1
The University of the West Indies
St. Augustine Campus
Faculty of Humanities and Education
Caribbean Studies Project
HUMN 3099
Student name: CURTIS BACHAN
Student ID no.: 00742549
Degree Program: Theatre Arts
Supervisor: Dr. Weekes
Title of Thesis:
The Contribution of George Williams to Theatre Stage Lighting in Trinidad and Tobago.
Declaration
• I declare that this thesis has been composed solely by myself and that it has not been submitted, in whole or in part,
in any previous application for a degree. Except where stated otherwise by reference or acknowledgment, the work
presented is entirely my own.
• I authorise The University of the West Indies to make a physical or digital copy of my thesis/research paper/project
report for its preservation, for public reference, and for the purpose of inter-library loan.
• I consent to have my attached thesis used in any publication comprising Caribbean Studies Projects by The
University of the West Indies. I understand that I will receive no compensation. I hereby assign publishing rights
for the contribution to The University of the West Indies, including all copyrights.
Signature of Student: __________________________________ Date: ___________________
THE UNIVERSITY OF THE WEST INDIES
The Office of the Board for Undergraduate Studies
2
INDIVIDUAL PLAGIARISM DECLARATION
This declaration is being made in accordance with the University Regulations on Plagiarism (First
Degrees, Diplomas and Certificate) and should be attached to all work submitted by a student to
be assessed as part of or/the entire requirement of the course, other than work submitted in an
invigilated examination.
Statement
• I have read the Plagiarism Regulations as set out in the Faculty Handbook and University
websites related to the submission of coursework for assessment.
• I declare that I understand that plagiarism is the use of another’s work pretending that it is
one’s own and that it is a serious academic offence for which the University may impose severe
penalties.
• I declare that the submitted work indicated below is my own work, except where duly
acknowledged and referenced.
• I also declare that this paper has not been previously submitted for credit either in its entirety
or in part within the UWI or elsewhere.
• I understand that I may be required to submit the work in electronic form and accept that the
University may check the originality of the work using a computer-based plagiarism detection
service.
TITLE OF ASSIGNMENT –
COURSE CODE – HUMN 3099
COURSE TITLE - CARIBBEAN STUDIES PROJECT
STUDENT ID - 00742549
By signing this declaration, you are confirming that the work you are submitting is original and
does not contain any plagiarised material.
I confirm that this assignment is my own work, and that the work of other persons has been fully
acknowledged.
SIGNATURE – CURTIS BACHAN
DATE – April 4th 2022
3
ABSTRACT
This project sought to examine the contribution of George Randolph Williams to theatre
stage lighting in Trinidad and Tobago. The requisite information was gathered through interviews
with Williams’ relatives and friends, and persons working in the profession and from literature
review. The aim was to investigate and document Williams’ work in the local theatre domain to
gain a better understanding of his influence. The information gathered was examined through
discourse, narrative and content analysis. Williams’ expertise in the field of stage lighting was
recognised both locally and internationally. If understood by the Trinidad and Tobago theatre
fraternity and wider society William’s legacy can add tremendous value to the appreciation of the
evolution of the art form of stage lighting in Trinidad and Tobago.
4
TABLE OF CONTENTS
ABSTRACT 3
ACKNOWLEDGEMENTS 5
LIST OF FIGURES 6
INTRODUCTION 8
CHAPTER ONE 11
CHAPTER TWO 20
CHAPTER THREE 23
CHAPTER FOUR 26
CHAPTER FIVE 29
CONCLUSION 32
WORKS CITED 33
APPENDIX A 36
5
ACKNOWLEDGMENTS
The completion of this work could not have been possible without the valuable contributions of
the following persons and organisations:
Dr. Raymond Weekes, Advisor
Dianne Ash
Deborah Thompson
Denisha Kendell
Joseph Drayton
Gail McIntosh
Lorraine Nero
David Lopez
Noel Norton Photography
Gregor Breedy
Ronald Armoroso
Ken Joseph
Knolly Whiskey
THABITI
Dr Efebo Wilkinson
Norvan Fullerton
Eric Butler
Trevor Pantin
Francis Lewis
Dr. Cyril Collier
Henry Beard
Nichole Mona Lisa Martin
Sheldon Placide
Janelle Duke
6
LIST OF FIGURES
Figure 1 Brief classification of Art; Author, 2022
Figure 2 Key building blocks of any art work; Brandon, 2010
Figure 3 Stage Lighting Enhancement Ideas (Author, 2022)
Figure 4 Image of a Board of Industrial Training Certificate. Source; the Williams Family 2021
Figure 5 Image acknowledge George Williams’s application by Yale University.
Source; courtesy the Williams Family, 2021
Figure 6 Image of Williams' Reply to Yale University. Source; courtesy the Williams Family,
2021
Figure 7 Yale University letter of acceptance to Williams. Source; courtesy the Williams Family,
2021
Figure 8 Image of Stanley McCandless recommendation letter. Source; courtesy the Williams
Family, 2021
Figure 9 Image of Canfield recommendation letter. Source; courtesy the Williams Family, 2021
Figure 10 Image of the Queen’s Park Savannah stage with theatrical lights displayed in the
background. Source; Norton Collection Carnival Section.
