as this plan to do four award-winning plays a year may have seemed in the Minister’s mind, the allure of award-winning productions presents a double-edged sword. While undoubtedly showcasing the crème de la crème of our theater community, it inadvertently becomes a stage limited to a chosen few. Directors, aiming to do justice to these distinguished plays, are naturally inclined to select the best actors, as we would expect. This selectivity, while understandable, places a cap on the number of individuals who get an opportunity to be involved in the magic of theater firsthand.

The Drama Festival, in contrast, operates on an entirely different premise—one of inclusivity and the democratization of the dramatic arts. It’s not about handpicking the best; it’s about creating a platform for everyone to shine. It opens the doors wide for actors, both seasoned and emerging, from various regions of our nation. It beckons aspiring playwrights, backstage crews, and enthusiasts to partake in this vibrant world of theater.

Imagine a budding actor in a remote region, whose talent remains undiscovered due to geographical constraints. Envision the countless dreamers who may not fit the traditional mold of a theater virtuoso but possess raw, unbridled potential. The National Drama Festival is their gateway, a chance for these hidden gems to receive the recognition they deserve.

The Resolution

There is no need for a choice between the Minister’s quarterly planned plays and the National Drama Festival; they can coexist, enriching our cultural tapestry.

This is not merely a plea for inclusion, but a passionate appeal for a revival that keeps our theater community vibrant, thriving, and accessible. The Minister’s vision for quarterly plays is undoubtedly commendable, but it should not come at the expense of the National Drama Festival. Both can coexist, each playing a unique and vital role in shaping our theatrical landscape.

The heart of theater beats with the collective energy of countless individuals who yearn to step onto the stage, to express themselves through the dramatic arts. It is a world where dreams are nurtured, talents blossom, and creative souls find their true calling, and this is precisely what the National Drama Festival represents—a stage where aspirations meet opportunity, where talent thrives irrespective of age, background, or experience.

By reviving the National Drama Festival, we do more than merely celebrate excellence; we empower and inspire. We encourage people from all walks of life to share their talents, embrace their passions, and connect with their creative essence. The festival is not about favoring the select few but providing a stage for the many. Let us get it right for the sake of Guyanese theatre.

Yours in National Development

Randolph Critchlow