P. Anthony White’s classic play, Better The Devil You Know saw a return to the stage this year thanks in part to the St Agnes Players and director Anthony ‘Skeebo” Roberts. The tale follows the exploits of a divorced couple in New York, 1980. The tagline refers to the play as a romantic comedy but there was really little romance. Instead, White’s tale offers something other plays this year did not – an insight into the human condition of both men and women. What followed was an introspective look into many themes, namely gender identity, migration and Post-Colonialism – not a small feat for such an old play.
Visiting from The Bahamas, Virginia (J. Camille King) finds that she is unable to adapt to the cold environs of New York. To make matters worse, Paul Christie (Anthony Roberts), her former husband takes up board in the same apartment. What ensues is an interesting dynamic between the two who share old stories and slice open new wounds. I found it interesting that the core action of the play (what the characters wanted) was written in the subtext as opposed in the literal – something most modern Bahamian plays do not do. Essentially Virginia wants to reconnect with Paul and vice versa. However, Virginia’s intentions are masked in malice and bitterness. Paul, who had manipulated their marriage of almost fifteen years, reveals that he could not love another woman and found it hard to move on—so much so that his current love interest is also named Virginia. At the core of White’s play is the fantastic issue of the human soul and love. This play is about a man and a woman trying to reconnect with each other and not knowing how. Isn’t that how we operate? Both are alcoholics, both lie, cheat and manipulate the other for whatever gain is available. For me this was the “AHA” moment of the play which is again, something that happens rarely.
Out of all of the clashes come great scenes that could have benefited from some dramaturgy though. Virginia and Leslie spent too much time giving exposition when more meaningful conversations could have occurred. The characters spent most of the play drinking and I mean drinking, drinking like sailors after a hurricane drinking. That’s all well and good but this drowning of sorrows in alcohol is never addressed in the play by the characters on a serious level. Why should they? Simply because the drinking has much to do with celebrating their daughter’s wedding as it does about the fact that these former lovers are nervous about staying with each other. It’s a way to dull the pain of a failed marriage that still stings them like it happened last night.
Both Leslie and Eva were unnecessary characters that had no action. To make matters worse the actresses were none too good either. Leslie (Zena Cooper) seemed to have one voice setting – which was set at 11 - whereas Eva (Emily Osadebay) who provided comic relief in her appearances in key moments never got to capitalize on her entrance, she would merely stagger off stage a few seconds later mumbling a line or two. I think with a little dramaturgy the play would have been a ton more interesting with just Paul, Virginia and a better developed Eva.
Roberts and King did a decent job opposite each other, but I feel with a little more rehearsal time and some more coaching for King, their performances could have been fantastic. Roberts knew what he was doing – this is familiar territory for him – but King seemed to be getting her feet wet again. This became apparent to me when King was first opposite Cooper. Sorry to say but her performance was like the sinking Titanic, but once Roberts joined her there was a noticeable change in her acting. I would have liked to have seen that from the beginning.
The stage was pretty dynamic and good measure was used to take advantage of the living and dining room and the upstairs area. I must say, other than Woman Take Two and the two previous Shakespeare plays done by Shakespeare In Paradise, I’ve never seen such a complex set design. The lights, music, props and costumes were incorporated superbly and only complemented the vast and glorious set.
As this is Roberts directorial debut I believe he managed to put on an entertaining evening. With time I hope to see more and more performances from the St. Agnes Players, ones that are as insightful as White’s.
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