Tony Hall

Email: lordstreet@yahoo.com

Home page: http://myspace.com/tonyhalllordstreet

Tony Hall's 2008 Scheduled Appearances:

- July 30th (A Reading), August 3rd (A Jouvay Process Talk and A Panel Discussion) - International Carnival Conference, York University, Toronto, Canada

- August (A Jouvay Process Workshop - JPTP) - Yorkshire, UK. Contact Create.Change@yahoo.co.uk for further details.

(Contact individual locations or host organisations for confirmation of time, directions and other logistics. Thank you for your support.)

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For readings and/or Jouvay Process Workshops by Tony Hall, performances by Lordstreet Theatre Company

- Tel:1-868-639-7643

- Email: lordstreet@yahoo.com

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TONY HALL writes plays for street, stage and screen. He has campaigned extensively, as an actor, a director and a writer, in Western Canada with Catalyst Theatre, Edmonton, Alberta and in the West Indies with Derek Walcott's Trinidad Theatre Workshop. He has appeared in television drama and entertainment in Canada on CBC and ITV and in the USA on NBC. He has also worked with Banyan Limited developing community television and popular media in Trinidad and Tobago and the Caribbean, Gayelle TV.

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#1 SEX-WORKER
(From JAMETTE, a series of 12 short plays)

by Tony Hall

‘Sex-workers have been robbed of everything: their bodies, their dreams, their lives, but not their hearts, because these aren’t for sale . . . ‘
Humanos del Mundo Pamphlet
Day of the Dead Procession
Mexico


FOR THE SCARLOT HARLOT

A man 57 years old
A woman 54 years old

______________________________________________________________________________________________________________________

Night.

A bedroom in a cheap one-bedroom apartment.

MAN is sitting on the bed counting money.
WOMAN is undressing.

WOMAN: Enough?

MAN: Yeah, more than what I can normally make in a day.

WOMAN: Yup!

MAN gets up and puts money away. He then sits on the edge of the bed. He hangs his head down. WOMAN comes up behind him and tries to coax him down on the bed by nibbling on his ear. He does not respond. She continues to try to get him to bed. He stops her.

MAN: Why . . . ?

WOMAN (shuts him up.): Shhhh!
(She pushes him down on the bed. She
gets her way for a while then he stops
her.)

MAN: Wait . . . . .

She pulls him down again and they roll on the bed.

MAN: No.

WOMAN: What the hell? (Pause.)

MAN: What . . . ? (Pause.)

WOMAN: What do you want? (Pause.)
Ah, come on honey. Is not the
money?

MAN: What?

WOMAN: The money. It’s enough. Right?

MAN: Yes, yes. (Pause.) Yes, sure.

WOMAN: Well then . . .
(They roll some more. She initiates
all the movements between them.)

MAN: I can’t . . .
(She continues to work him over.)
Stop. Stop!

WOMAN (Laughing, enjoying his discomfiture.):
I will not stop. I will not stop.
No way, no way.

MAN (Jumping up): I can’t stand it. Get out.
Get out and take your damn money. No.
Please stay. Don’t go.

WOMAN (Sitting up): Make up your mind. Make up your damn mind.
(Long Pause.) Come here, what is wrong with you?
(She tries to coax him. He does not
take her on. She goes over and takes
up the money.)
When last you make this kinda money?
(She counts the money and scatters the
bills all over the bed.)
All this I bring in here. For you. What
wrong with that?

MAN: I can’t do this anymore.
I have to find a job.

WOMAN: What?

MAN: Ok, so my education is not so very
good. But I must do something.

WOMAN: Now? After all these years?
Like what?

MAN: Come on just lie down with me.
Let’s talk.

WOMAN: Not that again. About what? Eh?
About what?

MAN: Look we could really love each other.
Why you do this to me?

WOMAN: What I do to you?
(She moves in on him.) Eh?

MAN: Put me in this position. You come in
here this hour of the night with-

WOMAN: But you said it was ok.

MAN: I know. I know. (Pause.)

WOMAN: And who else you expect to come to
you this hour of the night? You
expecting somebody? (Teasing him.)
You have something else lined up? Eh?

MAN: No. No!

WOMAN: Oh ho. (Pause.) Well?

MAN: Well what?

WOMAN: Well . . .

MAN: Ah want you to stop this.

WOMAN: You want me to leave you. To go and-

MAN: No. No.

WOMAN: So?

MAN: Ah just want you to stop this.