Figure 11 Image of Senator Ronald J. Williams Recommendation Letter. Source; courtesy the
Williams Family, 2021
Figure 12 Image of Senator Ronald J. Williams Recommendation Letter. Source; courtesy the
Williams Family, 2021
Figure 13 Image of Carnival Development Committee (CDC) for trophy
Figure 14 Image of Governor-General's Letter to George Williams. Source; the Williams Family
2021
Figure 15 Image of Express article on George Williams. Source; courtesy the NALIS, 2021
Figure 16 Image of NDATT’s Cacique Awards 2002. Source: NALISS
7
Figure 17 The Presidential Award Medal. Source; courtesy the Williams Family, 2021
Figure 17 b Image of Presidential Award Certificate. Source; courtesy the Williams Family,
2021
8
INTRODUCTION
Theatre (noun) is defined as an edifice in which dramatic performances or spectacles are exhibited
for the amusement of spectators; anciently uncovered, except the stage, but in modern times roofed
(https://www.merriam-webster.com). Theatre scholars by broad definition usually exploit, as
above illustrates, a range of ethnographic, autobiographic and case study research findings. Some
academic scholars position that knowledge is both presented and disseminated more powerfully
and effectively through a pedagogical method. Therefore, for the development of this approach
theatre pedagogy is the chosen academic vehicle of research to bring about change in
understanding the world and the role of stage lighting in theatre in Trinidad and Tobago. Hence,
this paper investigates the work of the late George Randolph Williams in Trinidad and Tobago’s
theatre domain with reference to lighting specifically.
Williams was a Trinidad-born electrical engineer who lectured at UWI and freelanced as a
stage lighting designer. He rose from humble beginnings to the top of his field within a short period
of time and made a valuable contribution to the theatre lighting industry, however, to my
knowledge this has not been comprehensively documented. The research documents Williams’
work as an Electrical Supervisor at the Carnival Development Committee (CDC)-now National
Carnival Commission (NCC), a freelance stage lighting designer and a UWI Centre for Creative
and Festival Arts (CCFA) now Department of Creative and Festival Arts (DCFA) lecturer in the
domain of theatre stage lighting and in so doing contributes to the records of local cultural history.
Focus is placed on Williams’ life in the context of theatre in Trinidad and Tobago from the 1930s
to his passing in 2008 and the impact of his work on the fraternity is examined. My objectives
were to gather and analyse concrete information about Williams’ contribution to theatre lighting
in Trinidad and Tobago as a stage lighting designer and an Electrical Supervisor at the Queen’s
9
Park Savannah and his impact on the UWI theatre arts community for the benefit of the theatre
fraternity and wider society.
Information was gathered from primary documentary sources in the form of letters written
to and by Williams, as well as secondary documentary sources including books and online articles.
A number of primary material sources including photos of people and items such as trophies, letters
and newspaper clippings are included. Finally, a significant portion of the information was
obtained via primary oral sources through in-person and telephone interviews with surviving
family members and work colleagues.
The study is focused on cultural study and takes a look into local history. The approach is
qualitative in form but pedagogical in approach. The use of pedagogical strengths to unearth the
value of the person and the field for teacher education is cited in works of Gallagher, Goldstein,
Conrad, Saldana, Norris, Denmoyer and Yennie-Donmoyer, Mienezakowski and Hill. These
researchers committed to harnessing drama to cultural engagement, social intervention and
educational change (Nicholson-Goodman).
The limitations of the study relate firstly to the fact that Williams and many of his
contemporaries and supervisors have passed away; secondly, to the limited number of documented
works on Williams; and thirdly but importantly to the impact of the Covid-19 pandemic. The
restrictions implemented as a result of the pandemic prevented students from visiting the West
Indiana Section at the Alma Jordan Library, and DCFA Library, UWI, St Augustine Campus to
access information and made it difficult to contact and meet with key primary oral sources.
The paper is laid out in four chapters. Chapter one explores the context of Williams’
experience by presenting a summary of the evolution of the theatre industry in Trinidad along with
a brief review of the history of stage lighting. Chapter two focuses on his early education and
10
further training. Chapter three outlines Williams’ work as an Electrical Supervisor at the Carnival
Development Committee (CDC). Chapter four focuses on his work as a freelance stage lighting
designer and chapter five reviews his work as a UWI CCFA lecturer in the domain of theatre stage
lighting.
11
CHAPTER ONE
1.0 Classification of Art
Table 1. Brief descriptions of terms used concerning Art
Term Definition
Artifice A deceptive tactic
Artificer Someone who is the first to think of or make something
Artificial Contrived by art rather than nature
Artisan A skilled worker who practises some trade or handicraft
Articulate Put into words or an expression
Artestry or Artistry A superior skill that you can learn, study, practise or
observe
Artist A person whose creative work shows sensitivity and
imagination
(Author, 2022)
Brief classification of Art
Fine Art
Decorative Art Visual Art
Types
of Art
Applied Art Plastic Art
Performance
Art
Figure 1. (Author, 2022)
12
For this paper the classification of Performance Art relates to the topic as it refers to public
performance events. Traditional varieties include theatre, opera, music and ballet. Contemporary
Performance Art also includes any activity in which the artist’s physical presence acts as the
medium. Therefore, it encompasses mime, face or body painting and so on. A hyper-modern type
of Performance Art is known as “Happenings”. For a critical understanding it is to be noted that
the building blocks of all Art fall within the below, Figure 2 components.
