The Editor Sir,

Your reviewer's critical comments aside, this year's LTM national pantomime, Runner Boy, has left many who saw it on opening night pleased - thanks, on the account of many to the wholesomeness of the piece. They can take their children to see it and recommend parents and teachers to take their wards along to the Little Theatre.

Once again, it is scripted by Barbara Gloudon described by a letter to the editor (January 1) as "one of the finest playwrights and long-standing keen observers of Jamaican life". This she undoubtedly is and Runner Boy conceived by her is followed up with all the necessary demands of musical theatre - that is mobilising an overall director who must coordinate into an integrated whole bringing drama, music, dance and the company of players, which Mrs Gloudon founded and has kept alive.

The musical belongs, then, not only to the scriptwriter, but to all the creative agents that bring the work to the audience. That Mrs Gloudon is able to mobilise and help coordinate all these talents is to her credit and makes her special.

Gainfully employed

The LTM is still largely a voluntary enterprise and is run not as a commercial outfit for profit. Many would-be 'writers' are not willing to follow through and prefer to make a living wage out of the exercise, even when they are gainfully employed elsewhere. Moreover, many are not willing to have their scripts adapted to meet the producer's concept of the play.

For as a 'musical', the pantomime depends not only on a script, central though it is, but on several elements to make the script make sense. That is why the LTM has always preferred to have the scriptwriter work along with all other contributing creative talents. This has been so with all the successful pantomimes creatively written and/or directed by Noel Vaz, Louise Bennett, Carmen Tipling, Gloria Lannaman and Brian Heap.

Greta Fowler used to be the butt of much criticism for holding the LTM together and anyone who gives leadership to his or her theatre groups must prepare himself or herself for similar salvos. Barbara Gloudon was actually invited by Mrs Fowler to take on the business, along with a few people who have given support leading to the successful mounting of annual pantomimes, which have had to respond creatively to the challenge of change.

Overseas appearances

Moreover, a physical plant at Tom Redcam Avenue has to be maintained without government subsidy; and many who are most critical of the LTM and the efforts of Mrs Gloudon et al, have been able to ride not into the sunset, but into the dawn of small-cast theatre ensembles which earn from appearances overseas with the Jamaican Diaspora in support.

One last thing; I happen to know that scripts have been encouraged and writers outside the LTM fold invited to submit them. Such scripts have been evaluated by dispassionate panels of judges. Mrs Gloudon has never been one of these judges. But, many have refused to subject their scripts to continuing evaluation and possible ongoing adaptation as is done, to my certain knowledge in professional musical theatre elsewhere. Many scriptwriters have returned to find their scripts totally transformed with writers and directors fired.

Happily, there are other outlets. Some five or so shows opened on Boxing Day or soon thereafter. The LTM National Pantomime attracted a capacity house and no doubt most, if not all, of the others also did. Not having seen the others I cannot comment. But, I am grateful to the LTM, Mrs Gloudon and her faithful crew of Bobby Clarke (director) Grubb Cooper (musical director), Anya Gloudon (costume designer), Michael Lorde (set designer), Rufus McDonald (lighting designer), Kevin Moore (movements director), all the players and all other creative technicians who brought in 2008, after 67 years, an entertaining display of Jamaican contemporary and traditional life.

I am, etc.,

R.M. NETTLEFORD

Kingston