A Powerful portrait of Guyanese creativity

A cast of vibrant young Guyanese took to the National Cultural Centre stage in what can only be described as a masterful display of homegrown talent. Under the direction of talented actor and director Nickose Layne, the play ‘Children of Baby’ by exceptional Guyanese playwright Mosa Telford came to life with an added touch of uniqueness, vibrancy, and raw talent. The production showcased some of the nation’s greatest actors, writers, and dramatists, with Layne at the helm.

Viewers were struck by the bold creativity from the very start, with the pounding, immersive sounds of masquerade. ‘Children of Baby’ was inspired by a traumatic part of Guyana’s past: the Baby Arthur killings in Buxton in 1994. The play delved deep into the aftermath of the tragedy, looking in depth at the theme of trauma, its long-lasting impact, and the role the community plays in healing.

What is ‘Children of Baby’?
For those who have not read the play, you should; it is a fantastic piece of literary work that inspired the stage production. One of the best things about ‘Children of Baby’ is its ability to continuously captivate the audience as it follows a community still grappling with the aftermath of tragedy.

The play primarily follows a family whose members are all victims of Baby in one way or another. The character ‘Madalla,’ played by Shereese Vandyke in the beginning and then by Kimberly Samuels-Harry as ‘Old Madalla’. The character takes on the ever-significant role of the mother. Traumatised by her own experience of Baby’s rampage, she becomes the caretaker for two children, also victims of the event.

Actress Latiefa Agard, who played the role of Angel, was a central figure throughout the play. Under Madalla’s care, Angel is raised with the impact the experience has had on the village of Buxton. Similarly, Damien, played by Kevin Kellman, is also a product of the events of 1994. Like Angel, he grapples with the wounds of the past inflicted on him as a child. Speaking to the Pepperpot Magazine, Agard stated, “Angel is the impact and aftermath of the killings. Her character is centred around identity crisis, trauma, and relationship issues with her parents and loved ones. She focuses on how society can change and how something so devastating can affect someone’s personal life onwards.”

The play and its actors bravely tackle a variety of difficult themes, portraying the physical representation of addiction in the form of the enchanting white lady, played by 16-year-old Justine Hamer. This role aims to show just how much control an addiction can have over someone. The play also brought some young actors and actresses to the stage, with names like Mark-Luke Edwards as Micheal and Frederick Minty as Baby, alongside well-known talents like Iyanna Waddel and Tashandra Inniss as part of the production team.

A Talk with the Director
Actor and director of the stage adaptation, Nickose Layne, fell in love with Mosa Telford’s play even before the written work was completed. A project that has been a goal for Nickose for more than five years, ‘Children of Baby’ had a mere four weeks to be brought to life. Backed by the Ministry of Culture, Youth and Sport, it was a major production put together in a month. As Nickose stated, “I took on the project and it has been uphill since. My cast is amazing.”

In an incredibly entertaining manner, ‘Children of Baby’ creates a journey for viewers that takes place over several years, beginning with phenomenal acting that brings the intensity of the tragedy to life. Talking about this, Director Nickose shares, “The play goes through decades; the timeline of the play is decades long. It talks about how trauma is passed down and how it lives with us. Even if the people who have inflicted the trauma might die, it is passed on. We look at how trauma lives with us and affects people who may not have experienced the primary source of trauma.”

There is something unique about seeing words on a page brought to life. This is exactly what Nickose aimed to do, with minor changes to preserve originality. He interpreted certain aspects of the play, still keeping close to the Guyanese theme while adding just a bit more vibrancy to the stories. As he stated, “I interpreted the play. I think we are doing the play very close to what Mosa wrote. But what is written is just what is written; a play is not a production. There are a lot of liberties that a director has. One of the things that I saw in the play that was not there, but I saw it, was masquerade. It was so clear to me; masquerade was clearly an element to me.”

The best part of plays like ‘Children of Baby’ is the fact that it is Guyanese, from its writing to its production. It is something to be proud of as a people and to be reminded of how important it is to support each other, which is what ‘Children of Baby’ strives to do. As Nickose shared, “I want people to leave with the understanding that community is very important, and even when we feel as though somebody has nothing to offer in society, that person still has a lot to offer. I want people to understand that our responsibility is to ourselves and to each other as well. I always say people need people. I want people to know that they have a part to play.”

‘Children of Baby’ stands as a testament to the power of Guyanese storytelling. Through its compelling narrative and stellar performances, the play not only entertains but also challenges its audience to reflect on the enduring impact of trauma and the healing power of unity.