Key building blocks of any art work
Value Line
Form Shape
Space Colour
Texture
Figure 2. Author: Brandon, 2010
1.1 Modernity of Lighting: Theatre from the West to West Indies
Within the tradition of Western writing of theatre history, light and stage lighting in particular
had a complex relationship with the space of performance. Firstly, it was used solely for practical
reasons of illuminating actors and scenery. However, lighting has been emancipated from its
primary function to a potent scene design tool evolving to an independent layer of performance
with its own performative potential (Metallinos). From a post-structuralism approach, light as a
medium and technology which provides it, cannot be separated from each other. The main change
13
instigated by the technology advances in stage lighting was better means of control, which allowed
the light to be used as a medium. For example Chiaroscuro of the Baroque period brought the new
role of light into prominence as light and shadow were used as a sign, along with their symbolic
values (Taggart, 2020). Hence, the use of light as a medium in representational theatre served as
an opportunity for adding meaning. However, this layer was not autonomous as it was
subordinated to an imaginary world imitated on stage. Appia and Craig are considered to be
pioneers of stage modernism which brought about a paradigm shift from stage to place (Britannica,
2019). The apprehension of stage lighting naturally followed. Appia ontologized the light on stage,
freeing it from the constraints of stage and bringing it into a space where it could work together
with music, rhythm and the human body to create a dynamic if not a perfect performance. This
also inspired in my research, the reflection on the connectivity of Williams’ enduring contribution
to Trinidad and Tobago and West Indian stage lighting legacy as Appia has done.
Another key aspirant to this field of study is Bauhaus and their light plays, along with their
futurist approach to light as actor. In this way it was the artistic medium, not necessarily connected
to a theatre play. Time became important, performance was not a representation of something
happening somewhere anymore, but a presentation “happening” in real time (Casciato, 2022). That
modernist ideas preceded available technology is key to the appreciation of what Williams’ stage
lighting experience and action resulted in creating. This moved light projection form from
suppression in theoretical performance to Czech scene designer Josef Svoboda, who made enough
room for its textuality to take a leap forward. From a Western context Svoboda had been using
modernist elements in his work for many years before the scholarly observation (Hawkins, 2015).
He coined the term, “psycho-plastic space” to describe the dynamic and ephemeral nature of mixed
media spaces, referring to the important role of the inner world of the spectators.
14
1.1.1 A Brief Note on Stage Lighting Development
Within theatre and in the modern context stage lighting is an art form. This form brings
illumination to a performance venue making a definite impact on an event, giving visual direction
and shaping the environment. There is a significant body of knowledge related to stage lighting
and this paper uses the vehicle of sketching George Williams’ contribution, to ethnographically
lay a written history of the Trinidad experience.
1.1.2 Goal of Stage Lighting
Within the Art of theatre performance the goal of stage lighting is diverse and not limited
to a singular objective. Stage lighting allows the director to capture the audience’s attention and
enhance a stage production. Observe the ideas illustrated in Figure 3 below.
Illuminate
Highlight
Stage
Lighting
Best
Practices
Set the
Scene
Control
the mood
Figure 3. Stage Lighting Enhancement Ideas (Author, 2022)
From the above illustrations some brief considerations on stage lighting influence.
In consideration of illuminating the stage attention is required on how performers, set and
props are lit so the audience can clearly see everything they’re meant to witness on stage.
15
Inadequate lighting can take away from a production and also affect a performance. Dim light can
make it harder for the audience to see the actor’s facial expressions. For performers on stage proper
lighting allows them to orient themselves on stage and see the other performers. Further, lighting
highlights different areas in the performance, for example the 2018 Canboulay Production of
Rawle Gibbons’ Sing de Chorus at the Central Bank of Trinidad and Tobago Auditorium. This
production catered not only to various dramatic scenes and dances but the lighting also directed
the audience member’s eyes to where they should look. In one most dramatic instance, the majority
of the stage was dark with just one spotlight illuminating an actor playing a guitar in the focal
point. In other instances, the lighting designer can start with a wash, which covers a wide area and
acts as a base layer of light. From there he or she can add accent lights to guide the audience’s
attention to the performance area, for example where the speaker in the foreground. In setting the
scene, lighting can also help create the visual the Director wants. This approach is used in modern
film and is as crucial in theatre performativity. In some instances, this means creating optical
illusions with lights, for example building light intensity to create the effect of the sun rising, or
reducing its intensity to effect nightfall, as done in many plays. Additionally, for even more effect,
backlit scrims are used to create the illusion of a starry night, a sunny day or even a fire. An
example of one such play is Derek Walcott’s 2013 production of Oh Starry Night.
Stage lighting can also have a major effect on mood. The idea here is to match the lighting
effect to the content of the show to encourage the right emotional response from the audience.
Williams while creating lighting designs for both the Dimanche Gras shows and the Prime
Minister’s Best Village competitions executed these emotional responses. This was done by using
soft, warm glows for happy scenes, versus dim, cool hues for miserable scenes. Certain colours
therefore effect different emotional responses and are associated with creating different moods.
16
For example, depending on the culture, blue equals sadness and red is associated with intense
feelings such as love or aggression.
1.1.2 Performance Performativity Relationship in Culture and Theatre Revisited
The word "performance" is used to indicate a wide range of cultural events, such as drama, theatre,
ritual, popular entertainment, and ceremonies, while its theoretical partner "performativity" is used
to theorize the social construction of identity. Social theorists like Jacques Derrida and Judith
Butler, for example, have used the performative to theorize the complex and iterative construction
of identity. In formal education, the concept of performance and related terms such as performance
management, performance indicators, performance tasks, and performance-related pay are
commonly used to measure academic achievement, professional competence, and standards of
work achievement. This use of performance is also prevalent in the business and commercial
world, again as a tool for assessing standards and is a key to shaping this paper about Williams’s
stage lighting value. Performance therefore, as a formation of power and knowledge contributes
meaningfully to the interpretative nature of the study, within appreciation of the modernization of
theatre in this field. Just like theatre, it takes place in institutional contexts, constrained and
enriched by economic and technological factors. The theatrical model has come to inform
organizational theory and web design, for example with respect to various software programs. This
is crucial to the formulation of lighting as a growing interest in the field of theatre and the domain
of Art in general.
