“Jamaica Farewell”
Wednesday, Oct. 18
Santa Monica Playhouse
With a Jamaican accent but sans dreadlocks or dark skin, Debra
Ehrhardt danced, ran in place, flirted, and even broke a couple of
laws as she recounted her journey from Jamaica to the United
States.
Ehrhardt told her story on stage at the Santa Monica Playhouse
on Oct. 18 in her one-woman show “Jamaica,
Farewell.”
Ehrhardt’s autobiographical play provides intimate insight
into a country and a people relatively unknown beyond its
stereotypes ““ reggae, bobsledding, etc.
Ranging from comedic to heartbreaking to utterly unbelievable,
the show catches the actress and playwright in a light of
delightful mimicry and candor as she cycles through various
personas to tell her story: the helpless love of her drunken
father; the snarky but sweet chivalry of the American who helped
her get to the United States; the indignation of a woman
“sweating from parts of your body where you don’t even
have pores” after Ehrhardt stepped on her produce on the
bus.
From these imitations, Ehrhardt weaved the backdrop of the play
as a whole: As much as it narrates her dramatic and entertaining
plight as an immigrant, “Jamaica, Farewell” also paints
a picture of her own family, and thus herself.
Especially by looking at the portrayal of her mother fighting
back tears and hiding hardships from her daughter, it’s easy
to see the resiliency and optimism that drives both women to make
the best of the situations which confront them. Whether it is
facing repeated denials of her visa or even the threat of being
raped, Ehrhardt crafts her words and her expressions onstage to
pull the audience into laughter, empathy and admiration.
This charisma, which makes her a joy to watch, also keeps an
audience’s attention for 90 minutes better than anyone else
probably could have, although 90 minutes for any one person may
still be just a bit too long.
But the length was definitely supported by the comfy and cozy
den that is the Santa Monica Playhouse. All of the proceeds of
Ehrhardt’s performance went to the venue as it is fighting to
attain ownership of the building that they have rented out for the
past 43 years.
Ehrhardt also uses her humor and wit to reveal an even more
delicate and applicable theme, which is the portrayal of her
country’s culture beyond the go-cart races or heavy accent
often associated with Jamaica from the film “Cool
Runnings.” Instead there is a first-hand account of the
corrupt government, the detrimental effects of a socialist regime,
and of the struggle to survive in one’s homeland while at the
same time trying to find a means to leave.
Tethered to her ambivalence toward Jamaica is also her
skepticism of the ideal and reality of American culture, and the
opportunities attached to it.
From Ehrhardt’s perspective as a young girl, even a bum
has the potential to become president in the United States
“as long as he works hard enough.”
Needless to say, her high hopes were proven naive and
unrealistic.
But in the end, while many Americans may scoff at the idea of
the American dream and its inherent implications and letdowns,
Ehrhardt did make it to the United States and made it as an actress
and playwright.
Maybe the American dream is not a stereotype to be trashed. Or
maybe Ehrhardt’s accomplishments are just testament to her
own artistic talent.
Either way, it makes for a good play.