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  • Comment: This draft cites a bunch of reviews for productions of this play. However, it doesn't cite any sources that discuss the play itself. For instance, if someone wrote a book about the play itself, that would count as something that "show[s] the subject's notability". Feel free to resubmit if you do find some sources that do this, or to ask me if you have any questions! APerson (talk!) 17:33, 22 June 2015 (UTC)
File:Yarico the Musical

Yarico is a musical based on a 17th century story of the Amerindian woman – Yarico, who saved the life of, and subsequently fell in love with a British merchant Thomas Inkle, who then sold her into slavery on the island of Barbados - Inkle and Yarico. It was first recorded by Richard Ligon, in his book entitled “The True and Exact History of the Island of Barbadoes” (1657)..[1]Ever since its first staging by George Colman the Younger, the story became hugely popular inspiring writers across Europe as well as in America.[2], to produce a number of different treatments of it [3] The music is by James McConnel, the book and lyrics are by Carl Miller with additional lyrics by Paul Leigh. The musical played at the London Theatre Workshop from February 17th, to March 28th, 2015

Synopsis

Early 1700s, on an island in The Antilles

ACT ONE

Yarico, a young Amerindian woman, gazes out to sea, longing for something to change her monotonous village life. A solution arrives in the form of Thomas Inkle, a young, white British man washed ashore in a storm. While the fate of this 'ghostman' is decided by the tribe, Yarico steals him away to a cave and tends to his wounds. Yarico and Thomas fall in love and when a ship eventually arrives to rescue him, they decide to marry and travel together to Bridgetown, Barbados. Thomas's friend, Cicero, an educated black dandy who has accompanied him from London, meanwhile falls for Yarico's friend, Nono, and they too sail with the newlyweds to Barbados.

On board ship, Thomas is drawn into a dice game in which he gambles away his money, his clothes and finally - his wife. When the ship docks at Bridgetown, Yarico is bound and sold at auction as a slave. She becomes the property of the Governor and his wife, Lord and Lady Worthy, and Thomas returns to England in shame.

ACT TWO

The slaves working in the cane fields on the Governor's plantation secretly plan a rebellion and escape, led by Ma Cuffe and Bartholomew. Yarico – now pregnant with Thomas's child - is spared the fields and is made to work in the Governor's house. An African slave, Jessica, and an indentured Irish slave, Frank O’Bryan, fall in love and dream of the homelands they will never see again. After her child is born, Yarico witnesses the public flogging of Jessica and Frank, accused of an unlawful union. Inspired to fight for her and her son’s future, Yarico joins the rebels and helps with the escape plan.

Thomas Inkle, returning from London having made a fortune trading in sugar, offers to buy Yarico back to secure her freedom. She rejects him and continues planning the escape for her and their son, young Thomas. The ever-present threat of invasion by the French becomes real, and, confident that the militia and planters are thus distracted, the slaves finally make a night-time bid for freedom. However, they are betrayed and the militia are sent to hunt them down. It is the redeeming action of Thomas setting a fire between the slaves and soldiers that saves the escapees, who board rafts and head for the free isles. Yarico meets Thomas for the last time on the shore, where, as he is about to hold their child, is shot dead. Yarico escapes to freedom.

Production

Current version of the story, developed by Carl Miller, has been directed by Emily Gray[4], with choreography by Jeanefer Jean-Charles. The musical’s set, and costumes (Sarah Beaton) have been largely influenced by the Caribbean plantation look to emphasize the origins of the story[5]. Music (James McConnell – composer; Zara Nunn – Musical Director) however, is a fusion blend of tribal, jazz, blues and Celtic influences[6]. Running time is approximately 2 hours 20 minutes including a 20-minute interval. The musical has been staged at the London Theatre Workshop in Fulham, London[7]

Educational programme

Yarico Productions is working in collaboration with an arts and education organisation Trestle[8], to design a telling of the story custom made for schools, in a workshop format.

Trestle deliver over 200 workshops a year engaging up to 4000 students, and this year developed an educational programme, which will extend the reach of Yarico's story and the issues it addresses - such as gender equality, race, and cultural diversity, among others. The programme includes workshops and educational resources for schools, which provide teachers and students with the skills, and inspiration to explore and understand important social issues. Participants also learn about the techniques used in the theatre production (Yarico).