Theatre in Trinidad dates back to the period 1826 - 1831 when five theatres, three that were
English and two that were French operated in the city of Port of Spain (Hoefer). In two of the five
theatres professional performers were engaged to perform twice or three times a week. The other
three recruited amateur performers who performed once per month. One theatre house remained
17
by 1858 and in 1861 the Government began construction of the Princes Building east of the
Queen’s Park Oval to host visiting theatre companies. From the mid-1860s the many professional
companies that came to Trinidad performed and numerous historical events were hosted at the
Princes Building (UWISpace, 2010).
1.2.0 Theatre and Dance Halls Ordinance and Beyond
Theatre companies may have had influence on the native art form of Calypso music, hence
Calypso was aligned to the Theatre and Dance Halls Ordinance of 1934. Calypso music gained
popularity during the 1930s and 1940s but many people were still opposed to it (Hoefer). The
Ordinance gave the Colonial Secretary the authority to ban records and English officers within the
police the power to censor song texts. In fact calypsonians were required to obtain licences to sing
in tents (Hoefer). This historical juncture is addressed in Rawle Gibbons’ Sing de Chorus.
By the1940s, the period when the citizens of Trinidad and Tobago gained universal adult
suffrage (Nissen), folk expression began to be recognised as important to the development of
national culture. In 1948 the young and vibrant, dancer and choreographer, Beryl McBurnie
opened the Little Carib Theatre mainly to accommodate Caribbean Dance however it was also
used for other art forms. In 1957 Freddy Kissoon founded the Strolling Players Theatre Group and
staged many shows in rural areas in Trinidad (THABITI). The assembling of the West Indian
Federation in 1958 was launched by a regional festival of arts which stimulated theatre activity in
Trinidad and Tobago. In 1959, Dereck Walcott started the Trinidad Theatre Workshop and
Queen’s Hall was built. In 1962, the Prime Minister’s Best Village Trophy Competition was
established and the Naparima Bowl was opened. The Government of Trinidad and Tobago,
Ministry of Sport and Community Development’s website lists the following other theaters that
18
were established during the period under consideration in this paper: the Scarborough Centre
established in 1955, the Central Bank of Trinidad and Tobago established in 1986, the Learning
Resource Centre, Couva established in 1997 and the Northern Academy for the Performing Arts
(NAPA) established in 2008 on the site of the Princes Building (UWISpace).
1.2.1 Lighting Technology in Theatre
At the inception of performance theatre, the objective of stage lighting was to allow the audience
to see the performers and scenery. Subsequently stage lighting evolved into a scene design tool
(Stojšić). The lighting designer’s ability to use the relevant equipment to convey visibility,
motivation, composition and mood contributes to bringing to life the director’s vision of the script.
The use of light and shadow evokes emotion from the viewer (Morley). Zumtobel, an architects’
website describes the lighting for a museum with the following quote “daylight and artificial light
are of fundamental importance because they guide people emotionally” (Zamtobel). Over time the
objectives of stage lighting have been augmented and now lighting represents an essential
component of the stage scenic tool (Stojšić). In the contemporary setting the use of technology has
expanded the scope of stage lighting. Computerised systems use DMX 512 protocols to control
various types of lighting fixtures from different manufacturers. Developed in 1986 by the United
States Institute for Theatre Technology (USITT) DMX 512 was mainly utilised for controlling
lighting equipment and accessories in entertainment applications; currently it is widely used in
architectural scene-setting applications as well (USITT). In light of the advancement with the
DMX protocols competent light board operators were required. According to the British lighting
designer Richard Pilbrow, from the middle of the 20th century to the present the light board or
control desk for theatrical lights has evolved into an efficient, complex addition to the theatre’s
19
inventory; so much so that a specialised operator is needed to execute the programming (Pilbrow).
Computerised lighting boards were being introduced to local theatres nearing the end of the 20th
century and early in the 21st century DMX technology was slowly becoming popular. We can infer
then that Williams had very little or no access to DMX technology. With reference to performance
therefore, we can formulate an idea of the value of Williams’ contribution to stage lighting in
Trinidad and Tobago and perhaps the Caribbean. At the time of writing the lighting systems at the
major theatre spaces in Trinidad and Tobago are computerised. The popular light board software
programs in use include: MA Lighting – grandMA2 at Queen’s Hall, NAPA, and Southern
Academy of the Performing Arts (SAPA) and ETC’s Eos v3.1 at Naparima Bowl, Shaw Park
Cultural Complex and Central Bank of Trinidad and Tobago Auditorium. Other brands used in
lesser known theatres include AvoLites’s Ai v12.1.9.4 at Government Plaza Auditorium and
Rudranath Capildeo Learning Resource Centre Auditorium and Martin M2GO at Little Carib
Theatre.
20
CHAPTER TWO
2.0 George Williams’ Early Years
George Randolph Williams was a stage lighting designer for over five decades in Trinidad
and Tobago. His career began in the 1950s and continued till his passing in 2008. Over this period
he built up an extensive body of work which contributed substantially to the development of the
art form of stage lighting in Trinidad and Tobago. Williams was born in February 1930. At that
time labour unions in the Anglo-speaking Caribbean countries were uniting to fight the colonisers
against racism and for better working conditions. In Trinidad and Tobago the strikes headed by
labour unionist Tubal Uriah ‘Buzz’ Butler in the 1930s culminated in twelve deaths and over fifty
injuries in 1937 (News). Williams’ home town Tunapuna, also the home town of novelist and
historian, C L R James, was according to James in his classic book Beyond a Boundary, a small
town eight miles east of Port of Spain, the capital city of Trinidad (James). Williams’ early
education was at the St Saviors Anglican School a few miles west of his home. Subsequently, at
the age of eighteen he earned his Wireman’s Certificate in July 1948 after a stint at the Board of
Industrial Training (Figure 4). Williams while practicing his trade may have been buoyed by the
zeitgeist to work towards changing the status quo in terms of the presentation of performances on
the Queen’s Park Savannah stage.