WOMAN: Stop what?

MAN: You know.

WOMAN: (Laughs.) Never.

MAN: But why?

WOMAN: Is the only thing I can do-

MAN: You can do many other things.

WOMAN: -in the circumstances.

MAN: And I can work too.

WOMAN: Work? What work? When last you did real
work? Look you got your hand broken again. You
got no education. Remember?

MAN: We can still try to make a life together . . .
I love you.

WOMAN: (She straightens up her body and attacks him.)
I will not allow you to control me!

MAN: Oh God. (Pause.)

WOMAN (She approaches him slowly and coaxes
him to make love to her.): I want you.

MAN: I love you. I love you so much.
(They escape into an intense, desperate bout
of physical lovemaking on the bed with
the money scattered all over it. Here the
tortured spirit seeks its salvation through
the violence of burning flesh. Pause.)
We can still have dreams, man. Give it up.

WOMAN: No! (She sits up and lights a cigarette.
MAN observes closely evidence of her aging body.)
I have been living like this for thirty years.
Long before your-

MAN: Yes.

WOMAN: Wife-

MAN: No, don’t! Please.

WOMAN: Ok. (Pause.)

WOMAN (Stroking him with her fingers):
And how long we know each other now?

MAN: (Pause.) I don’t know . . . four, five
years.

WOMAN: Uh huh, so admit it. You ent do so badly.
Right? (She picks up a few bills from the bed and
throws them up in the air. Pause.) I love
you too. I love you. (She puts the
cigarette out and attempts to seduce
him a second time. After a while, he
pushes her off. She gets up slowly
and starts to put on her clothes.)
I love you. (She kisses him.) Must go.
(She readies herself quickly and leaves.)

MAN: Now? (While sitting in the pile of money on the
bed he slowly cradles his head in his hands.)


FADE
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SEX-WORKER
© 2002 Tony Hall

Trinidad, WI
August 27th, 2002

(To comment log in and go to SEX-WORKER below.)

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Mr. Hall has taught theatre at the University of Alberta, Edmonton, at the University of the West Indies, St Augustine, Trinidad and at King Alfred's College, Winchester, England. He has been Visiting Artist in Residence at Trinity College, Hartford, CT between 1998 and 2007, where he taught courses to playwrights and film/videomakers. Tony has also been on-site Academic Director at the Trinity-in-Trinidad Global Learning Site. He divides his time between campaigning in North America and Europe and living with his family on the remote island of Tobago in the West Indies.

LORDSTREET THEATRE COMPANY

" . . . vibrating not under the earth but in our raucous, demotic streets . . . " Derek Walcott

In the 1990s Tony Hall and Errol Fabien launched LORDSTREET THEATRE COMPANY [LTC], 'The Hummers', with the prize winning jouvay masquerade trilogy, A Band On Drugs (1990), A Band On Violence (1991), A Band On US (1992). The company takes its name from Lord Street, the seedy area in the city of San Fernando, Trinidad, where Tony grew up.

LTC muses on performance through Jouvay Process with Black Market Films, Maitri Moving Pictures and Vengeance Media, to produce popular media as Jouvay Digital and to produce theatre projects based on critical research into historical, political, social and contemporary issues in order to induce unconventional states of awareness and feeling in search of new possibilities for understanding and sensitivity. This work seeks to explore the mysterious and aboriginal subterranean depths of inter-cultural jamette consciousness and, at the same time, it wants to meditate on strategies "to convert reforms of the personal conscience into collective codifications of the public good".

LTC recently launched Lordstreet Foundation of the Arts to support artists and to encourage literary and fine arts projects in the idiom of traditional Caribbean culture.

"If yuh smart
Clear de way
But if yuh tink yuh bad
Make yuh play . . ." Mighty Sparrow

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"For every poet it is always morning in the world. History a forgotten, insomniac night; History and elemental awe are always our early beginning, because the fate of poetry is to fall in love with the world, in spite of History.

There is a force of exultation, a celebration of luck, when a writer finds himself a witness to the early morning of a culture that is defining itself, branch by branch, leaf by leaf, in that self-defining dawn, which is why, especially at the edge of the sea, it is good to make a ritual of the sunrise."

- From Derek Walcott’s Nobel Lecture, The Antilles: Fragments of Epic Memory (1997) -


JOUVAY PROCESS

All of Tony Hall's work revolves around a central concept, Jouvay Process. Jouvay Process can be seen as an awakening which manifests when principles of creativity embedded in the secret, subterranean, survival strategies of the emancipation traditions are meditated on, mused on, probed or invoked instinctively.

