Doug Ward on Paul Carter Harrison and The Great Mac Daddy.
I met Paul soon after he had ended a long stay in Europe. On first encounter he was articulate, suave, almost debonair. His work then surprised me by being as nitty-gritty in his writing as his demeanor was sophisticated. The Great Mac daddy was supremely representative. Inspired by Amos Tutuloa’s The Palm Wine Drinkard, it is a superlative syntheses of African and African American motifs, drawing upon myth, folklore, fantastic forces, spirits-beliefs, superstitions and hyperbolic tales (sacred and profane) from both cultures- merging them into a seamless form and stylistic unity of drama, music and dance. It was and (still remains) innovative in form, content and production method. Its message was simple but the telling complex…A prominent reviewer hailed it as “the birth of the new black musical”. Its powerful scintillating realization buttressed the reputations of its talented creative team: Diane McIntrye and Coleridge-Taylor Perkinson et al…Two separate NEC productions were sites of a who’s who of stellar performers: Adolph Caesar, Hattie Winston, Phylicia Allen Rashad, Cleavon Little, Lynn Whitfield, Charles Brown, Barbara Montgomery, Charles Weldon, Al Freeman Jr., Carl Brown, Frankie Faison, BeBe Drake Hooks, Majorie Barnes, Victor Willis, Graham Brown, Martha Short – Golson, Dyane Harvey, Freda Vanterpool, Carol Malard, Joella Breedlove and David Downing, among others.