2.1 The Yale Experience
Significantly, Williams later on became a student of Stanley McCandless, a Harvard-
trained architect who developed the McCandless Method, a stage lighting formula, in the 1930s.
This method is still taught and used around the world (Pilbrow). McCandless, considered to be the
father of stage lighting in the USA, penned the book A Method of Lighting the Stage in 1947. In
21
early 1962 Williams applied to The Rockefeller Foundation for a scholarship to study lighting
design and techniques at Yale University School of Drama. At that time according to Bruce King’s
book Derek Walcott A Caribbean Life, Williams was a member of the planning team for the “new-
look” Little Carib Theatre in Port of Spain and was working with Derek Walcott on a list of
theatrical lighting needs for the theatre. King mentioned that Associate Director at the Rockefeller
Foundation, John P. Harrison stated that the Little Carib Theatre Board should not depend on the
Rockefeller’s support unless there was national appeal towards the Little Carib Theatre’s new
building. Moreover, King pointed out that Harrison would be discussing an upcoming dance
workshop involving Beryl McBurnie and attending a production of Errol Hill’s Man Better Man
at Yale during the summer. While there, Harrison would discuss whether George Williams might
be accepted as a special student to study stage lighting (King). In June of that year, Harrison
acknowledged receipt of Williams’ application and medical record (Figure 5). Harrison outlined a
concern with reference to remuneration and charted an option for Williams to consider. Williams’
follow-up letter accepted Harrison’s offer. This letter from Williams also requested permission to
begin the Yale Drama School classes at a later date, because Trinidad and Tobago’s first
Independence Day was coming up and Williams was assigned to a Government committee where
his lighting design services would be needed (Figure 6). The letter from the Assistant Secretary at
Yale School of Drama confirming that Williams was awarded the scholarship was dated July 10th
1962 (Figure 7).
Williams received commendations for his performance as a student at Yale School of
Drama by way of two letters of recommendation. The first from Professor of Lighting, McCandless
recognised Williams as a very competent and pleasant person to work with. McCandless also
recognised Williams’ substantial background in the technical aspects of theatre (Figure 8). The
22
second letter from F. Curtis Canfield, Dean at the School of Drama indicated “Williams’ lecturers’
recognition of his independence, confidence and creativity and the good use he made of the
opportunity (Figure 9).
23
CHAPTER THREE
George Williams at the Queen’s Park Savannah
The Peoples National Movement (PNM) formed the first party-based cabinet government
in 1956 and in 1957 appointed a new committee called the Carnival Development Committee
(CDC) to oversee the conduct of all major events connected with festivals (McIntoch). Presumably
Williams was the first person to design stage lighting at the Queen’s Park Savannah for the CDC
and he drew from the McCandless Method to create his design. At that time there was no proper
infrastructure for housing or rigging theatrical lights at the Savannah therefore I presume Williams
devised the design to rig the lights from the catenary for the stage lights. His early design can be
seen in the background of a 1962 Noel Norton photograph taken at the Queen’s Park Savannah
(Figure 10) (Norton). The stage lights are rigged on to cables to point at the stage at a 45 degree
angle. The photo also shows the flood lights covered with red, blue and green gel filters. It is
remarkable that Williams was able to execute his lighting designs using the basic red, blue and
green mixes from limited lighting fixtures in the 1960s. The basic design format he devised is still
used today to light the stage. This speaks to his futuristic vision and creativity in the mode of the
aforementioned Appia and Craig, Bauhaus and Svoboda.
The Queen’s Park Savannah and in particular its Grand Stand stage is the major hub of
Trinidad and Tobago’s Carnival which features an iconic street festival that has been mirrored in
many countries around the world. The allure emanates from the desire to recreate the festivity and
revelry transmitted via sights and sounds from the Grand Stand stage and environs.
The Grand Stand – in conjunction with the paddock – was originally erected for the hosting
of horse racing and in 1948 was first used for the parade of Carnival bands (Doyle). The Stand
was ideally positioned and had most of the amenities to accommodate the audiences. The location
24
of the stage was also perfect for the flow of the masquerade bands; it meant that bands could
assemble on its eastern edge and parade along its length towards the western end. Conversely, in
order to accommodate the parade of masqueraders – or performers –other factors such as the
visibility of the performance to the audience, infrastructure to accommodate lighting fixtures and
their power consumption, the exposure of lights to the elements, and safety of the patrons and
masqueraders all had to be taken into consideration. Similar to the early days of theatre when the
Greeks used the rising sun to determine the start of their shows and its setting the end,
masqueraders paraded in the sunlight on the Savannah stage and the performances would end when
the sun set. To keep the performance going after sunset would require light reinforcement, a
challenge for which Williams was prepared as detailed above. Williams went on to design the
lighting for the Dimanche Gras Carnival productions at the Queen’s Park Savannah from 1963 to
1991 (Banham).
While still at the Port Authority, Williams applied for the post of Electrical Supervisor at
the Carnival Development Committee (CDC). The Chairman of the CDC, Senator Ronald J.
Williams wrote in October 1964 that George had worked effectively with the CDC since its
inception in 1957 and recommended him for the position (Figure 11). By 1968 Williams had
gained considerable experience in the electrical field and applied for the post of Electrical Inspector
at the Electrical Inspectorate. Again Senator Williams wrote a letter of recommendation on
George’s behalf (Figure 12).
