By MONIQUE FORBES & KHASHAN POITIER

Guardian Staff Reporters

Bahamian Rhapsody, a production that includes a team of Bahamian artists, actors and musicians, with its mixture of rake 'n scrape, dance, Junkanoo rhythms, dialect, song and history could be the hook and bait to lure tourists to this archipelago.

When the show took to the World Famous Apollo Theatre in New York City last month the group received a standing ovation from it's audience.

"We went to the Apollo Theatre. It was part of the Caribbean Tourism Conference. Last year the British Virgin Islands did the show, this year it was The Bahamas. Whatever we did this year, we have set the tone for the rest of the Caribbean Islands. It was a phenomenal show!" remarked Fred Ferguson, Producer and Musical Director of the show.

Now it is hoped the show becomes a permanent fixture here at home in The Bahamas, with plans now in the making for it to become an added nightly feature at The Rain Forest Theater said Ferguson.

"You always hear about the reggae and the soca, and all those other kinds of music. We have things here too that we are proud off, we just don't showcase it enough," comments Ferguson.

This he said will provide much entertainment for not only locals but tourists as well.

Meanwhile some lucky locals did get a chance to review the premiere of the show, when an 'invitation only' performance was held at Wyndham Nassau Resort's Rainforest Theatre, last Thursday.

The fact that each attendee was greeted with a complimentary pair of cow bells at the door was a sign of what was to come.

The production began with a vibrant and lively segment, which included a church congregation and pastor, played by Tex Turnquest. Urged on by religious tunes, supplied by Ferguson's band, 'Tingum Dem,' the congregation colorfully sang, "When We All Get To Heaven," as dancers pranced along the stage as if doused with the Holy Spirit.

As the sermon began, the congregation chorused: "Hallelujah!" and "Preach Pastor!" inviting the pastor to put his own spin on churches in The Bahamas. The audience also enjoyed it, chuckling as he poked fun at our religious culture.

And, Alia Coley and Sonovia Pierre, who played members of the congregation, sang soulful renditions of "Bid You Goodnight," "Somebody's Dying Everyday" and "When the Road Seems Rough." Their powerful voices rang with conviction, like old Negro spirituals.

Climaxing the church segment of the production was Vision, a Gospel quartet, and Cacique awardee Timicka Smith. The audience could not help but to 'lick off' their cowbells during "Junka Praise," performed by Smith, joining the on-stage Junkanoo group.

And, what would any true Bahamian production be without a little rake 'n scrape and some down home dancing.

The Cat Island Dancers, featuring Bo

From B 3

Hog and the Rooters had the crowd whooping with each hip-twitching and foot-stomping step. With the rake 'n scrape instruments providing the waist-jerking beats, the ring play-style of dance brought a nostalgic feeling to the theater.

That feeling lingered as the stage transformed into a smoky, 1940's club, called Nightclub Silhouette. With dimmed lights, Ralph Munnings' saxophone took centre stage, jazzing it up with "Bahama Lullaby." Dancing to his sultry notes, a couple swayed onto the stage, ushering a romantic aroma, as they engulfed one another in their arms.

Capitalizing on that mood, Abigail Charlow, otherwise known as the Bahamian Jazz Queen, delivered a light, yet bouncy rendition of "Mama Don't Want No Peas No Rice." Decked in a mint green dress, Charlow's voice filled the room and wormed its way around her listeners like bubbles in a warm bath, soothing both the mind and senses.

Now, it was time for some more dancing.

Leaping and jerking to the beats of goat-skinned drums, an energetic dancing trio, with their rainbow- trimmed outfits, delighted the audience with their flexibility and dynamic spinning.

Nightclub Silhouette awakened from its jazzy trance and became Ronnie's Rebel Room, as "the Godfather of Bahamian music" himself, Ronnie Butler, slithered onto the stage, welcomed by a sea of oohing from the audience.

Butler, singing a special medley of his popular hits, could hardly contain himself on stage, as he swayed his hips and gyrated his body. Backed-up by the Tingum Dem band, Butler danced to the tune of his own songs.

Neither could the crowd contain themselves, as many struggled to stay in their seats. As the audience urged Butler's on, the music seemed to take control of his body and soul.

He finished with the song "Age Ain't Nothin' But a Number." As he began chatting the final notes of the song, he trembled, bending lower and lower to the floor. Then, as if wakening from a daydream, said: "I better stop before I get another heart attack."

By the time Nehemiah Hield took to the stage, it took only three words and some goat-skinned, cowbells and whistles to finally get the audience to grab their own cowbells and "dance like ya' crazy," like his song "Do The Junkanoo" directs.

Ferguson said the show was unique because it featured a wide spectrum of Bahamian musical culture.

"We went from the old time gospel to the new gospel, we went from the rake and scrape dance to the limbo, and Bahamian folklore. We went from the Ronnie Butler's style of music to the Geno D and Nehemiah style, and of course we have the Junkanoo included in that as well," he said.

For those who have yet to see the show, there will be a full performance on Arawak Cay on July 8th to kick off the Bahamas' 31st Independence Day celebrations. The show is also expected to be broadcast live on ZNS TV 13.