Jamaica: A Musical Comedy

Executive Director of PhillyGayCalendar


Jamaica: A Musical Comedy is now at The New Freedom Theatre until June 26. Written in 1957, it boasts a book by E.Y. Harburg and Frank Saidy, music by Harold Arlen, and lyrics by E. Y. Harburg.

 

According to the play’s production notes, this musical opened at the Imperial Theatre on October 31, 1957 and closed April 11, 1959, after 558 performances, so this was no flash-in-the-pan endeavor, but, rather, a substantial Broadway hit. The legendary David Merrick was the producer.  Originally intended as a star vehicle for Harry Belafonte, it was later tailored to be a showcase for Lena Horne. Others in the cast were Ricardo Montalban, Ossie Davis, Josephine Premice, and Alvin Ailey. Photographs of the original production included in the program show a lavish production. So why haven’t we heard more about Jamaica over the years? Guest Artistic Director Rajendra Ramoon Maharaj calls it a neglected masterpiece.

 

To be frank, a masterpiece it is not. The musical does have several catchy numbers, such as “Savannah,” a song about the eponymous heroine. We hear it, and we hear it again, and again, and again.  Although the musical is titled, Jamaica, one could easily imagine it being retitled Savannah. We never really get to hear a great song about Jamaica. Instead, we are enmeshed in the love story of Savannah and Koli, Savannah’s wish to leave Jamaica for Manhattan (another island, get it?), a few town characters (including a rather obnoxious, drunken, oversexed and vulgar woman named Ginger who quickly wore on the nerves), pointed criticism of the Capitalist lifestyle, and the atom bomb.

 

Comparisons could easily be made to the 1949 Broadway hit, South Pacific, which this musical appears to be emulating. It has the requisite love story, political and social commentary, comedic and poignant moments, and exotic locale like South Pacific, but for the fact that it doesn’t quite appear to be finished. Jamaica could benefit from a good script doctor with a keen theatrical sense for what works and what doesn’t in live theatre. There is altogether too much reprise of several songs, poor scene transitions, and overall looseness of plot. One wonders if the reason for its success in the 1950s was having young, handsome, shirtless men dancing and running about on stage, which would have certainly been a novelty at that time (and rather nice today). It was nominated for seven Tony Awards, undoubtedly because of David Merrick, the famed Harburg and Arlen, the cast, those shirtless men, and the number, “Leave the Atom Alone,” which follows what is said to be a hurricane (which conveniently blew away some shirts), but may have been an atomic testing.

 

As for this current revival of the musical, Jamaica’s production values were outstanding. Scenic design, costumes, lighting and sound were all top-notch. The acting was full-out and heartfelt. One couldn’t have wished for more ardent performances from both singers and dancers. Annesa Neibauer as Savannah looked the part and had great emotional and expressive range. As her finance Koli, Shabazz Green delivered an earnest and sincere performance. The dancers were tireless and cheerful throughout the long evening. The live onstage ensemble played with passion and style.

 

The John E. Allen, Jr. Theatre at 1346 North Broad Street in Philadelphia is easily accessible (although not handicapped accessible), and a beautiful space. For a glimpse of mid-20th Century musical theatre, you owe it to yourself to see Jamaica: A Musical Comedy.

 

For tickets and further information, visit www.freedomtheatre.org

 

 

 

 

 

 

 

 

Read Related Posts...