From jab molassie to big screen – Tobago actor takes leap forward

DWAYNE WHITE JR is passionate about Tobago’s culture. And it shows.

Whether he’s playing a jab molassie, reciting a monologue, acting in street theatre or fire-breathing, White is sure to deliver an impressive performance.

At the Buccoo Goat and Crab Race Festival on April 12, White portrayed a red devil, thrilling spectators at the Integrated Facility with his comedic antics, facial contortions and seemingly boundless energy.

Two months before, he won the Tobago House of Assembly’s (THA’s) inter-department Carnival competition with a double-entendre monologue about diversifying the island’s tourism-based economy. The piece was written by Rayshawn Pierre.

A lead actor with the Tobago Performing Arts Company (TPAC), White, 36, said he is still overwhelmed by his win.

“I felt accomplished winning this competition, although it could have been a bit more challenging, given the scope of performance on the night,” he told Sunday Newsday.

White said his win was doubly significant because it was the first time he had taken part in the competition.

“I always used to wonder how the competition would be ever since I worked at the Division of Community Development and Culture years ago. But I used to say, ‘I eh reach that level yet.’”

This year, though, he decided to give it a shot.

But while the dreadlocked artiste celebrated with his friends and family, some social-media users felt he should not have competed, owing to his years of experience as an actor and performer.

He scoffed at this view.

“I believe the inter-department and personality competition is about talent and is open to anyone who is involved in the THA. Wherever a person is in their career and it is along that path, why not enter the competition?

“I didn’t know my competition when I went into it, so I went in with my A-game, thinking, ‘Let me give it my all. It is a competition, so let me compete.' And it felt good.”

In the costume segment of the competition, White performed his version of the Jab Molassie – Abaddon, Prince of Demons. He said the character was created in UWI’s Old Yard in 2017.

“It was a black and gold creation. The black represented resistance, oppression, uprising and freedom and the gold represented royalty, cleanliness and power.

“I think I did justice in terms of creating something for the younger generation to fully understand. So contemporising the tradition was what was done.”

For White, acting is not just about entertainment.

“As a performer in my homeland, I see myself as an inspiration for the creative lights that may be dim. I also see myself as an educator and role model.”

The father of one believes Tobago’s culture is unique and must be fully explored.

“What I love about it is the diversity of our people and what we can create using our natural and cultural resources to strengthen interpretations for the new generations.”

Many would recall White’s leading performance as Samuel William Blondell in the TPAC’s production of the Dr Lester Efebo Wilkinson play, Bitter Cassava, in May 2022.

In the acclaimed production, he played a virile and self-assured father of three who was desired by every woman in the village. But Blondell was in a common-law relationship with a simple, domesticated woman named Justina.

The union, though, was threatened when Betty-Lou, an attractive, light-skinned "town girl" becomes romantically involved with Blondell.

Taken by Betty-Lou’s beauty and sex appeal, Blondell ends his relationship with Justina and forces her out of the house. An emotionally distraught and vengeful Justina strikes back by inflicting a deadly curse on Blondell and his new lover.

Of the role, White said, “Samuel from Bitter Cassava was one of my more nuanced roles. I had to strip myself of any inhibitions that may have kept me back from portraying this character. This was difficult because this character had attributes that society has deemed as scornful. Yet the sad reality was that the character I portrayed, resonated with individuals who understood the painful cycle of abuse and generational curses.”

Saying the role was “in total contrast” to his personality, White said he welcomed the challenge.

“It gives the actor work to do in terms of convincing the audience that the events in the production were occurring in real life.”

He added his work in TPAC also allows him to develop his talent in other areas of the performing arts, such as movement, music and film.

“So I just don’t see myself as a resident actor but an ambassador for the performing arts in Tobago.”

White said the TPAC also serves as a catalyst for creatives who are seeking avenues to extend their platforms as artistes. This, he observed, can have an emotional roll on some performers.

“There’s much more to having talent in disciplines such as dance, theatre, music and film at one’s disposal. Being able to swallow constructive criticisms on your craft.”

The performer said people who want to be involved in the creative sector must be willing to accept criticism.

Like most boys, White was a playful child growing up in Black Rock, a fishing village located between two former plantations – Grafton and Courland estates.