In 1991 Williams was recognised by the Carnival Development Committee (CDC) for his
contribution to the development of the stage lighting at the Queen’s Park Savannah and issued a
trophy (Figure 13). Williams went on to mentor many persons over the years while working with
the CDC/NCC. Such individuals include Knolly Whiskey and Allen Mauraldo to name a few.
25
Whiskey went on to become the Senior Lighting Technician at Queen’s Hall for over twenty-five
years and is now Course Instructor One at the University of Trinidad and Tobago (UTT). Muraldo
is the head of the lighting department at the Rent A Amp Sound and Lighting Company, one of
the leading theatre service companies in the Caribbean. Williams’ legacy will continue through
this succession as these individuals and his many other mentees continue to follow his principals.
26
CHAPTER FOUR
Williams’ as a Freelance Stage Lighting Designer
While employed at the Port Services George Williams freelanced in the entertainment
industry. This was evident from a letter addressed to him at the Electrical Garage, Port Services
dated May 1960 from Lt. Col. J.T. Chapman on behalf of His Excellency Lord Hailes. In the letter
Lt. Col. Chapman refers to Lord Hailes’ gratitude to Williams for entertainment provided for Her
Royal Highness Princess Margaret and an enclosed cheque. Lt. Col. Chapman also mentions the
excellent arrangements that would have been made by Williams (Figure 14). This episode exhibits
Williams’ confidence and expertise even at a relatively young age.
Williams designed lighting for productions by leading Trinidad and Tobago performance
companies such as Marionettes Choral, the Love Movement, Trinidad All Stars Steel Orchestra,
Noble Douglas Dance Company, Immortelle and the Whitehall Players to name a few (Maraj,
2001) (Figure 15). He also worked in formal theatres including Naparima Bowl, Little Carib
Theatre and Queen’s Hall (Maraj, 2001). In recognition and appreciation of his contribution to the
field of stage lighting, the National Drama Association of Trinidad and Tobago (NDATT) in 2001,
at their 12th Annual Cacique Awards ceremony held at the Stork St Hill Theatre on Richmond
Street, Port of Spain, honoured Williams with a Lifetime Achievement Award (Figure 16).
George Williams also contributed to the Prime Minister’s Best Village Cultural Program.
Michael Anthony in his description of the program said it was first established by the late Dr. Eric
Williams in 1963 and was designed to encourage the preservation of ritual and traditional practices
by the diverse groupings of people living on the islands. The Prime Minister also wanted to keep
the young people in the communities engaged in positive activities. The annual festival involved
villagers creating traditional handicraft items and presenting indigenous folk songs, dances and
27
other remnants of the folklore customs for judging. The Best Village productions were transmitted
on local television and radio stations which brought popularity to the performers and for the first
time the vision to villagers of representatives of themselves on television (Anthony). The late Joyce
Wong Sang was given the task to manage the Program by then Prime Minister, Dr. Eric Williams,
which she did until the early 2000s (Persad). For over four (4) decades from the inception of the
Program Williams provided stage lighting design services for the productions which were held at
several performance spaces around the island with the grand finals being held at the Queen’s Park
Savannah stage.
The book The Cambridge Guide to African and Caribbean Theatre, which Errol Hill co-
wrote with Martin Benham and George Woodyard, mentions that Williams worked for local
theatre groups and was the lighting specialist at the West Indian Festival of Arts in 1958 (Banham).
Derek Walcott, the legendary St. Lucia-born poet, playwright and artist recognised Williams’
potential and in January of 1964 appointed Williams as the in-house lighting designer for his
Trinidad Theatre Workshop (TTW) based at the Little Carib Theatre, in Woodbrook, Port of Spain
(King). In the 1970s George Williams also assisted with lighting the Tobago House of Assembly
(THA) Heritage Festival. Dr. Cyril Collier (Collier) educator, actor and cultural activist from
Tobago explained during a phone interview that he arranged to acquire Williams’ services under
Secretary for Culture at the time, Cynthia Alfred.
Another associate of Williams was former theatre practitioner Francis Lewis (Lewis).
Lewis, a former lighting designer and consultant for the Lydian Singers choir during the period
when it was led by the late Dr Pat Bishop, explained during an interview at his office in the latter
part of 2021, that he first met George Williams at the Queen’s Park Savannah in 1975. At the time
Williams was positioned at the back of the Grand Stand delivering instructions to his crew for the
28
staging of two Best Village shows carded for later that evening and Lewis was a member of the
stage management crew headed by Ellis Williams. One of Lewis’ tasks was to run messages to
George and return to backstage. Lewis, an enthusiastic young man at the time, had had prior theatre
experience at the St Mary’s College (CIC) his alma mater. It was at CIC that his curiosity for the
theatre began. Through this inquisitive nature and his passion for theatre Lewis went on to work
at the Little Carib Theatre and began working under local dancer and founder of the Theatre, Beryl
McBurnie. Lewis recalled that in the late 1970s he fitted discarded milk tin cans with light bulbs
to control the spread of the beans and eventually redesigned the Little Carib lighting system using
tin cans and dimmer switches. This cleared up the misconception that Williams had designed the
Little Carib stage lighting system. Lewis, with reference to his relationship with Williams, pointed
out that Williams was always available to discuss matters relating to theatre lighting and
appreciated when persons offered suggestion for solutions to problems they brought for him to
solve.
In 1991George Williams was awarded a certificate of excellence for his contribution in the
field of stage lighting from the Trinidad Dance Theatre (Figure 17a). In 1992 he was presented
with the Public Service Medal of Merit, Gold, for outstanding and meritorious service in the sphere
of art and culture (Figure 17b).
