Understanding a few clear points can help a writer create the dramatic unity that can hold the multiple plot lines together. They can be about one person trying to accomplish a specific goal or about several people with their own special wants and needs.
It is also a collection of biographies and testimonies by local artists and cultural specialists.
Somebody said that – certainly once or twice before Thomas Wolfe made it famous – and while it's obviously not true in the literal sense, it certainly should be a rule to live by (unless you left something at home that's really important in which case I'd suggest hurrying there, getting it without talking to anyone and then leaving again very quickly, preferably by the back door).
Life goes on, and so it should, and we all learn the hard way that we outgrow our childhood bedrooms and our school halls and even our families themselves.
We learn that much of indigenous Jamaican theatre is related to physical and musical performance where dance, singing and music play an even more important role than dramatic texts.
That, perhaps, explains why the published works of Jamaican playwrights, such as Dennis Scott, Basil Dawkins and Trevor Rhone, are given only passing mention in the section called “Profiles and Biodata.” Others, such as Sylvia Wynter, Patrick Brown, Pat Cumper, are mentioned in chapter 7, as “Jamaica’s Younger Playwrights.” In general, references to authors treat them as only one of many collaborators in the performance event, on the same level as producers, directors, technicians, singers, actors musicians, storytellers and designers.