FRANK THOMASSON

There are many parts to a theatre, some parts serving more than one function, others used for specific purposes, all playing a major role in society. There are many aspects to a theatre but the more important aspect is the people who make up the theatre, some playing many parts in their lifetime.Frank Thomasson was one such person who played many parts in the Theatre Guild of Guyana. Thomasson was like a founder member of the Theatre Guild due to the fact that he was there from the beginning and he was the

Guild’s first secretary. The founding members were Lloyd Searwar, Bertie Martin and Arthur Hemstock. Thomasson was also an actor and the Guild’s director from its opening in 1960 to 1965. But his greatest contribution to Theatre Guild and theatre in Guyana was his book: ‘A History of Theatre in Guyana, 1800-2000’ (Hansib Publications). This book was launched at the Theatre Guild in 2008 to coincide with the resuscitation of the playhouse.
The blurb of the book reads: Frank Thomasson’s study of 200 years of theatre in Guyana is a fascinating work which includes a compilation of related articles extracted from local journals dating back to the early 19th century. His survey establishes itself as a pioneering and indispensable segment in the history of Guyana. It makes a case for the importance of the theatre in the diverse culture of the Guyanese people, in helping them to understand and appreciate the lives and concerns of each other.
This valuable study encompasses the performing arts which the different ethnic groups brought with them. Added to this was the beginnings of the European theatre in 19th century Georgetown which gave rise to the emergence of theatre organised by the East Indian and African Guyanese middle classes in the early 20th century, to the vibrancy of a diverse and socially committed theatre in the 1950s, leading up to Independence.
Thomasson’s extensive definition of theatre embraces not only the emergence of serious repertory theatre, but also all forms of entertainment and state-run public extravaganzas. He explores the national and regional examples of encouragement of theatre, from the Booker Company’s sponsorship and support of theatre groups and competitions on the sugar estates, to the inclusion of drama in the extra-curricular activities of the leading schools, the birth of the National Cultural Centre and Carifesta. The longest section of his history is dedicated to a detailed study of the Theatre Guild of Guyana, the longest existing and most ‘professional’ of the repertory groups in the country.
Thomasson was born in Manchester, England, and was always involved in some aspects of the theatre. He was a Business Psychologist by profession. In 1956, he came to Guyana to take up employment with the Bookers Sugar Estates. Between 1956 and 1965, he served the company as Deputy and Chief Personnel Officer, later Personnel Director.
Dr Ian McDonald, in his foreword to the book, wrote that in those ten years ‘Guyana entered his bloodstream, his mental make-up and, I dare say, his soul…And ties to his adopted land were doubly secured by his marriage first’ …to Carlotta Croal and then to Aileen Morgan – both Carlotta and Aileen springing from famous Guyanese families and themselves celebrated in the theatre’.
In 2006, the Guyana Cultural Association honoured him with the Exemplary Award for a lifetime of service to the theatre in Guyana.
Frank Thomasson passed away in 2012 in the United Kingdom.

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(By Petamber Persaud)