Musical numbers

ACT I • “A Land Elsewhere” – Yarico • “Ghost Men” – Company • “The Lesson” – Thomas and Yarico • “Hammock” – Cicero and Nono • “The Cave” – Thomas and Yarico • “Yarico Farewell” – Watchman • “The Dice Game” – Company • “Sailing to The Indies” – Nono and Yarico • “Spirit Eternal” - Company ACT II • “Give Me My Name” – Bartholomew and Company • “Take a Step” – Frank, Jessica and Company • “Chocolate” – Company • “The Things We Carry With Us” – Ma Cuffe • “The Same And Not The Same” – Yarico • “Silver And Gold” – Thomas • “Forget” – Yarico • “Spirit Eternal” - Company

Cast and characters

Liberty Buckland/Yarico Alex Spinney/Thomas Inkle Tori Allen-Martin/Nono Jean-Luke Worrell/Cicero Melanie Marshall/ Ma Cuffe Michael Moulton/Bartholomew Keisha Amponsa Banson/Jessica Michael Mahony/Captain, Frank O’Bryan Suzanne Ahmet/Cacique, Polly Adam Vaughan/Watchman, Gov. Worthy Charlotte E Hamblin/Lady Worthy

Critical reception

The musical has been well received by the audiences and critics. Paul Vale from TheStage, praised the show, stating: “Exceptional first outing for a promising new British musical”[9]. Remote Goat reviewer, Aline Wates, was particularly impressed with the execution of a number of themes within the story: “I have never been moved so much by a musical, the themes of slavery and diversity of race, gender and culture are powerfully expressed”[10]. Grumpy Gay Critic, James Waygood stated: “A wonderful new musical that is as poignant as it is as easy to be swept away by. Captivating and unexpected, Yarico is unbound excellence”[11]. The show’s educational potential has been recognized by a Broadway World reviewer, Gary Naylor, who stated: “One can easily see how this show could be adapted for schools”[12].

Some of the negative comments about the show can be found in the British Theatre Guide review of the show, stating: “The script could still do with some polishing, but this is a show full of energy and sounds that outweigh any shortcomings”[13]. Everything Theatre reviewer, Helen Dalton, indicated there is not too many powerful songs: “Three of the musical pieces stand out in my mind as strong, memorable and rousing, but the majority of the others I found lacking in power”[14]. Ginger Hibiscus critic, Howard Loyton, stated: “There’s a sense of frustration in the outcome of the story – though the ending is such a stunningly emotive piece of theatre that you’re halfway home before you realise that you never found out what actually happened”[15]

References

  1. ^ https://archive.org/details/mobot31753000818390
  2. ^ Gibbs, Jenna ((2014). Performing the Temple of Liberty - Slavery, Theatre, and Popular Culture in London and Philadelphia, 1760-1850.Johns Hopkins University Press. p.3. ISBN 1-4214-1338-8
  3. ^ Felsenstein, Frank (1999). English Trader, Indian Maid - Representing Gender, Race, and Slavery in the New World. The Johns Hopkins University Press. p. 89-288. ISBN 0-8018-6106-3
  4. ^ http://www.trestle.org.uk/about-trestle/people/
  5. ^ Eastham T, 'Review Of Yarico At London Theatre Workshop' (LondonTheatre1.com, 2015) <https://www.londontheatre1.com/news/103506/review-of-yarico-at-london-theatre-workshop/> accessed 4 May 2015
  6. ^ Musical Review: Yarico (London Theatre Workshop L, 'Musical Review: Yarico - Grumpy Gay Critic' (Grumpy Gay Critic, 2015) <http://grumpygaycritic.co.uk/2015/02/musical-review-yarico-london-theatre-workshop-london/> accessed 4 May 2015
  7. ^ http://londontheatreworkshop.co.uk
  8. ^ http://www.trestle.org.uk/
  9. ^ https://www.thestage.co.uk/reviews/2015/yarico/
  10. ^ Remotegoat.com, 'Review Of Yarico' (2015)
  11. ^ Musical Review: Yarico (London Theatre Workshop L, 'Musical Review: Yarico - Grumpy Gay Critic' (Grumpy Gay Critic, 2015) <http://grumpygaycritic.co.uk/2015/02/musical-review-yarico-london-theatre-workshop-london/> accessed 4 May 2015
  12. ^ Naylor G, 'BWW Reviews: YARICO, London Theatre Workshop, March 6 2015' (BroadwayWorld.com, 2015) <http://www.broadwayworld.com/uk-regional/article/BWW-Reviews-YARICO-London-Theatre-Workshop-March-6-2015-20150308> accessed 4 May 2015
  13. ^ Britishtheatreguide.info, 'Theatre Review: Yarico At Theatre Workshop London' (2015) <http://www.britishtheatreguide.info/reviews/yarico-theatre-works-11240> accessed 4 May 2015 Dalton H, 'Yarico, London Theatre Workshop – Review | Everything Theatre' (Ever
  14. ^ Dalton H, 'Yarico, London Theatre Workshop – Review | Everything Theatre' (Everything-theatre.co.uk, 2015) <http://everything-theatre.co.uk/2015/02/yarico-london-theatre-workshop-review.html> accessed 4 May 2015
  15. ^ Gingerhibiscus.com, 'Ginger Hibiscus | Ginger Hibiscus | REVIEW: Yarico At The London Theatre Workshop' (2015) <http://gingerhibiscus.com/review-yarico-at-the-london-theatre-workshop/> accessed 4 May 2015

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