Here the Caribbean experience of emancipation is used as an organizing principle based on the meditation that the state of emancipation is achieved in two very broad stages. The first stage is the historic liberation from chattel slavery for the people of the new world. The second stage is an awakening to a spiritual transcendence of the mundane, physical, everyday existence of oppressive authority and tyranny of organized society. And 'jouvay', the name given to the opening 'ritual of the sunrise' at the dawn of the Trinidad Carnival, is carried as an enduring metaphor for the beginning or awakening of a distinct and unique human consciousness. Today we concern ourselves with the second stage. Today we engage in the unavoidable eternal life struggle with this seemingly impossible and somewhat improbable second stage.

Jouvay Process is a natural, life awakening process, a dynamic of spontaneous popular culture, into which an ‘instinctive intervention’ is often made in order to make an art project or to realize communal art. Jouvay Process is usually mused on, meditated on or sometimes observed for a very long time before an intervention, instinctive or otherwise, happens.

Who knows how pan, the steel band, happened? How did kaiso, the calypso, or mas, that survival mechanism of everyday life, the Caribbean masquerade, happen? Jouvay Process. Limbo dancing? Where did it come from? Jouvay Process. Who invented it? Jouvay Process. How does the dancer dance it? Jouvay Process.


JOUVAY POPULAR THEATRE PROCESS [JPTP]

Jouvay Popular Theatre Process [JPTP] is an ‘interventionist performance/production model’ for seeing art happen. You meditate on Jouvay Process long and hard before an intervention or an application visits you. You have to be a long time witness to Jouvay Process before you can start to probe it because the probe itself comes over you spontaneously, when you least expect. It is after a long period of witnessing that you are automatically and forcefully driven to muse on a probe into the process. You see, this is not something that ‘you’ do. It is something that happens to you. You can never know how it is done or how to do it. And no one can tell you.

Seven Elements of JPTP

1. The Gatkha Calinda School - the school in the emancipation traditions.
2. The Gayelle System - a curriculum of 'dance & fight' in the school.
3. Traditional Mas, Folk and Religious Character Manifestations - archetypes as guides and guardians.
4. Dance & Fight Techniques - new and old approaches to 'dance & fight'.
5. Emancipation Cycle of Creativity - the continuing circle of transcendence.
6. Jouvay Opera - environmental theatre, street & stage communal performance as ceremony.
7. Jouvay Digital - sight & sound movement, on screen ritual.


JOUVAY OPERA

Jouvay Opera [JPTP Version 2.40] develops out of the initial Jouvay Popular Theatre Process [JPTP] formulation. It is a combination of stylized action, kaiso/ calypso/rapso/chutney/soca singing and music, traditional drums and chants, pan music, 'speechifying', dialogue and mime, stick fighting (The Gatkha Calinda School) and dancing to represent stories or depict different characters - traditional mas/folk and religious characters function as guides and archetypes of behaviour - gladness, anger, sorrow, happiness, surprise, fear and sadness. These stories consolidate the strategies of survival embedded in the many ‘emancipation’ traditions of the pre and post emancipation eras. Costumes and sets in Jouvay Opera are usually handmade, in the aesthetics of the traditional mas, Camboulay, Ramdilla (Ramleela), Hosay, Shouters and all the street traditions, from found materials.


JOUVAY DIGITAL

Jouvay Digital 2.30 [in cineMAS] is used in cineMAS to allow unusual dimensions of images in sight and sound to manifest. Emphasis is on improvisation, ‘extempore’, environmental, ambient sound and other documentary techniques. Two or more cameras with a preference for hand-held movement and getting into small corners [tight and personal, claustrophobic] are the order of the day. Jouvay Digital 2.30 moviemaking process is about finding the interior, ‘the interior monologue’, meditation on the mas, the masquerade of everyday life, meditation behind the mask, revelation through the Emancipation Cycle of Creativity ‘to awaken’, ‘to jouvay’ ad infinitum in the moment through an exploration using all the new digital and inexpensive popular media technologies.

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JOUVAY INSTITUTE

Aims

1. To examine the premise that Jouvay Process is 'an awakening' which manifests when principles of creativity embedded in the secret, subterranean, survival strategies of the emancipation traditions are invoked.