29
CHAPTER FIVE
Williams as a UWI CCFA lecturer
With the introduction of electricity to stage lighting at the Savoy Theatre in London in
1881 the use of electrical theatrical lights quickly spread across the world (Pilbrow). After two
decades working both in various positions at the CDC and as a freelance lighting designer Williams
had immersed himself in the fields of electricity and stage lighting where he excelled. At this
juncture he took the noble step of formally passing on his knowledge and around the late 1970s
began to lecture in the Certificate in Technical Theatre Programme at the CCFA.
Williams’ work has inspired a generation of UWI students to view stage lighting design
from a different perspective while encouraging creativity in theatrical presentations. One such
example is Ken Joseph (Joseph). Joseph first encountered Williams as his student at the CCFA.
He went on to shadow Williams for a number of years and now has a comprehensive body of
lighting designs for top productions locally, throughout the Caribbean and in North America.
Joseph is now stage lighting lecturer at the UWI DCFA. At the Department Joseph makes it a point
to inform his students about the works of the ”grandfather” of stage lighting in Trinidad and
Tobago, George Williams.
Founding member of the Trinidad Theatre Workshop, Albert Laveau (Laveau), referenced
the CCFA as the place where he met and interacted with Williams. Laveau reminisced about
UWI’s 1989 production of Femi Osofisan’s Kolera Kolej, which was held at the undercroft to the
new engineering building on the St Augustine Campus. There was concern about running the
cables to power the light fixtures through the new structure as there was a strict rule at the new
building that no holes should be made in the walls. Williams and his students followed the
instructions and created ways of running the cable without interfering with the structure. The
30
approach was so unique that Professor Imbert (Inbert) of the Civil Engineering Department
brought his class over to see the clever work of the artists, executed without pounding or sticking
items on the new walls, ceiling and flooring.
Speaking to the use of the concept of performance in the business and commercial world
it is interesting that Williams ventured into the business aspect of stage lighting to support his work
in lighting design. He established the Electrical Contractors Stage Lighting Designers Theatre
Architecture Consultants which rented lighting equipment and provided lighting consultancy
services. The company’s equipment was used at the Trinidad Theatre Workshops 40th Anniversary
celebrations at the Cascadia Hotel, Ballroom in St Ann’s in 1999.
In April of 2002 the CCFA presented Errol Hill’s Man Better Man at the Auditorium in the
School of Continuing Studies, St Augustine. For this production Williams’ role was Lighting
Consultant with students Jill Sampson and Curtis Bachan as the lighting designers. The stage is a
square in the centre and the audience is raked on the four sides. The design of this space presented
no accommodation for light reinforcement, therefore a make-shift rig was designed to
accommodate the lighting fixtures over the audience on four sides. Additionally, vertical bars were
erected to the back of the audience on which par cans 1were rigged. During the process Williams’
approach to the work was one of no nonsense. Sessions were held in his home studio under his
house in Tunapuna so assist students in gaining a better understanding of drawing and reading
lighting plans. He organised the work meticulously and insisted that his students have a
professional approach to their tasks. Rawle Gibbons produced and retained Louis McWilliams and
Tony Hall to direct. Wayne Berkeley was retained as production design co-ordinator.
1 A type of stage lighting fixture
31
CONCLUSION
This paper set out to investigate the work of the late George Randolph Williams and to
gather and analyse information on his contribution to theatre lighting in Trinidad and Tobago
which hitherto has not been comprehensively documented. A further aim was to assess Williams’
impact on the UWI theatre arts community. It is felt that this exercise will be of benefit to the
theatre fraternity and wider society.
Williams showed himself to be passionate about lighting design through his perseverance
to advance in the field. Based on the accolades he received from internationally respected experts
in the field of stage lighting and his peers locally, it may also be said the he was competent and
dedicated. Williams achieved lasting results with access to only minimal resources and technology.
That his basic designs format continues to be used till today to light the Queen’s Park Savannah
stage is an indication of his vision, creativity and expertise.
Williams was not only a practitioner par excellence but he was also dedicated to sharing
his knowledge. He conveyed his wealth of knowledge and experience to his students at the CCFA
(and his mentees). So committed was he to his art that he extended his home to students to work
on the craft. On the economic front several of his students were able to earn a living in the
entertainment industry and the field of stage lighting design. On the political front, the theatre arts
program has expanded considerably. In this regard Williams has contributed to the lifting of the
quality of productions in Trinidad and Tobago.
George Williams’ knowledge and understanding of instruments, materials, electricity and
the use of lighting techniques as a visual method of communicating led to his tremendous success.
32
Works Cited
Anthony, Michael. Historical Directory of Trinidad and Tobago. London: Scarecrow Press, Inc, 1997.
Book. 08 01 2022.
Bagoo, Andre. WALCOTT’S “O STARRY NIGHT!”: CUT HIM OUT IN LITTLE STARS. 16 11 2013. Internet. 10
04 2022. .
Banham, Hill and Woodyard. The Cambridge Guide to African and Caribbean Theatre. Ed. Errol Hill and
George Woodyard Martin Banham. Cambridge: Cambridge University Press, 1994. Book. 18 03
2022.
Collier, Cyril. Educator, Actor and Cultural Activist Curtis Bachan. 23 11 2021. Telephone interview . 02
04 2022.
Doyle, Maya. “The Queen's Park Savannah.” 21 02 2020. The National Trust of Trinidad and Tobago.
Internet. 24 09 2021. .
Gallagher, Lawrence, & Penny, Tracy. ‘Pedagogic Strategies’: a conceptual framework for effective
parent and practitioner strategies when working with children under five. 00 00 2018. 15 04
2022.
.
Hoefer, Hans. Insight Guides Trinidad & Tobado. APA Press Pte Ltd, 1987. Book. 28 01 2022.
Inbert, Clement. Professor Curtis Bachan. 11 01 2022. Telephone Interview . 14 01 2022.