“My boy days were filled with traditional games like pitching, catching, gun shooting using the crooked sticks that shaped like the old-time pistols.”

His focus shifted from fun and games to the performing arts at Elizabeth’s College (now defunct), Bacolet, where he landed his first role in the play, Voices of Africa.

“The very first time I remembered gracing the stage was with the role of Toby in 2003 with the play, Voices of Africa, by Glenda-Rose-Layne (a former cultural officer). However, in the year 2004 my presence became known with the play Moon on a Rainbow Shawl, where I won best actor in the secondary school drama festival while attending Mason Hall Secondary school.”

White recalled how he got the role.

“My inspiration came from walking down the hallway in Mason Hall one day and seeing the theatre arts teacher conducting rehearsals for a scene from the play.

“The male actor who was playing the role of Ephraim was lacking in my opinion, and I shouted from outside, ‘Nah, I could do better than that!” The theatre teacher turned to me with bulging eyes, saying if I could do better, I should come and try. So I did.”

However, his decision to pursue theatre, did not sit well with his parents.

“But from then onwards, I knew I loved the piece of work that I did in the play and decided no matter what, this would be my career path.”

After performing in Moon On A Rainbow Shawl, White enrolled in his first theatre company - the Tobago Drama Guild.

“In this company I was taught different cultural forms and performance techniques that assisted in my growth.”

White’s love for Tobago’s culture deepened in 2008 when he was employed with what was formerly known as the Division of Community Development and Culture.

“Viewing the traditional masquerade from the windows of the GNV PLACE (on Wilson Road, Scarborough) every Carnival season was nothing short of a spectacle for me. As the parade of traditional mas bands graced the streets, I was fascinated with the performance of the masqueraders, in particular the jab molassie and the gorillas.

“I loved the way the masqueraders contorted their bodies to bring life to the mas. I also appreciate the nature of the masquerade, where they taunt the bystanders taking in the parade. It was then I decided to portray that kind of masquerade. I also fell in love with the traditional dance named the reel and jig.”

His passion developed with his involvement in the 2008 Tobago Heritage Festival so much so that he decided to study masquerade and behavioural sciences. White has a degree in theatre arts, including a practitioner’s certificate in theatre in education, from UWI, St Augustine.

In theatre, White has cultivated a special interest in comedic roles.

“But I was told due to my contrasting personality, the villainous characters are my strengths.”

The actor believes each individual has what he referred to as a “mas calling."

“This mas calling is seen as the traditional character that gravitates toward you or vice versa. My calling was the jab molassie masquerade characters.”

Noting that rebellious masquerade dates back to the era of enslavement, White said in contemporary society it is portrayed a “mas of freedom” to express socio-economic ills.

“I love portraying this character, for reasons I am not quite certain of yet. However, the certainty that comes with playing this jab molassie character is buried within some sort of resistance and release that the Caribbean individual may relate to.”

White was recently cast in the role of supporting actor Calvin Wells in the remake of the longtime series No Boundaries.

“Calvin Wells is a millennial who likes to reap the benefits of work but does not like the hardship of labour. he likes easy money. So he got caught up in several scandals for money.”

Written by Horace Wilson, the film focuses on a range of themes: love, betrayal, uncertainty, power and sisterhood. It is expected to premiere at MovieTowne on May 27, 2024.

White said he was humbled to be performing alongside some of the prolific actors he grew up watching: Penelope Spencer, Marvin Ishmael, Dr Eastlyn McKenzie and others.

He is also in discussions with other creative artists about innovative ways to “contemporise the traditional to meet the minds of future generations."

“It is about contemporising traditions not only in the masquerade genre of the creative arts but also in the performance aspects of our tradition.”

White regards Tobago’s orange economy (creative assets) as “sleeping resources that are underutilised and seasonally used just to keep the gears turning with regards to cultural preservation and innovations.

“We live in a diaspora within a diaspora that speaks levels of cultural and creative diversity. A country that has this at their fingertips may easily flick it off for probably a resource that’s spinning the country’s revenue at a quicker speed, like oil. So while one resource is being focused on, another may suffer, or be utilised only on a seasonal level.”