By Kimberly Ramkhalawan
Entertainment in South Trinidad has always been the Naparima Bowl. From its establishment in 1962, this facility has welcomed dancing troupes from parts of India, Africa and other far parts in the globe, to replicating classical Shakespeare Productions, Broadway dramas such as ‘A streetcar named Desire’ to Caribbean stories like ‘Junction Village’.
While the bowl catered to mature audiences, it was always filled to capacity with shows sold out and became known as the culture hub in Trinidad’s second city, San Fernando, also known as the service capital of the oil rich nation.
The theatre which was designed partly through the influence of Trinidadian Playwright, the late James Lee Wah, Naparima Bowl became synonymous for its proscenium stage that could entertain both an auditorium and amphitheater simultaneously, but more so its ability to provide an environment conducive to productions. The acoustics and lighting have even been described by Jamaican Choreographer, Rex Nettleford, as one of the most premier theatres in the Eastern Caribbean. And while others may argue there is the newer Southern Academy for Arts (SAPA) opened in the last decade, true artists will agree the Naparima Bowl has quality on its side in getting world standard productions revered by internationally acclaimed performers and producers.
But such accolades the Bowl has accumulated over the years stands on the eve of its 60th anniversary to be lost if the current board does not take the necessary action immediately to make it profitable, keeping it with the ever changing times in our world of entertainment.
The view is one shared by its former Chairman, Reynold Bassant, who has also held the position as CEO and Manager of the Bowl up to as recent as 2017, having also been present since the Bowl’s inception in the 1960s, working as stage staff along with founders James Lee Wah.
His passion for showcasing local culture spans his lifetime working in managing the arts and culture, to judging competitions such as Best Village across the country, to Carnival celebrations among the diaspora in Nottingham and Toronto. But his longing for the Bowl to manifest its full potential stems from seeing it from the perspective of its role in the cultural community by and large locally, regionally and internationally. In his words, “The bowl is the cultural high ground that translates into a kind of capital that gives its importance to the community and pays multiple dividends long term”. This long-term effect he speaks of is the kind that creates careers, and train persons for the creative industry.
A value that sells
Apart from it being a space that entertains and fosters creativity, the space has often been used for social gatherings and meetings of all sorts of disciplines.
And on the checklist of things Bassant says is needed to bring this value to the Bowl is a ‘black box’ theatre, a stage that works for smaller audiences and could be used for the literary arts such as prosody and spoken word, while necessary to having a holistic theatre means outfitting these rehearsal rooms with pianos and bars for dance.
Such spaces he says also generates revenue and is part of the subsidy accounted to government.
The unique feature the Naparima Bowl has and is prized among the creatives, is its stage shared with the Amphitheatre and the auditorium. Bassant says for many years they have lobbied to acquire a covering that can easily adapt to the changes to the local weather. He says this connected stage has often been used for dramatic entrances, while it allows for general pricing that caters to an audience of roughly 1500 to 2000 persons, while 500 persons are normally seated inside.
He adds that another proper use of its space should include an art gallery. In comparing the Queen’s Hall, located in Port of Spain, which has also airmarked the addition of a gallery to its layout, Bassant laments that for far too long San Fernando has not had a place to showcase its art, and long before Queen’s Hall had proposed this idea, the Naparima Bowl had placed this before successive Culture Ministries as part of their scope of works meetings for its restoration. And while he understands this can be an additional cost, he believes public private partnerships are key to adding such a feature to the southern landmark, as companies can pride themselves in attaching their names to the gallery or rooms annexed to the current structure. Currently those wishing to host displays or launches of their art in the southland, often borrow commercial office spaces or restaurant lobbies for their exhibition that hardly are able to stretch beyond a few days, due to physical constraints on their host. While to many an art gallery may not seem vital especially during the present pandemic, Bassant believes such spaces has the potential to spark creativity and innovation among younger generations with the aptitude for the arts, inspiring those upcoming to put down their thoughts on various mediums, whether sculpting, abstract design, or the canvas.
His suggestions also include the utilizing part of the front space near the tennis courts, for high rise parking that can easily be shared with the South West Regional Health Authority’s San Fernando General Hospital attached with a rental fee to users, solving any parking woes present patrons struggle with when visiting the Bowl.
Bringing it to the era and carrying on the tradition
Critical to any box office sales is the ability to purchase tickets remotely, and as an internationally acclaimed theatre, the former CEO and Chairman says it was about time it became digitized, as it forms part of the bigger tourism picture. Persons looking to travel to see a particular artist or showcase in Trinidad should not be uncertain of the availability of tickets at the venue. This he entails adds hosting a website or foreign ticketing sales agent often used by headliner acts abroad.
The current bowl structure is said to be two 80 x 160 containers acquired for the 2006 Carifesta which Trinidad and Tobago hosted mere months after the Bowl suffered structural damage to its roof in 2005 after devastating rains. What was meant to be temporary has since turned long-term with regularly scheduled maintenance for its upkeep. He says since then seats have been upgraded, BOSE sound systems and the more economical, LED lighting, have added to a consistent quality throughout the theatre and allows for the creation of a mood. Apart from that, the addition of new staff members inclusive of a house manager, facilities officer and persons trained in lighting, set design, stage management and ushers, also add value to the quality of service offered to patrons. To Bassant, trained personnel on staff ought to be a reflection of the state-of-the-art facility that stands and testament of any good theatre.
Bassant who calls himself a patriot rather than one to any particular political party, says the Naparima Bowl can once again be the vibrant space envisioned, owned by the people, and be the Sanctuary of the Arts where it can worship and see itself through relatable experiences.
While his concerns have often been dismissed over the decades serving as CEO and Chairman of the Bowl by successive governments who often view his criticisms as in support of their opponents of the times, his call for the change he speaks of, have been simply promises on repeat, only to be shut down by bureaucracy. He says any justification needed by governments for safekeeping the Bowl can be easily accessed through consultations with stakeholders and gathering the necessary projections for its viability.
He calls for the current board to take on the mantle of leadership needed that is willing to galvanize the current operations as too often governing boards of state agencies often get stuck in the mud because of the lack of ideas that encourage its viability.
Saddened that the Bowl in its current incomplete state, has not been looked upon, Bassant says the time is drawing near where being told to have patience is no longer an option or excuse for the Bowl’s neglect if it is to be saved, while small amounts given for its basic sustenance has not been enough. Instead, he longs to know that those who fought for its establishment and survival such as the late James Lee Wah, Torrence Mohammed, and Joy Caesar will be happy wherever they are in eternity, the Naparima Bowl’s legacy has a stronger footing into the future.
Despite the pandemic, the bowl has been used for performances, Junction Village was returned to the Naparima Bowl earlier this year, along with jazz songstress, Vaughnette Bigford’s De Sunset Pan Jazz Lime event. But much more than that, Bassant says the space can be a hub of activity all through the year, bringing the world to its courtyard with international food festivals, Embassy Days, ice cream sundae festivals, where persons can peruse safely and partake of cultures. To Bassant, seeing the Bowl restored and given the lifeline it has for too long waited for is worth the fight and will not say it’s over for the Naparima Bowl just yet.