Tonight we stand our ground! Tonight we stand on the side of history!
exclaimed by Julien Fedon portrayed by Samuel Ogilvie.
‘Julien Fedon’, a full length historical play written and directed by Chris De Riggs mounts a narrative about a Grenadian hero Julien Fedon. Grenada does not boast about Superman, Aqua Man and the likes but a man human like you. A man that had dreams, a man that was real, a man that made mistakes, felt pain and joy.
Fedon was the son of Pierre Fedon, a French jeweler and Brigitte Fedon, a Martiniquan mulatto woman. Fedon was also planter and owner of the Belvedere Estate along with 28,000 slaves. He and his slaves had something in common, a desire for freedom.
Fedon wanted the release of Britain’s rule on the island while his slaves wanted their freedom from chattle slavery. So he promised them their freedom; only if they joined with him to fight the British whom he referred to as ‘British Donkey’. He was able to gain the support of 14,000 slaves.
De Riggs highlighted the events that led up to the rebellion between the 1760s and 1790s. Interestingly, it was a domino effect since during that time there were many French territories experiencing upheavals which eventually influenced the French Revolution “Liberté, Egalité, Fraternité.”
The main events took place over a 15 month period and has its place in our history just like our rise to independence through Eric Gairy to Maurice Bishop and the revolution. Fedon almost succeeded in the overthrow of chattle slavery and British rule in Grenada. His bravery lives on in the hearts of the Grenadian citizens.
De Riggs depicted one of the main themes, power. The opening scene with Fedon played by Samuel Ogilvie passionately professed in his monologue his desire to conquer the British.
The need to hold onto power is also shown through the character Pierre Fedon portrayed by seasoned actor Robert White. He holds onto the little power he had over his failing health, his estate and his family. Power played a key role as one of the driving forces for the characters Captain Rawlins, British commander played by Deater Yawchin, Ulysses Fitzmaurice and Ninian Home British Governors of Grenada played by Allan and Andrew Bierzynski.
The theme spirituality was expressed by the characters Jean Coteau, a yoruba slave portrayed by Jomo Kirton and Ayanti, the black house keeper portrayed by Daisy Hazzard and Neila Ettienne.
The play explores the passing down of the Yoruba religious practices; belief of the Orishas evident when Jean speaks about Shango, one of the Orishas. In today’s society there is the presence of the Spiritual Baptist where practitioners continue some rituals associated with Shango of the Orishas.
Both Ayanti and Jean were connected spiritually and forewarned the Fedons about the great danger ahead.
De Riggs used foreshadowing as a very effective mechanism in the play and a reflection of the responsibility of a warner woman/man… the messenger.
The theme of love and family relationship depicted by Brigette Fedon played by Dhayle Divine had for her son. Marie Rose Carvaian, Fedon’s wife played by Lisa Grappy shared a love that was tested throughout the play. She is an interesting character, she was persecuted for the color of her skin and love for Fedon but yet she remained steadfast in love.
Also, the playful love displayed by Jean and Ayanti. Most of the time Ayanti is quite serious but softens up when around her lover Jean. It mirrors our society on how we display love for each other.
Then there was the comedy relief depicted by Leo and Cleo portrayed by Jude Modeste and Jay MacDonald.
They played a key role in creating balance and highlighting that we are awkward and clumsy at times. In the most serious of times there is still room to laugh.
The characters were believable and their choices as actors were most times effective. The protagonist Julien Fedon played by Samuel Ogilvie is strong physically and psychologically. He embodied the character wholeheartedly and understood the character’s intention.
The character showed passion and commitment. His character was believable throughout the play. One of the setbacks that impacted the characters was staying true to the accent. It’s uncertain whether it was deliberate when actors went in and out of their British or French creole accents.
On the point of language, De Riggs craftily infused the rich French creole throughout the play. It was quite captivating to hear the French creole waltz off the tongues of the characters especially that of Dhayle Divine. She stayed committed to her role. Very poised and intentional. It was clear that she embodied the matriarchal role to nurture and to be the voice of reasoning. She valued the counsel of Ayanti whom she regarded as a wise confidant.
A memorable moment onstage was the sword fight between Fedon and Captain Rawlins. It showed choreography.
De Riggs used the djembe drums which served as a symbol, the conduit. Historically, drums were used as a means of communication. It spoke a language the white plantocracy never understood. De Riggs transformed Jean’s character when he played the drum, he gave him a higher presence by giving him lines of parables.
De Riggs used an effective backdrop created by the TAMCC arts student. The set consists of a Victorian white washed plantation house situated stage right in the beginning of the play signifying Fedon’s home. Then a simple interior with the image of what seemed like King George III situated downstage left which represented the dwellings of the British on the island.
It was a bit unclear when a dark green piece of fabric was draped as a backdrop stage right in the second part of the play. However, it was refreshing to hear relatable places such as Molinere, Paraclete, Black Bay and Fort George which coincidentally was the scene of the death of a faction of the revolutionary leaders in 1983. 200 years after Fedon’s Rebellion.
The choice of music was effective, with the infusion of folk singing and the infectious sound of the flute between scenes. Sound and light were most of the time well executed. Although there were delayed moments with sound on the opening night which was eventually rectified on other nights.
The Costume team did a good job creating clothing that reflected the wear during the 18th century among the hierarchy. Brigette’s clothing showed her position with her silk scarf neatly wrapped around her neck. Very good attempt of recreating the wear of the English men.
The use of the periwig was critical to show hierarchy among the governors vs. their service men. Appropriate props and management including guns used by the English men represented superior weaponry vs. knives (primitive weaponry) held by Jean (slave).
De Riggs continues to play his role in our society by teaching life’s lessons on the stage. He gives us the opportunity to look at history in the present and to reflect on where we are and where we’re going as a people. Interestingly, the play had us thinking about the war happening in Ukraine presently; history hasn’t changed.
De Riggs expressed that the content of his play was based on Dr. Curtis Jacobs’ undeniably well researched dissertation. Magnificent work to you all who have contributed to the mounting of this beautiful piece of art.
Long Live Theatre!
Abena Vincent is a Teacher, Playwright and Creative Director associated with Labaye Youth Theatre Company Inc