Isoke Edwards-Najeeullah and her burgeoning theatrical company, Griot Productions, have taken a democratic approach to their first offering. Rather than launch head first into full scale production they transformed Corner Bar into a Saturday afternoon stage and an audience of the willing into a focus group for a reading of the play ’Gutta Beautiful’.

Isoke, a Howard University acting graduate, has done ’Gutta’ before. It’s a piece by DC playwright, Nina Angela Mercer, about Lola, a young black woman who begins to think critically about her role in her lover’s immersion in the drug trade and modern day materialism. The piece breaks time barriers with a cast of girlfriends that offer a historic review of black love and life. But can it jump oceans? Would it resonate in Port of Spain?

’I know it is African American in terms of the references, context and rhythm of the language. So I wanted to get feedback from a local audience about whether it would work here,’ she said.

The consensus? Do the play. As is. If you tamper with the language you lose the essence. People will connect to the issues because they live them and know them. ’Don’t underestimate the audience,’ Wendell Manwarren said.

The core premise of Griot Productions is not underestimating the audience. They’re daring to offer something other than slapstick, horning or whore house. ’Gutta’ director, Elisha Bartels says it’s the entire reason she returned to T&T, American husband in tow.

’I intended to come back home because there’s not enough thoughtful theatre here,’ the American University theatre grad revealed. ’There are people who would like to see something new. This generation could possibly make a difference. I feel like I’ve come home at a good time. A lot of my contemporaries-performers and writers-are ready to start doing the work.’

For Isoke talent and kindred spirits were the main attraction of returning to T&T. It’s the reason she’s traded in the rat race of auditioning, performing and waiting tables in the Big Apple for the rat race of producing and sharing something new in this space.

’I came home for carnival and just didn’t want to leave. I looked at all the talented people here people doing stuff trying things. I think it’s just a matter of getting bottoms on seats. Young Trinidad is used to the fete thing but they are entirely capable of creating and consuming something else,’ she offered.

Already a small, dynamic team has come together. Tracey Lucas. Tonya Evans. Mandisa Granderson. Muhammad Muwakil. Nickolai Salcedo. Sophie Wight. There are umpteen issues to explore. Tonnes of work to do. A shared vision. Griot’s ultimate goal is to create a safe space where artists can experiment and people can experience. The time has come for entertainment and art to step beyond the bounds of the formulaic soca track or free drinks fete.

’I feel our daily stories aren’t being told,’ Isoke said. ’Our high points and low points aren’t being chronicled. That’s why I chose the symbol of the Griot-the story-teller. And when I thought of it, it wasn’t just in terms of theatre. I want a free space to do anything-music, drumming, visual art whatever medium. We’re so busy wining and jamming. Who is telling our story? We have war going on right here. We have to question how we’re raising children, what kind of music we’re listening to, what our legacy is. We’re taking a lot of these things for granted.’

And there is room for all stories. Raised between Maraval and Laventille, Isoke understands the need to explore experiences and challenges at both ends of the socio-economic spectrum. Along with many in her generation she had early lessons in the approach through her work with the Lilliput theatre under the tutelage of the late John Isaacs.

’I am able to function in any setting,’ she said. ’Nothing jars me. I may not have experienced sufferation but I know what it looks like. I am sensitive to it. I can empathise with it. I’ve grown up on both sides of the bridge so I don’t walk in fear. To me people are people and all their stories have to be told. Lilliput challenged us not just to perform, but also to create by drawing upon all those stories. John would tell us to go home and write and not return until we had something.’

They aren’t anxious about whether audiences will get this new something. Elisha takes a practical approach.

’Appreciation can only be learned through exposure to the art. We have to make it good and make it accessible. And you can only build art appreciation as a habit and as a skill by doing it,’ she said.

What about censorship? In the dealing with real issues and telling new stories are they concerned that age old taboos and restrictions about what’s done and said on-stage could get in the way?

’It’s a fight,’ Elisha declared. ’And I’m prepared to go down fighting.’

Isoke echoes the message of resistance.

’We have to think seriously about the laws but I am prepared to put myself on the line in pursuit of authenticity and truth. At some point we have to. For the summit people couldn’t protest. What kind of country we living in? That,’ she declared ’is madness.’