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    August 03

  • 03:58 PM

The lore of the Gap Theatre


Added 16 May 2015


Shannon Arthur as Sal. (Pictures by Amery Butcher)

THE TITLE “Gap Theatre” is fast becoming synonymous with thespian and cultural excellence, a fact further evidenced by their latest effort Don’t Put Yuh Head Where Yuh Body Cyan Go.

A fantastic showcase deeply rooted in West Indian folklore, the play follows the path of a young dancer as he casually interacts with supernatural elements.

After being recalled for a third audition, Salvador Beckles – Sal for short – makes a deal with forest god Papa Bois in the pursuit of fame and success. But before the deal is finalised Papa Bois gives him one challenge – find a woman to play his starlet. Adventure ensues as Sal engages the Caribbean seductress of lore, La Diablesse, in a dangerous dance of life and death.

Carolyn Brathwaite as the Caribbean seductress of lore, La Diablesse, in the audience. 


The rich story of love, ambition and redemption is made ever more tantalising by the three main actors.

The onstage chemistry of Shannon Arthur (Sal) and Carolyn Brathwaite is palpable at times, particularly in dance. And veteran Nala is the walking embodiment of the Father protector of the forest turned director. gap-theatre-4-nala

Better known for their lyrical attributes, the group AzMan provides the musical backdrop for the play. Though utilising few instruments, their minimalist approach, coupled with call and response lyrics, provided an apt score, raising a pristine presentation to the level of gold. (AMB)

Nala is the imposing Papa Bois. (right)


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