2. To meditate on and bear witness to manifestations of Jouvay Process.

Objectives

1. To develop and explore, through research, formulations and popular methodologies in pursuit of frameworks for the widespread application of precepts and concepts related to manifestations of Jouvay Process.

2. To use the frameworks of Jouvay Popular Theatre Process [JPTP] and Jouvay Opera/Jouvay Digital 2.60 as a ‘performance/production model’ based on manifestations of Jouvay Process for deepening personal and group consciousness.

3. To make research findings widely available through publications, audio & video materials and popular media & performance.


"I am bound to war
With the sun on my face again
Kiskadee singing 'way my pain . . ." David Campbell


At the JOUVAY INSTITUTE we see Gatkha Calinda martial arts as traditional forms of play, combat, prayer, music, dance, meditation, games and drama. Everyone of our sessions begins with different aspects of Gatkha Calinda. In addition, this school of martial arts also sees in these traditions, platforms and locations for building approaches to self development and performance. These are executed through, what in The Gatkha Calinda School is called, The Gayelle System. This system is made up of phases and approaches to finding, using and mastering appropriate weapons of 'Dance & Fight'.

The Gayelle System is made up of:
1. Prayer: Humming on the Horizon [The Hummers]
2. Initiation: Weapon Circle (for beginners)
3. Warm up: Stretches and Salutations to the Sunrise
4. The Challenge: A call to War
5. Lavway: Song or Chant
6. Karay: Dance, Grandcharge
7. Bois! or Poui!: Fight or Attack
8. Pas: Bloodhole, Surrender

This system is according to a Louis McWiliams' formulation.

Some of the approaches and techniques discovered from musings on the age old traditions of 'Dance & Fight' through The Gayelle System are:

1. Drunkin' Sailor.
2. Wine for yuh lover.
3. Rhani Jansi.
4. Mammie Pappie (The Transgressor).
5. Rod of Correction (Mastife).
6. Woman of the Birds.
7. Glass Menagerie.
8. Bongo (A Dance of Death).

There is a lot more to be discovered through new and fresh explorations of this system.


JOUVAY INSTITUTE PROJECTS

JOUVAY INSTITUTE ran its first Playwrights Workshop in conjunction with the National Drama Association and Trinity College's Trinity-in-Trinidad Global Learning Site in the spring of 2003 and also initiated a Videomakers Workshop in selected secondary schools in 2002.

1. Playwrights Workshop (2003, 2004, 2005, 2007)
2. The Trinidad and Tobago Living Museum Project (Moriah, Buccoo, Moruga, Waterloo - Temple in the Sea, The Islamic Community)
3. Videomakers Workshop (Tranquility High School 2002)
4. The Environmental and Street Theatre Project with The Trinity-in-Trinidad Global Learning Site (Camboulay Riots 2001-2006 with Norvan Fullerton and Eintou Sprnger, Macqueripe 2003 with Michael Lee Poy, Ramdilla 2007 with Ravi-Ji)
5. Jouvay Process Workshops - JPTP sessions for personal and group development.

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For READINGS by Tony Hall, JOUVAY PROCESS WORKSHOPS - JPTP (An Awakening to Your Creativity) and/or PERFORMANCES by Lordstreet Theatre Company

Email: lordstreet@yahoo.com or Tel: 1-868-639-7643

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"A House for Mr. Biswas"
Studio Sunshine Suite Tobago (Maroons Camp)

Invest in GREEN CORNER - your energy centre


“I invent nothing, it’s all there.” Joan Miro

"If something was wrong I told them what was right and left it to them." Frank Worrell (quoted by CLR James in BEYOND A BOUNDARY.)

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SELECTED WORKS by Tony Hall

AND THE DISH RAN AWAY WITH THE SPOON (1992) (US Release date: 1994) - An award winning Banyan Film for a BBC/TVE Series.

JEAN & DINAH . . . [Who Have Been Locked Away in a World Famous Calypso Since 1956 Speak Their Minds Publicly] (1994) - An award winning LORDSTREET LiME for stage successfully performed up and down the Caribbean. First performed in the US (Hartford, CT., Hamilton, NY. and New York, NY.) in 1998, in Toronto, Ontario in 2001 & 2002 and in London, UK. in 2003. A French version of the play was performed successfully at the University of the West Indies Inter-Campus 8th Annual Foreign Language Theatre Festival in 2007 on the St Augustine Campus, Trinidad.

RED HOUSE [Fire! Fire!] (1999) – An award winning LORDSTREET LiME for street, first performed at Under The Trees, Normandie Hotel, St. Ann's, Trinidad.