James, CLR. Beyond A Boundary. London: Mackays of Chatham, 2000. 20 01 2022.
Joseph, Ken. UWI Lecturer Curtis Bachan. 17 10 2021. Telephone Interview . 08 04 2022.
King, Bruce. Derek Walcott A Caribbean Life. Oxford University Press, 2000. Book. 14 01 2022.
Laveau, Albert. Actor, Manager TTW Curtis Bachan. 10 02 2022. In person. 15 04 2022.
Lewis, Francis. Senior Consultant, RES Consulting Limited Curtis Bachan. 25 January 2022. In Person. 15
04 2022.
Maraj, Aneela. “King of Lighting to be Honoured.” Trinidad Express Newspaper 18 05 2001. NALIS. 12 01
2022.
McIntoch, Gail. “Technical considerations.” Port oF Spain, 1988. Library. 22 03 2022.
Metallinos, Nikos. Visual Communicatio: Its process and effects. New York, 00 10 1978. Internet. 29 01
2022. .
Morley, Samuel. Lighting: the art of manipulating the audience. 23 10 2020. Internet. 30 01 2022.
.
33
News, Trinidad and Tobago. Historical Setting of Trinidad and Tobago. 07 01 2003. Internet. 07 01 2022.
.
Nicholson-Goodman, JoVictoria. “The “Highly Qualified Teacher” Trope.” Critical Education (2011).
Internet. 12 04 2022. .
Nissen, James. Trinidad & Tobago: A Rich History of Dance, Devotion and Demonstration. 00 04 2017.
Internet. 30 01 2022. .
Norton, Noel. Image of the Queen’s Park Savannah stage with theatrical lights displayed in the
background. The Norton Collection, Port of Spain. Photograph. 02 01 2022.
Persad, Seeta. “Joyce — a life of excellent service.” Trinidad and Tobago Newsday 15 08 2006. internet.
09 01 2022. .
Pilbrow, Richard. Stage Lighting Design. New York: Drama Publishers, 1997. 10 01 2022.
Stojšić, Milica. LIGHTING THE STAGE: TECHNOLOGY BETWEEN MEDIUM AND TEXTUALITY. 15 09 2015.
Internet. 28 01 2022.
.
Syndicate, Press. African Caribbean Theatre. Cambridge: University Press, Cambrighe, 1991. NALIS. 26 01
2022.
THABITI. Theatre History in Trinidad and Tobago Curtis Bachan. Tobago, 28 11 2020. Interview. 30 01
2022.
USITT. “Lighting | Electrics.” 00 00 2021. USITT>Com. Internet . 11 04 2022.
.
UWISpace. 2010. internet . 2022.
—. Princes' Building Trinidad, B.W.I. 31 03 2010. Internet. 30 01 2022.
.
Zamtobel. LIGHT for art and culture. 00 00 2021. Internet . 30 01 2022.
.
"Caribbean Theater, Anglophone ." Encyclopaedia of African-American Culture and History.
. Encyclopedia.com. 24 Jan. 2022 .
Casciato, Maristella; Fox, Gary; Rochester, Katherine, "Form and Color,"
Bauhaus: Building the New Artist, accessed April 17, 2022,
https://www.getty.edu/research/exhibitions_events/exhibitions/bauhaus/new_artist/form_color/
34
Hawkins, Benjamin. “Fantasies of subjugation: a discourse theoretical account of British policy
on the European Union.” Critical Policy Studies 9 (2015): 139 - 157.
35
APPENDIX A
INTERVIEW QUESTIONS
• What are some of George Williams’ accomplishments?
• When did Williams start working in the theatre and at the Queen’s Park Savannah?
• Which theatre/s did he work in?
• What was George Williams’ involvement in the first four (4) CARIFESTAs: Guyana 1972,
Jamaica 1975, Cuba 1979 and Barbados 1981?
• Which cultural tours did Williams participate in?
• What was Williams’s role at the Electrical Inspectorate Office?
• What was Williams’s role at the UWI’s CFCA?
• What was unique about his lighting Designs?
• How was he as a lighting designer?
36
Figure 4
Image of a Board of Industrial Training Certificate
Source; the Williams Family 2021
37
Figure 5
Image acknowledgement of George Williams’ application by Yale University.
Source; courtesy the Williams Family, 2021
38
Figure 6
Williams' Reply to Yale University
Source; courtesy the Williams Family, 2021
39
Figure 7
Yale University letter of acceptance to Williams
Source; courtesy the Williams Family, 2021
40
Figure 8
Image of Stanley McCandless recommendation letter
Source; courtesy the Williams Family, 2021
41
Figure 9
Image of Canfield recommendation letter
Source; courtesy the Williams Family, 2021
42
Figure 10
Image of the Queen’s Park Savannah stage with theatrical lights displayed in the background
Source; The Norton Collection Carnival Section.
43
Figure 11
Image of Senator Ronald J. Williams Recommendation Letter
Source; courtesy the Williams Family, 2021
44
Figure 12
Image of Senator Ronald J. Williams Recommendation Letter
Source; courtesy the Williams Family, 2021
45
Figure 13
Image of part of Williams’ trophy from DCD
Source; courtesy the Williams Family, 2021
46
Figure 14
Image of Governor-General's Letter to George Williams
Source; the Williams Family 2021
47
Figure 15
Image of Express article on George Williams
Source; courtesy the NALIS, 2021
48
Figure 16
Image of Trinidad Guardian, article June, 1991
Source; NALIS Library January 2022
49
Figure 17 a
Presidential Award Medal
Source; courtesy the Williams Family, 2021
Figure 17 b
Image of Presidential Award Certificate
Source; courtesy the Williams family, 2021
50