Arnold Asamoah Baidoo writes: Support the arts!

However, what we saw this past weekend at the National Theatre in Accra, thanks to Image Bureau and April Communication, was only a statement.

We possess the necessary skill set to take on any creative endeavor, as that remark said. We have the manpower to guarantee that we can stage plays of all sizes, the resources to carry off any kind of production, and, last but not least, when properly projected, the patrons.

The Gods Are Not To Blame was magnificently shown.

Collaboration & Personnel

We have seen George Quaye’s Image Bureau and Naa Ashorkor’s April Communication collaborate on a series of plays thus far but a collaboration with the National Theatre of Ghana was rare but worth it.

What that alliance means is that, it’s okay to go alone but to go far, you need to go together – and with a cast and crew close to 100 personnel, the involvement of the National Theatre made sense.

The Gods Are Not To Blame encompassed different elements of acting, dance, choreography, acrobatics and the use of several extras and to get all that, George and Naa had to rely on the National Theatre.

Under the direction of Director George Quaye and his helpers, these individuals demonstrated discipline, professionalism, passion, and fervor in managing a team and cast of about 100 people to the point that they had to execute to near perfection.

Splendid Production

The Gods Are Not To Blame play presented such an elaborate production that included some eye-pleasing effects that are not usually seen in our theatre space. The special effects, especially the burning sword were the highlights of the play but everything else, from sound to lighting to stage meshed perfectly to present an almost flawless night.

And given how smoothly and fluidly the play flowed from beginning to end with all those inventive components, being in the same location almost felt like it had no connected challenges for an auditorium that has been plagued by logistical problems.

The reason for this is that George and Naa made a special effort to find experts who could supply the resources required to enhance the play.

They hired an expert to help them plan and sketch the stage setup, which resulted in an impressive display. The play's greatest highlight was really when they searched for a second expert who knew how to work magic with a blazing sword.

From the commencement of the play to its completion, every technical detail worked effectively, allowing such impressive fluidity that got patrons engaged and enthralled.

Magnificent Acting

Andrew Adotey is arguably the best actor on stage in his generation and he cemented that attribute with such a stellar performance over the weekend.

With the entire play hovering around his character, it meant Andrew had so many lines to cover and boy; he nailed it effortless, a testament of his longevity and prowess on that stage.

The amalgamation of the veterans with the young bloods was such a good call. It was refreshing to see legends of the stage and big screens, David Dontoh, Fred Amugi, Mawuli Semevor and others blend beautifully with known faces such as Naa Ashorkor and the not-too-known faces of all the acts from the stables of the National Theatre.

Each performer—including the extras—knew exactly what to do and did it with such skill. And it's admirable and comforting that people like Fred Amugi can perform such a rigorous piece over two days and four nights, despite their advanced age and apparent weakness.

The fact is that a great number of theater veterans long for the chance to return to the stage, mingle with the younger cast members, and share their wisdom with the upcoming generation of performers.

Support Is Critical

With that elaborate production seen over the weekend, it is evident that, Image Bureau and April Communications injected lots of funding and resources into this play.

The sheer production cost, plus cast and crew cost, together with every other element that goes into such a detailed play show that, one cannot execute effectively without funding.

Such productions need money; the creative space needs money!

The performance from last weekend was a clear sign that, with the right backing and resources, we can accomplish anything in the realm of theater or any other creative economic endeavor.

All of these things happened in one show: people were fed, vendors were given business, service providers were sorted, and high-quality entertainment was provided.