There is a poignant line in Quilt Performing Arts Company’s production, ReAshore’d, in which the character, in reassuring her people that they have the strength to overcome the horrors of slavery states: “We may have left home, but home has never left us”.

That set the tone and brought into sharp focus what writer/director Rayon McLean worked to achieve in this stunning, intelligent, and layered take on the Transatlantic trade in enslaved Africans.

ReAshore’d was intended to take patrons on a journey starting on the shores of the African continent, aboard slave ships and through to arrival and assimilation to the culture and norms of the New World. In doing this, McLean and his Quilt team have presented an odyssey, with every moment worth savouring and priceless gems to take away. To start, this is not just a play. ReAshore’d is a theatrical experience, rich with music and movement which only serve to enhance the full-bodied text.

In essence, the work looks at a set of enslaved Africans and their journey. Their journey to self-discovery having been plucked from their roots and transplanted to this region. The main characters are named after deities in the Yoruba tradition which serves to highlight the fact that many of the enslaved were royalty in their motherland. Scenes depict the resistance and revolt and the determination to hold on to their ‘Africaness’ despite the prevailing situations.

McLean undoubtedly draws from available texts to create the world in ReAshore’d and one can see glimpses of Alex Haley’s epic miniseries Roots, particularly the scene where Kunta Kinte played by LeVar Burton is being indoctrinated with his Western name Toby. However, this does not detract from the poignancy of the moment in this production. For a younger generation, this will only serve to introduce the concept in more real and tangible way.

Quilt’s cast of young players truly deserved the applause they received at the end of the production, as well as at high points. The audience could not help but burst into spontaneous applause during a scene when the drum is taken away from the Africans and in an act of defiance and determination not to be broken, McLean cleverly has the actors make music with their bare hands and bodies.

Actor Boy Award winner Desmond Dennis again showcases his strong dramatic acumen and love for quirky roles as Elegba. Donald Mamby as Shango, Odain Murray as Obatala, Brandon McFarlane as Ogun and Joylene Alexander Quilts Oya are true standouts in this work.

Kudos must also go to Musical Director Odane Dawkins. The music in ReAshore’d is a treat. Dawkins is able to bring a strong, textured, and harmonious tone out of the cast, which is rich with the traditional sounds of Africa. This production showcases the depth and breadth of the talent which exists locally and indeed all concerned can be justly proud of the work they put in and what was achieved.

McLean has been showcasing the work since last year when it premièred at Carifesta in Barbados. So great was the response that ReAshore’d will again form part of Jamaica’s presentation at Carifesta in Trinidad in August. The two performances at the Philip Sherlock Centre for the Performance Arts at The University of the West Indies, Mona campus this past weekend perhaps served as dress rehearsals for this regional assignment. Based on what was seen, there is no doubt that the word to come out of Trinidad will be all good about ReAshore’d.