MUD! 'a ritual in mud and percussion' (2001), first composed and performed at Trinity College, Hartford, CT.

TWILIGHT CAFE [The Last Breakfast] (2002), another LORDSTREET LiME for the stage, premiered on June 20th, 2002 at the Central Bank Auditorium, Port of Spain, Trinidad and won the 2002 Cacique Award for The Most Outstanding Original Script. A public reading was given at Artwood Theatre in Toronto, Ontario on March 29th, 2005. The North American Premiere was successfully given on May 16th 2007 by Rhoma Spencer and Theatre Archipelago in Toronto, Ontario, Canada.

FLAG WOMAN (2004), a LORDSTREET LiME for radio. Blind Miss B, an aging "Flag Woman", reluctantly faces her demon [First broadcast by W.A.C.K 90.1 FM, San Fernando, Trinidad, W.I. on June 12th 2005].

MACQUERIPE [A Navel Operation] (2003), a site specific theatrical meditation at Macqueripe Beach, Chaguaramas, Trinidad, 2003. A Trinity-in-Trinidad/Lordstreet Theatre Project.

THE BRAND NEW LUCKY DIAMOND HORSESHOE CLUB (2004) – A Calypso Musical [Blues Kaiso in Jouvay Opera] with book by Tony Hall, lyrics and music by David Rudder, premiered at Crossroads Repertory Theatre (formerly Summer Stage), Indiana State University, Terre Haute and performed at Queens Hall, Port of Spain, for Carnival 2006. Lucky Diamond won the 2005 Cacique Award for The Most Outstanding Original Music.

DIN SHURU [day breaks] (2005) - A Jouvay Opera with story by Ali Pretty & Mary Anne Roberts, book & lyrics by Tony Hall and music by Jit Samaroo. A work in progress for Kinetika Art Links International, UK.

TABLE 17 (2007) by Arthur Feinsod was directed by Tony Hall as part of the 2007 Summer Season of the Crossroads Repertory Theatre, Indiana State University, Terre Haute, Indiana, USA. This was the World Premiere of this play.


“I, like Doc Johnson, believe that patriotism is the last refuge of a scoundrel.”
Simon Lee, Trinidad Guardian, 25-04-04

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WRITING by Tony Hall

a. For street & environment:
1. Butler Labour Riots (1985-88 with union workers)
2. Santimanitay - A Mas by Minshall (1989 with Errol Sitahal)
3. A Band on Drugs (1990 with Errol Fabien and survivors of drug abuse)
4. A Band on Violence (1991 with Errol Fabien)
5. A Band on US (1992 with Errol Fabien)
6. Camboulay Riots (2001- annually with Norvan Fullerton and Eintou Springer)
7. Macqueripe - A Navel Operation (2003 with cast)

b. For stage:
1. Stand Up for Your Rights (1982 with cast and mentally handicapped adults)
2. Play for Keeps (1982 with Jan Selman and cast)
3. Family Portarit (1983 a musical play with cast)
4. Monster March (1987 with Errol Sitahal, Dennis Hall and music by Andre Tanker)
5. Jean and Dinah . . . (1994 with Rhoma Spencer and Susan Sandiford)
6. Red House [Fire! Fire!] (1999 with music by Calliston Pantor)
7. Mud! (2001 one act with cast)
8. Twilight Cafe [The Last Breakfast] (2002)
9. Play Mas (2004 with Peter Minshall and 3canal)
10. The Brand New Lucky Diamond Horseshoe Club (2004 with music and lyrics by David Rudder)
11. Din Shuru [day breaks] (2005 with music by Jit Samaroo. A stage project in development.)
12. Sex-Worker (2003 ten minutes play unproduced)

c. For radio:
1. Flag Woman (2004 one act)

d. For screen:
1. Who the C.A.P. Fits . . . (1977 13 part TV series withcast)
2. Morral (1981 13 part TV series with cast)
3. Epiphany (1982 5 part TV series)
4. Stand Up for Your Rights (1982 TV drama with David Barnet and cast)
5. Walk Like a Dragon (1992 20 mins TV drama)
6. Moksha (1992 15 mins TV drama with Errol Sitahal and Christopher Laird)
7. Jean and Dinah . . . (1996 feature film script unproduced)
8. Yankees Gone (2002/2003 13 part TV series scripts unproduced)
9. Jean and Dinah: Working for the Yankee Dollar (2003-2005 feature film script with Mary Jane Gomes. A Black Market Films Project in development.)
10. Til Death Do Us Part (2003-2005 3 pilot scripts for TV series with Mary Jane Gomes. A Black Market Films Project in development.)
11. Riddum Rider (2003 feature film script in development with Machel Montano and Xtatik Limited.)
12. The Will (2005/2006 feature film script with Mary Jane Gomes. A Black Market Films Project in development)

