To many Nassauvians, the Dundas is synonymous with theatre. For the past thirteen years, the Dundas Centre for the Performing Arts has produced an annual Repertory Season, offering Bahamian audiences international and local plays as well as performances by choirs, orchestras and dance companies. Today, the Dundas is a key contributor to the development of the Bahamian performing arts.

School for domestics

Such was not always the case. Named for the colonial governor's wife who established it, the Dundas Civic Centre was for its first thirty years a charitable organisation specialising in the training of servants. The present building, completed in 1940, was originally a large hall where classes in sewing, cooking, bedmaking and laundering were held for aspiring domestics.

During the 1960s, the function of the Dundas changed. Young Bahamians, many of whom had been educated abroad, began expressing an interest in the fine arts. A committee led by the Trinidadian-born pianist Meta Davis Cumberbatch created the Nassau Festival of Arts and Crafts in an effort to encourage the further development of local culture; final performances were held at the Dundas. More and more, the big hall on Mackey Street was used as a theatre.

In 1965, Mrs Cumberbatch commissioned the building of the Dundas stage, and in 1966 the last domestic class was held. By 1970, the transformation was complete. The Board of Governors, originally comprised of civic-minded businessmen, was restructured. The ownership of the property was transferred to a non-profit corporation made up of amateur performing groups: the Nassau Amateur Operatic Society, the Nassau Players, the Nassau Festival of Arts and Crafts, the Nassau Civic Ballet, the Bahama Drama Circle, and the University Players.

Centre for the Performing Arts

In 1975, Winston Saunders, actor, director and playwright, was elected Chairman of the Board. He brought with him a vision: to transform the ramshackle hall into a centre for the performing arts—an entire complex incorporating an area suitable for dance, a concert hall, and a professional-style theatre. Under his leadership the Dundas relinquished the title of 'Civic Centre', becoming the Dundas Centre for the Performing Arts.

The first stage of development was the renovation of the existing building. By 1981, with the help of individual donations and corporate sponsorship, the theatre had acquired dressing rooms, an office, proper toilets for the public, a foyer and bar area, a patio, air conditioning, a lighting area and raked theatre seating. In addition, a workshop had been built in which to hold rehearsals, construct sets and store props and costumes.

Annual Repertory Season

In 1981, Mr Saunders established the annual Repertory Season. Its purpose was to ensure that the Bahamian public could look forward to a regular series of offerings at the Dundas. The members of the Repertory would be drawn from each member group, as well as from any interested outsiders. The inaugural production of the first Season was Twelve Angry Men, directed by the African-American star John Amos. The success of its run demonstrated that a Season would be welcomed by the community. To ensure its survival, Mr Saunders engaged the services of Philip A. Burrows, recently returned from the American Academy of Dramatic Arts, as Artistic Director of the Repertory Season.

Over the next few years, the Season grew from three five-night productions a year into the contemporary system, during which the months of January to May are set aside for Dundas productions. Under the direction of Mr Burrows, the standards of the performances are universally high. Owing to his conviction, too, that Bahamian audiences are intelligent enough to appreciate all kinds of theatre, Dundas productions are varied. In addition to the traditional fare of farce and social commentary, the Rep performs high drama, symbolist and absurdist theatre, musicals, and even opera.

Development of Bahamian drama

The eclectic nature of the Repertory offerings has broadened the scope of Bahamian playwrights, resulting in a richness of indigenous drama unusual in a country so small. Of the fifty-odd new productions offered by the Repertory Season since its inception, roughly half have been Bahamian. These works run the gamut from farce and political satire through Greek-style tragedy to variety shows and folk opera. The Dundas offers the best of both worlds—a steady diet of Bahamian plays mixed with works by international writers.

Bahamian audiences, too, have developed cosmopolitan tastes. They no longer look askance at bare stages or impressionistic sets; they appreciate changes in mood created by lights, and do not expect a curtain to fall at the end of each act. As for those people who work in the theatre, the experience they have gained as actors, directors and crew is equal to any offered elsewhere in the world. When one considers that participation in every area of the Dundas is on a voluntary basis (no one gets a full salary, and honoraria are rare), this is an achievement indeed.

Management Committee

In 1988, Repertory performances were extended into July, August, September and even October, with the establishment of the Summer Season. Today, Dundas productions may be offered anytime between January and October.

In 1993, a Repertory Season Management Committee was established to administer all Dundas productions. This committee is responsible for the Season and for promoting the Dundas to the community at large.

Future of Dundas

All things considered, the Dundas Centre for the Performing Arts is a success. However, much remains to be accomplished. The property still lacks a dance theatre and a concert hall, and the main theatre is in dire need of repair. The stage is nearly thirty years old and should be replaced. The rehearsal hall, now being used regularly for the teaching of dance classes, is in need of a wooden floor, and set-builders are tired of lugging their disassembled creations across the driveway. Increased activity at the theatre calls for expanded office space, and larger audiences may require a remodelled foyer. 

All of these improvements require one commodity which is in short supply at the Dundas—money. Dundas productions barely raise enough revenue to keep the theatre running, despite the donation of members' time and personal resources. The future of the Dundas rests in the interest of the community at large, and in their willingness to invest in a dream.