This month saw the production of two major events designed to raise funds in aid of Henry Rodney, one of the most easily identifiable icons of Guyanese theatre, who is currently ill from an ailment that he hopes to be identified and treated by seeking medical attention overseas.

Mr. Rodney’s illness has been a catalyst for many activities but, more importantly, it has also helped both the artistic and non-artistic communities of Guyana to reflect on our country from varying perspectives. Questions regarding the state of our healthcare system and the need for locals to seek treatment overseas if they wish to get better again has been raised, the ability of the arts to serve as a method of bringing awareness to, and aiding with, an important cause has once again presented itself, and the role of the government in ensuring that our creative icons are helped and treated with dignity and the respect that should be allocated to people who are at the forefront of culture and the arts in Guyana.

It is no secret that creative persons who have contributed significantly to the Guyanese cultural landscape in the past are often neglected and left to become forgotten simply because enough is not done to preserve the works and lives of such artists, nor is enough done to help these individuals in their times of need, nor has enough been done to make Guyana a cultural hub of the kind that would enable such artists to be able to live solely by practicing their art. Wordsworth McAndrew, for example, one of Guyana’s greatest folklorists and a respected linguist, died abroad, poor and going blind. Johnny Braff’s name has never been heard by most of the younger generations and if work is not done immediately to bring our own to the forefront by highlighting and preserving the work of our great artists, then it is likely that they will never know his name. Then there’s the Mighty Rebel who has famously said that he is retiring from Calypso Competitions due to, among other reasons, the concerns of

calypsonians not being addressed.
In the midst of what is still a barren arena for artists to exist in then, emerged two Benefit Concerts, designed and run by artists in aid of assisting a fellow artist – by raising funds for the ailing Mr. Rodney – which were both successful and, therefore, serve as reminders to us that we are capable of, and should be, assisting and supporting our artists in their times of need even more in the future.
The first benefit show to help Mr. Rodney was the successful “Rukatuks” concert, which was held at the National Cultural Centre, while the second was the “All Star Benefit Concert” that took place at the Theatre Guild on July 2nd. The second event is of particular interest because it is the first official production put forth by the National Drama Company (NDC) of Guyana, in collaboration with the Theatre Guild.
Mark Luke-Edwards, the current President of the National Drama Company, in an interview, was asked why the NDC decided to make a Benefit Concert its first production. His response was simply that the Company saw the need to aid someone who is “a champion folklorist, a cultural ambassador, a poet, a comedian, an artist, an icon, the consummate professional actor” and decided to take action in order to assist Mr. Rodney, whom Luke-Edwards notes has always been well-loved and approachable and has been a mentor to young people in theatre – an point that nicely complements the NDC, which itself is composed mostly of young theatre practitioners. He also noted that although the NDC had a short time to prepare, the difficulties were made easier by hard work and the cooperation of Company members. Luke-Edwards also said that donations are vital to Benefit Concerts and acknowledged the important contributions of the Theatre Guild and Banks DIH to the success of the show. He also emphasized that Benefit Concerts and giving back are two things that the NDC definitely wants to do more of, and says that the audience’s reaction to the show has been solid and encouraging.

The artists who performed at the event, like Mr. Luke-Edwards, also keenly recognized the importance of Mr. Rodney to theatre and to culture in Guyana and it is for this reason that all of them agreed to perform pro bono and consented without hesitation when asked to be a part of the program. Adaeze Lumumba, the young violinist who performed a rendition of Hungarian Dance No. 5 by Brahms, has said that it was important for her to be a part of the production in order to be one of many performers who would all come together to create a unique event that, although meant to raise funds, was also important for its ability to create feelings and leave an impression. Upcoming singer, Siestra, who also performed Kari Jobe’s “Healer” at the Benefit Concert was thankful of the opportunity to meet Mr. Rodney and says “as a gospel artist, it was a privilege to be a part of that particular Benefit Concert” because it was not for her own personal benefit but, rather, for someone who has contributed a lot to the society. Juke Ross, one of Guyana’s fastest rising stars, like all the other performers on the night, showed that the artistic community in Guyana is capable of giving back and supporting each other. He noted that he has always enjoyed theatre in Guyana and that Mr. Rodney is an integral part of Guyanese theatre. Humbly, he says that he was merely supporting someone he has “tremendous respect and appreciation for.”
Other performers included well-known actors and comedians, such as Michael Ignatius and Jumbie Jones; musical renditions by Sweet Sax, Michael Smith, Jomo, Alabama, and Kwasi Ace; a dance by Kreative Arts; various performances of poetry, and many other items, including several pieces of drama by members of the National Drama Company, such as Contradictions by Nicola Moonsammy and Lust by Tashandra Innis. Sonia Yarde also directed a piece by Henry Rodney himself called Family Grouse, while Mark Luke-Edwards, Michael Ignatius and Nirmala Narine also staged an excerpt from an episode of Mr. Henry’s famous TV serial, Agree to Disagree. It should be noted that the final performance on the night of the production, a dance by NDC members, could not be performed due to the manager of the venue’s insistence that the show be finished at 11 PM, despite not indicating to the stage managers that there was a time limit nor, at the very least, informing them at what time the show must be finished by prior to the commencement of the show.
Mr. Al Creighton, of the National School of Theatre Arts and Drama, was also present at the Benefit Concert and delivered a short speech on Henry Rodney, on theatre, and on Benefit Concerts. He noted that benefit shows is a tradition in theatre that is centuries old. In fact, Frank Thomasson in his book, A History of Theatre in Guyana 1800 – 2000, is able to date a Benefit Concert in Guyana all the way to the early 1800s. Mr. Creighton believes that such Benefit Shows is one of the traditions of theatre that should be regularly practiced in Guyana, and that the Benefit Concert staged by the National Drama Company and the Theatre Guild on July 2nd was a way of publicly honouring Mr. Rodney, while simultaenously acknowledging his work and contributions and thanking him for everything he has done for theatre and Guyana.