e. Essays and conference presentations:
1. The Nelson Island Project (1986)
2. The Miguel Street Project (1986)
3. Jouvay - A Popular Theatre Process (1990)
4. A Theatre of Confrontation and Participation (1996Sunday February 4th and 18th, Trinidad Guardian)
5. Jouvay Popular Theatre Process [JPTP] (2001 The 3rd World Carnival Conference)
6. They Want to See George Band: Mas in Tobago According to George Leacock (1998 The Drama Review [TDR] Special Edition)
7. Jouvay Popular Theatre Process: From the Street to the Stage (2004 CARNIVAL: Culture in Action - The Trinidad Experience - Edited by Milla Cozart Riggio, Published by Routledge, New York)

f. Bibliography:
1. Carnival and English-Speaking Caribbean Theatre: Masking the Body in Trinidad [Ronald Amoroso's 'Master of the Carnival', Lennox Brown's 'Devil Mas' and Tony Hall's 'Jean and Dinah . . .'] by Sandy Kristina Stoll (2005 Universitat Stuttgart unpublished dissertation)
2. Re-writing Calypso as Feminist Discourse: Jean and Dinah "Take Over Now" by Andrea Davis (2003 an introductory essay in TESTIFYIN' - Contemporary African Canadian Drama, Vol. II, Edited by Djanet Sears, Published by Playwrights Canada Press, Toronto, Canada)
3. 'Jean and Dinah' by Christopher Pinheiro ('a personal and highly opinionated testimony on the world premiere without apologies' in Trinidad Guardian, Tuesday December 6th, 1994)
4. Fire! Fire! A Blend of Politics, Sex and Fun by Melissa Behrens (A review of 'Red House [Fire! Fire!]' in Trinidad Express, Thursday March 18th, 1999)
5. Penny Steals the Show by Petal Maharaj (A review of 'Red House [Fire! Fire!]' in Trinidad Guardian, Sunday March 14th, 1999)
6. 'Twilight Cafe' Worth Seeing by Raymond Ramcharitar (A review in Trinidad Express, Wednesday June 26th, 2002)
7. Our Very Special Diamond by Pat Ganase (A review of 'The Brand New Lucky Diamond Horseshoe Club' in Trinidad Express, Tuesday February 28th, 2006)
8. A radio review of 'The Brand New Lucky Diamond Horseshoe Club' at ISU SummerStage by George Walker (WFIU, July 18th, 2004 - http://www.indiana.edu/~wfiu/walkerjulydec2004.htm#horseshoe)
9. Banyan Puts Pan in Focus by Gabrielle Hezekiah (A review of the short film 'Walk Like a Dragon' in Trinidad Express, January 3rd, 1997)
10. And the Dish Ran Away with the Spoon (A review by Gail R. Pool, Dept. of Anthropology, University of New Brunswick, Fredericton, Canada, July 24th, 2000 - http://www.wings.buffalo.edu/ARD/showme.cgi?keycode=1053)

Check Facebook.com for details and discussions on the plays.

-sitting on the horizon at the edge of the sea covered in mud humming with the universe-
Iere (Islands of the Hummingbird), June 10th, 2006

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PUBLISHED PLAYS
available now from: http://www.authorhouse.com
or
A Different View Book Store
Cor. Warren & Gallus St, Woodbrook
Trinidad and Tobago, West Indies
Tel: (868) 622-3648 Fax: (868) 622 -3503


make a ritual of the sunrise, jouvay!

"the sun is shining, the weather is sweet" Bob Marley

Coming Soon: JOUVAY ISLAND - Iere [http://www.jouvayisland.com] - where you meditate on Jouvay Process
Capital city - CONQUERABIA

also check out Mauri 'KeKeRe' Hall and Vengeance Crew on: http://www.myspace.com/kekeretherebel2
http://www.kekere.com


©2007 The Lordstreet Theatre Company Limited
all rights reserved

Interests: Plays for street, stage and screen

Published writer: Yes

Freelance: Yes

Published works:

Scripts

Other