Shakespeare in Paradise
When people think of The Bahamas, they think of turquoise waters, conch salad stalls under almond trees, and cruise ships stacked like floating cities along the harbor. But there’s another Bahamas most tourists never see, one pulsing with words, rhythm, and stories so powerful, they’ll slap you straight in the chest.
Shakespeare in Paradise, a non-profit theatre festival established by Ringplay Productions, isn’t just about Shakespeare. It’s also about Bahamian voices sharing space with global classics. Sure, you’ll see plays like Hamlet, or Romeo & Juliet, but you’ll also witness theatrical productions like “The Legend of Sammie Swain”, an iconic Bahamian folk opera about a disabled man who sells his soul for love; and new works that confront mental health, race, politics, and freedom.
Stepping back into history
Since its inception in 2009, Shakespeare in Paradise has been redefining what theater looks, feels, and sounds like in the Caribbean. Co-founded by cultural visionary Dr. Nicolette Bethel and director Philip Burrows, the festival was born from a need for a platform that didn’t just stage global stories, but also gave voice to the stories of Bahamian people.
“In The Bahamas, we weren’t just missing out on Shakespeare,” Dr. Bethel once shared. “We were missing the chance to tell our own stories with the same reverence. This festival was about reclaiming that space.”
What began as an ambitious experiment at The Dundas Centre for the Performing Arts has blossomed into a vibrant, must-attend event on the Caribbean cultural calendar. Every October, theater lovers, artists, students, and curious tourists converge in Nassau for a week of transformative performances, workshops, and cultural exchange.
The lineup never disappoints. From provocative, modern adaptations of classic works to gut-punching original plays, the 2024 festival dared audiences to feel deeply, and think differently.
One of the festival’s standout productions, “Hamlet 50/50”, turned tradition on its head. Cast with equal parts men and women, the play unfolded with startling freshness. The iconic Danish prince’s most iconic line, “To be or not to be, that is the question,” was this time spoken with fierce vulnerability by actress Danielle Fields in the role of Ophelia. Her monologue was dominated by royal anguish, as she contemplated whether she wanted to live or die, after her father was murdered by Hamlet, the love of her life.
“I felt like I was watching something sacred and rebellious at the same time,” said a visitor from Toronto. “It was Shakespeare, but it was also deeply Bahamian.”
“A Merry Regiment of Women”, a humorous look at Shakespeare’s women; and “Ralphie’s Barbershop”, a new play by Philip A. Burrows, rounded out the list of longer plays.
The main stage was the body of the festival, but Short Tales 2024 was its beating heart. Held over two spellbinding nights, Short Tales is a platform unlike any other. Designed to amplify fresh talent, the showcase features a series of short plays — each no longer than 15 minutes — written and directed by emerging Bahamian creatives. “The Protocol Officer”, written by Stephen Hanna, is a light-hearted take on government bureaucracy, and the passive-aggressive reticence to change that hides beneath pressed suits and politically correct words. It was nestled among works that ranged from hilarious comedies to gut-wrenching explorations of Black Bahamian life under colonial rule. Case in point, “Future Nigga”, transported us to a kitchen in the 1700s, with a young Rastafarian from the 21st century having a conversation with a house slave about the future. Another short play honored the brave women who fought for our right to vote.
One night, sitting in the darkness of the theater, watching a Short Tales play, “La Tormenta” (a man relives the trauma of losing his daughter during the catastrophic Hurricane Dorian in 2019), I could hear people sniffing back tears around me. When the actor began to cry, I lost it. I sat there crying silently too. That’s what these stories do. They open wounds you didn’t even know existed.
By the time the curtain fell on the final show, I was full — emotionally, intellectually, spiritually. I had seen myself reflected in stories centuries old, and in characters newly born. I had clapped beside strangers who became kin through shared laughter. I had experienced, in the truest sense, what it means to sit at the crossroads of history and hope.
Why should you go?
If you’re ever in Nassau in October, don’t just head for the beaches. Walk into The Dundas. Buy a ticket to Short Tales or one of the longer plays. Sit in the dark with strangers who will soon feel like family. Let the actors pull you into their world.
Shakespeare in Paradise isn’t just about theater; it’s about reclaiming who we are. It’s about hearing your grandmother’s wisdom onstage, seeing your father’s struggles told through poetry, feeling your island’s heartbeat pounding through Shakespeare’s verses.
It’s about finding yourself in paradise, just like I did.
Getting there:
Shakespeare in Paradise runs every October at The Dundas Centre for the Performing Arts in Nassau, The Bahamas. For tickets, schedules, and information on Short Tales submissions, visit shakespeareinparadise.org.
Tip: Seats fill fast, especially for Short Tales. Book early, grab a sky juice before curtain call, and prepare to be moved.
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