‘Calabash Alley’ at 43

When the boss man Mr Peter Hesketh of Radio Trinidad told me the board of management felt that while my original idea of a play every week on radio was a good one, they all agreed it would be better if I could write a continuing story that would be aired everyday. They wanted something local to beat the stuffings out of the foreign soap operas.

Should I undertake the assignment, I was not to write about race, religion or politics as those topics were too controversial and it was a policy of the station not to offend people’s feelings. Also before broadcasting began, the station must have at least ten-fifteen-minute episodes already recorded in the can.

He asked rather straightforwardly, “Can you handle it?” I answered immediately, “Of course. I’ll write the episodes, rehearse with members of my company — Strolling Players, and record once a week.” The studio director was Gabriel Francis with whom I had acted in White Hall Players, and technical operators were by Archie Henry, David Edwards and Phillip Simmons.

How well I remember when my Mom used to talk about “Dr Paul!” Listening to her, you would surely think that “Dr Paul” was a real flesh and blood human being and not a figment of the writer’s imagination. At that time, Trinis had also followed, “Deacon Brodie,” “Portia Faces Life,” “Peyton Place” and “Second Spring” — the story that asks the question, ‘Can a woman who has once loved completely ever find true love again? Can she find a Second Spring?”

I started to write in May 1970 — shortly after the “Black Power” uprising when a state of emergency was declared. Luckily for me at that time, I was seconded to the Division of Culture as Acting Drama Officer and I had a little more time than when I was at St James Secondary and had to carry home thirty-five copy books with compositions to correct almost every weekend.

On that memorable Monday evening, when the Nelson Caton’s theme song for “Calabash Alley” — played by Arthur Winter Orchestra — started the programme, and faded in the background, I announced, “Calabash Alley — a local true to life story — that looks at the many faces of love.” I went on very briefly to describe the alley and set the scene for the first episode.

“Shirley Wells”, played by Gemma Wiltshire, said the first words with a tone of urgency, “Danny, wake up, nuh. Danny, it time to get up, wake up Danny!” Victor Audain as “Danny King,” yawned and muttered dreamily, “Wha, eh, morning already?” Shirley’s voice expressed a feeling of struggle and resistance, — “Let me go! Is time to get up!” To this Danny replied in a romantic tone determined to get her in bed with him, “Come, nuh, doo-doo. Is time to make love.”

After a few episodes, Calabash Alley was the programme to listen to every day. People were talking about the lovers — “Danny and Shirley” and other characters such as “Ralph and Olga,” “Arthur and Katherine Wells,” “Papa George,” “Mabel Moses,” “Thin Foot Teena,” “Jezebel,” “Iron Man,” “Ma Say-Say” and many more.

Actually, the cast consisted of thirty-eight members of my company and seven children, including my two sons Richard — the first, and William — the second. Making guest appearances were Gabriel Francis as “The Drunk,” Brian Dockray — “Mr Goodman’ and Gerald Agostini —“Announcer”.

“Calabash Alley” was a big hit way beyond my expectations. Radio Trinidad was overwhelmed with congratulatory calls from listeners asking for more and more. Originally, I was asked to write 26 episodes but it went on to 78. “Calabash Alley” was killing me softly and I had to throw in the sponge, leaving poor dying Papa George in hospital, and the sexy flirtatious Carol Parker still pregnant for 43 years.

Vinci Lombardi wrote, “The dictionary is the only place,success comes before work.”