Review: A Calabash to Save the World
Staged at the Little Theatre, Kingston | Thursday, May 15, 2025 | In observance of Child Month
Reviewed by: Dorrett R Campbell

There are great storytellers in the world — and then there is Amina Blackwood Meeks, Jamaica’s singular gift to the art form.
Recently, I had the privilege of a front-row seat at the Little Little Theatre, where I experienced the dynamic creative brilliance of this phenomenal woman as she brought aspects of Jamaica’s rich and alluring history to life, in the most captivating and compelling way one could ever hope to study history.
With A Calabash to Save the World, Blackwood Meeks reaffirmed her place not only as a cultural icon, but as a master of performative storytelling, commanding the stage with an energy and grace that transcend mere narration — a lesson in self-projection on stage.
You may imagine storytelling as a quaint rocking chair fireside chat; perhaps a quiet voice, a still figure, a cosy atmosphere, an old woman knitting? Well, Amina gave us that and so much more. In this rich theatrical tapestry — supported by a cast of two, including the agile, frisky figure with the big voice, Jomo Tafari, who skilfully embodied the cunning character of Anansi; the remarkable and resourceful Rica Richards, Anansi’s assistant, who also assumed the role of stage manager; a musical ensemble that served as a heartbeat backstage — storytelling became total theatre, an immersive, embodied, multisensory experience.
From the moment the lights dimmed, and the drums ceased their summons, Amina was spellbinding. Her language was lyrical and evocative; her movements and actions were at once deliberate and spontaneous. With her body, voice, and presence, she effortlessly drew the audience into a world where folklore meets fact, and play meets pedagogy.
She masterfully wove together ring games like Bull inna Pen, nursery rhymes, Negro spirituals (such as Come in My Likkle Ones, Come into My Father’s House), and popular music, transforming cultural memory into live performance. This wasn’t storytelling as static recital; it was narrative dramaturgy, with rhythm, ritual, and relevance.
What elevated the evening further was Amina’s skill in merging oral traditions with national history as she told stories within stories. She placed Jamaican legends at the heart of her story:
• Dr Cecily Williams, pioneering physician in pediatric medicine and vomiting sickness research (Me really and truly never heard of this one, until Thursday night).
• TP Lecky, the groundbreaking cattle breeder and environmentalist
• Dr Albert Lockhart of Saint Lucia and Professor Manley West, co-creators of the glaucoma treatment Canasol and advocates of indigenous medicine
These figures were not merely historical references; they became characters, cultural symbols, and moral compasses within the story’s arc.
Amina also delivered a master class in the art of the storyteller ‘telling the story from within the story,’ a paradox that only the most gifted can truly manifest. She blurred the boundaries between character and ‘teller,’ between vibrant performance and resonant truth, conjuring an experience akin to a deeply felt communal rite.
Blackwood Meeks deliberately broke the fourth wall, dissolving the invisible boundary between performer and spectator, and drawing the audience directly into the narrative. Calabash gourds—planted beneath seats—were suddenly discovered mid-performance, turning passive observers like Dorraine Reid into spec-actors of the theatrical ritual. This act of interactive staging was both playful and profound, a reminder that we are not mere bystanders in the unfolding story of our world. We all carry the potential to “save the world,” one calabash at a time.
Nothing was wasted. The minimalist staging was rich, amplifying each element — use of body, props, and sound — all serving the story. Sound designer M’Bala, operating from backstage, added layers of aural texture that heightened both drama and delight.
Though intended to mark Child Month, A Calabash to Save the World was not just for children. It was a didactic, entertaining, and deeply moving reminder of the interconnectedness of history, culture, and human responsibility. Whether you were a child, a parent, an educator, or simply a lover of the arts, you left the theatre with a sense of purpose … and perhaps, a calabash in hand (?).