Dear Editor,
Although I prefer to keep my personal views and feelings to myself, I feel compelled to reply to my mother’s (Parvati Persaud-Edwards’) letter and article printed in the Stabroek News (April 5, 2011) and Chronicle respectively.
First of all, I would like to extend a long overdue apology to the two young men who work in lights and sound at the Theatre Guild. Contrary to reports in the media, and despite your youthfulness, you did an excellent job on the nights Nothing to Laugh About played at the Theatre Guild. To the staff at the National Cultural Centre, I commend you for the job you do and I recognise that a special effort is made on the nights of my productions.
I would also like to apologise to the management of the National Cultural Centre for any aspersions cast on your office. Though we have had our share of disputes, for which I share an equal blame, I do believe that we have managed to reach a mutual understanding and I thank you for the patience and lenience which you have shown us.
To my cast and my writers, I would like to say that you are incredible. I may scream and hurl abuse at the slightest provocation but I truly believe that at this point, we have selected the absolute cream of the crop and you deserve nothing but praise.
Mr. Creighton’s critique stemmed from an article carried in one of the newspapers where an unsuspecting reporter offered her opinion of the theatrical production ‘Nothing To Laugh About’ describing it as the ‘father’ of comedy shows. Shocking, the impertinence of us Nothing to Laugh About producers. Actually, we merely gave the information on the show to the reporter and are in no way responsible for her views. Since I have not even seen all of the comedy shows, apart from one episode of the Link and Mori J’Von Comedy Jam, I am in no position to appoint Nothing to Laugh About the best of the lot. In fact, I would like to say respect due to those two, the former for having become an institution in Guyanese theatre after almost thirty years of keeping the Guyanese audiences coming back for more, and the latter for proving that a Johnny-come-lately does have what it takes to become an unmitigated success.
While I have a lot of respect for Mr Creighton, I would like to respond to some of his comments. He is and has always been extremely vociferous when it comes to the use of the word satire. Mr Creighton is actually quite accurate about the meaning of this word. Had he researched his subject better, he would have discovered that, after his initial criticism, we revised this situation and have said publicly, on numerous occasions, that we are more slapstick than satire. He also refers to what he calls an ‘ego trip’ of Mr Lyndon Jones, who adopted the mantle of director, producer, emcee, writer and actor within the show. As a producer of the show, it is not financially feasible to contract the services of another person if you are competent enough to fill those roles. And Mr Jones is not the only character who was referred to by his real name in scripts. The entire cast of The Will was called by their real names with the exception of the Simone Persaud and Richard Naraine, who was cast in the role after the character’s namesake Henry Rodney could not make the show because of conflicting rehearsal schedules.
Mr Creighton is an excellent writer and he is entitled to his opinion. I put out my productions, not with the expectation that everyone will like it, but with the hope that I can bring laughter and stress relief to enough people. I am confident enough in what I do to recognise that there is some measure of truth in his critique that I can extract and learn from. He is extremely knowledgeable in these matters and no doubt, has forgotten more than I actually know.
While I do not resent criticism, I do prefer it to be constructive. Mr Creighton’s first critique, while even harsher than the second, I believe was fairer and more objective.
I would like to extend my heartfelt gratitude to the thousands of faithful people who come out every year to see Nothing to Laugh About. Without you it would not be possible. A special thank you to those of you who helped in the recovery of Shelly Bancroft, mother, teacher and actress of Signature Productions. The aim of Signature Productions has always been to amuse rather than offend and because of this we generally take a lighter approach to the issues in society we reflect.
To my mother, I say that while you may act out of love for me, in many instances you do more damage than good. I am all grown up now and do not need to hide behind my mother’s skirts every time someone does something that displeases me. I have discovered that people are generally good in nature and should not be judged solely by their mistakes.
Given enough time any relationship can be restored once the bridges have not been burned. If I become bitter about life and people, I will be the only one with the taste in my mouth.
Yours faithfully,
Maria Edwards-Benschop
