WHILE Jamaicans fret over whether to get rid of their Obeah Act, a groundbreaking a cappella musical
Obeah Opera has successfully completed its recent historic run in Barbados, staging a profound cultural “reconnection pilgrimage” that honours the Barbadian roots of its central figure, Tituba.

Creator Nicole Brooks said her production is a powerful work of historical fiction that centres the erased narratives of women like Tituba, reclaiming their stories through vibrant Afro-Caribbean musical traditions. It captivated audiences at the Daphne Joseph Hackett Theatre and engaged local communities, “in a powerful act of ancestral remembrance and historical truth-telling”.

The arrival of the all-female, Canadian-based cast was marked by ceremonial visits to key local heritage sites, including a poignant offering at the Newton Enslaved Burial Ground.

“This pilgrimage set the stage for performances that went beyond theatre, serving as a tribute to the enslaved woman whose story began in Barbados before she became the first person accused in the Salem witch trials,” said Brooks.

The Salem witch trials were a series of Puritan legal proceedings in colonial Massachusetts between 1692 and 1693 where over 200 people were accused of witchcraft. The trials began with the strange afflictions of Reverend Parris’s daughter and niece, which a doctor diagnosed as bewitchment, leading to accusations against Tituba, Sarah Good, and Sarah Osborne. The hysteria escalated, resulting in the executions of 19 people by hanging, one person by crushing, and many others dying in the harsh jails. The phenomenon ended when the governor stopped the trials, and the community eventually overturned the guilty verdicts and issued pardons.

The witch trials represented a complex mix of factors including poverty, religious conflicts, disputes over land, and the ongoing frontier war with Native American tribes which contributed to the atmosphere of fear and distrust.

In Barbados, Brooks said, “The production was met with an overwhelmingly positive and emotional response from the Barbadian community, celebrated as a spirit-lifting reclamation of a vital part of the island’s history.

“Bringing Obeah Opera home to Barbados is the fulfillment of an ancestral promise,” said Brooks, a playwright. “This is not just a performance; it is a historical reconnection. Tituba’s story started here, and telling it on this soil, in honour of our foremothers, is a deeply healing and necessary act. We came to herald our own hidden histories and celebrate the resilience of Caribbean women.”

Supported by the Canada Council for the Arts and the High Commission of Canada in Barbados, the production was championed as a vital cultural bridge between Canada and the Caribbean. The collaboration with local bodies like the National Cultural Foundation of Barbados ensured the event resonated deeply across the island, inspiring dialogue and pride.

The High Commission of Canada lauded the initiative as a celebration of shared heritage, while arts advocates praised the opera’s impact on youth and its powerful use of Afro-Caribbean musical traditions.

The community embraced Obeah Opera as a triumphant and moving celebration of Barbadian identity. The performances were described as a “hand-clapping, foot-stomping, spirit-lifting” experience that centred on black and Caribbean womanhood, said Brooks, a celebrated film and television producer with over 100 hours of content for platforms like CBC and TVOne.