It has been a busy year for Paul Anthony Morris, with a successful run at the Blue Elephant Theatre of his acclaimed production 35 Cents - a political satire set in Jamaica - managing Crying in the Wilderness Productions and juggling fatherhood after the birth of his son earlier this year. Marsha Blake caught up with him to find out what’s next for the talented writer.

September 2007

Paul Anthony Morris

What was the inspiration for 35 Cents?

We see pictures of [Third World] economic and political injustice everywhere but when it comes to the Caribbean, everyone’s silent. Many think there is a conspiracy because of the colonial past. If this information becomes common knowledge they [British government] will have to own up to the role they are still playing in keeping the Caribbean poor. That was one of the main reasons I wanted to write the play. It sounds very heavy, but it’s a political satire - very educational, but hugely entertaining. There are similarities with the Iraq situation as well. The idea was not just to talk about Jamaica in a vacuum, but to also link it with the global economies in Britain and America; to link the real issues and give it a global context rather than keeping it within the confines of specific regions.

How do you feel the play was received?

Very well! Most plays about the Caribbean don’t really centre on those types of issues, so it was unique in that sense. It was a real eye-opener for some of those people claiming to have allegiances with the Caribbean who actually hadn’t the foggiest idea of what was going on in their island. We knew from our research that people were unfamiliar with the political situation [in the Caribbean] because the media ignores it. Africa and Asia – the media have really covered those continents, but it hardly touches on the Caribbean.

How well do you feel the UK media portrays the Caribbean experience?

I don’t think the experience is being covered very well. I think a few experiences are portrayed. There’s the tourist experience, which I’m sick to death of, and it’s all about ‘their’ experience. Then there’s the popular culture experience – the music, carnival – which doesn’t really give you any real insight into what life is actually like in the Caribbean. Also, there is the Windrush experience, which is basically about migrants travelling from the Caribbean and settling here in the UK. That’s as much as we get. Most people don’t know who the Prime Minister of their native land is, and they certainly have no idea about the political infrastructure of those islands. Most of us go back to the Caribbean as tourists, not as ex-nationals or ex-patriots. There is a great opportunity for people who are interested to tell some brilliant stories, some real, personal, human, everyday stories about people’s lives: how courageous they are, and the wonderful things they are doing to survive and to transform their country.

Do you feel Jamaican politics has changed much since the days of Alexander Bustamante and Norman Manley?

No I don’t. One of the things that the play is about is the people taking control. The political structure in Jamaica is extremely sad it’s still very middle and upper class. It needs to change.

Is that not just the way of the world, where the ruling classes are drawn from the so-called upper and elite classes?

Absolutely! It’s because we live in a capitalist society. This is why we have the governments and institutions we have and ultimately, that’s what the problem is. If you look at what Michael Manley was doing in the eighties, he wanted to have a socialist government. He started to establish the infrastructure and institutions to do so, but America stifled his vision. He needed money and they wouldn’t give it to him. The political vision that would have been very beneficial for the country was prevented from happening, simply because the resources and the support networks which were needed were denied him.

Do you feel a united West Indian state would be a solution to some of the problems in the Caribbean?

That is one of the solutions. Chavez [ Hugo, President] of Venezuela is currently trying to bring that into existence. He is trying to loosen America’s grip, and the Caribbean’s dependence on America. These steps are being taken. Although we may not see the fruits of them in our lifetime, at least there are the beginnings of change.

How would you feel about your play being shown in the Caribbean?

It would be a good idea, although whether it could be shown in Jamaica, I’m not sure.

Why not?

It doesn’t pull any punches and it’s very critical of the political parties, their roles and what they are responsible for. If you understand anything about the Jamaican political scene, it can all be very ugly and get very crude, so there are various things to take into consideration before taking that step. But the other islands in the Caribbean, most definitely.

So what’s next for Paul Anthony Morris?

A nationwide tour in 2008. It’s not your typical Caribbean show, but the theatres have got to want it. Even though [the show] received good reviews and high audience attendance, we’re still dependent on whether people [theatre owners] will feel the show will appeal to their theatrical community.

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