Saturday, April 17, 2021

533. TI-JEAN AND HIS BROTHERS. From my (unpublished) ENCYCLOPEDIA OF THE NEW YORK STAGE, 1970-1975

Leon Morenzie, Dennis Hines, MadgeSinclair, Clebert Ford. (Photo: Freedman-Abeles.)
TI-JEAN AND HIS BROTHERS [Drama/Family/Fantasy/Race/West Indian] A/D: Derek Walcott; CH: George Faison; S: Edward Burbridge; C: Theoni V. Aldredge; L: Martin Aronstein; M: Andre Tanker; LY: Andre Tanker and Derek Walcott; P: New York Shakespeare Festival; T: Delacorte Theater (OB); 7/20/72-8/6/72 (15)

Ti-Jean and His Brothers was the first new play to be produced by Joseph Papp as part of his annual free Shakespeare in the Park series. Written by Trinidadian Derek Walcott, it is a near-musical folk fable set in the West Indies and with local music, dance, ritual, and costuming to highlight its allegorical motifs.

Ti-Jean proved a heavy experience despite its apparent superficiality; it was found to be abstruse, repetitious, and laden with an encrustation of literary allusions and symbols that bogged the spectator down in cerebration but rarely involved him or her emotionally in the heat of human dilemmas.

The story is that of a poor old lady (Madge Sinclair) with three sons: Gros-Jean (Clebert For is all muscle, Mi-Jean (Leon Morenzie) is all brains, and Ti-Jean (Dennis Hines) is a simple innocent. When the Devil (Albert Laveau) challenges the siblings to a contest, each confronts him in turn. Gros-Jean and Mi-Jean fail are eaten by the Devil, but Ti-Jean, because of his instinctual human qualities and closeness to nature, triumphs.

The Devil appears to each brother in a different guise, his appearance to Ti-Jean being that of an English planter against whom Ti-Jean incites the Black victims of colonial oppression to rise up. His victory is rewarded by allowing the soul of an aborted infant, now a devil’s imp, to be born into manhood as the allegorical representative of the Black man of the future.

To Clive Barnes this multilayered allegory was “hard to take” as a work of theatre. More music might have lightened the burden, he suggested. Julius Novick fond the writing muddled and hard to follow, its life-affirming conclusion excessively “sentimental,” and Walcott’s direction “neither imaginative nor subtle.” John Simon thought it disunified, “lacking in poetic imagination . . . [and] heavily overexplanatory.”

All the reviewers considered Trinidadian Albert Laveau’s tripartite performance the best in the show.

Next up: Timon of Athens