Fanatical admirers shout his name in airports – from the ordinary “Mi want you autograph, Oliver!” to the even more demanding “Oliver, gi me a money nuh?!” and the slightly more restrained but vigorous hand shakes and back-slaps that tell Oliver Samuels unequivocally that they know him…and, indeed, own him.. because he comes into their homes through their Television sets.. and like family, can  be treated with great familiarity.

“It is a difficult job we theatre people have taken on”, Oliver admits ruefully, as he reflects on how intrusive the attention can be at times.  Still, this giant of Jamaican stage and much-heralded performer on stages across Europe, North America and the wider Caribbean takes it all in stride – responding to his world audience positively with patience and respect.  “You must,” he says “because they make you… and they break you.”

Oliver Samuels – the entertainer so loved by the general public at home and abroad, while also ranking among the select few in Jamaican theatre to have been decorate with the national honour of Order of Distinction for his work in theatre – was born on November 4, 1948 in Tremolesworth, St Mary… and received what he describes as his “theatrical baptism” during Friday and Saturday night ‘yard’ concerts in his home town.  These concerts provide opportunities for adults to entertain themselves with songs, poems and stories, while children participated in ring games such as “Moonshine Darling” – a past time which, if Oliver is any example, appeared capable of honing impressive theatrical skills.

Events such as these, coupled with exposure to the performer Oliver describes as his ‘ultimate mentor’ – The Hon. Louise Bennett-Coverley – led to his decision, at age 22, to see what the theatre mecca of Kingston had to offer.  The first thing he found was an advertisement in the newspaper inviting people to audition for Jamaica’s new theatre school, which was run at that time by the Little Theatre Movement.  Oliver auditioned successfully, was invited to become a member of the theatre school … and from the year 1970 in which he made this move to join the theatre community officially, Oliver Samuels has been writing an incredible chapter in Jamaica’s theatrical history.

In respect of his work on the JAMAICAN STAGE

•    Oliver Samuels was, for many years, knows as ‘Mr. Pantomime’ – performing lead roles in LTM Pantomimes such as “Music Boy”, “Dickance for Fippance”, “The Witch” and several others.

•    He worked with most of Jamaica’s top writers, producers and directors in productions such as:

o    Trevor Rhone’s “School Out”

o    Carter Gambrill’s “All That Glitters”

o    The National Theatre Trust’s “School for Scandal”

o    Ed Wallace Productions showing of Pat Cumper’s “The Rapist”

o    The Company Limited’s production of Derrick Walcott’s “Pantomime” – for which be shared the Best Actor title with Tony Hendriks

Oliver also worked with Overseas-based producers such as We Are One Theatre Company of Canada for whom he did two major productions – Neil Simon’s “Odd Couple” and Mustapha Latura’s “Playboy of the West Indies”.

The chapter of local theatrical history he has been writing on the small screen of TELEVISION – both locally and overseas – is just as impressive.

• His first showing on television was actually overseas…when he appeared in 1974 – only four years after his journey from St. Mary to Kingston – in the BBC Television series “The Fight Against Slavery”.

• Oliver collaborated on another BBC Television production in the mid-1980s when he appeared in the production “My Father Son Son Johnson”…. And made another BBC TV connection in 1994 – appearing as Gareth’s Father in two episodes of the production “Chef”.  He followed this up four years later – or early in 1998 – with appearances in three episodes of “Brothers and Sisters”.

The late 1980s into the 1990s is when Oliver Samuels could be said to have come fully into his own in  terms of the small screen, with appearances in TV productions such as

o    “Oliver” and “Oliver at Large” – the two TV series in which he appeared as himself and “Sarge in Charge”, in which he played the title role.

o    “Going to Extremes” – the Lorimar TV series in which he played the role of Winston.

o    “Great Moments in Aviation”… for which the US Video Title was “Shades of Fear”.

o    (And) in the local television series “Royal Palm Estates” and “Traxx” – appearing in both in the roll of Son-Son.

He first took his talent to the BIG SCREEN in 1982 when he appeared as “Pillion” in the Jamaican film “Countryman”.. and made a further mark in the world of film when he performed the role of Rupert in the film “The Mighty Quinn”

But all of this only points to his work as actor.  Oliver confesses that he had ‘dabbled’’ in most aspects of theatre except for light, sound, and set construction.  So to use another well-known phase to describe the total theatre person that is Oliver Samuels, we wish to applaud him thus Oliver, Yuh Large!..

o    Yuh large…  as WRITER of the stage plays “Teller’s Tale” and “Eve” as well as of two radio dramas “Maas Sammy’s View” for the former Jamaica Broadcasting Corporation and “Sam-Sam Seh” for a radio station in New York.

o    Yuh large….as DIRECTOR of Devon Haughton’s “Old Friends” for its USA and Canada run of several productions he mounted at the parish/community level when he was National Cultural Co-ordinator for the Social Development Commission (SDC)…and as co-director of Pablo Hoilette’s adaptation of the British comedy “Key For Two”

o    Yuh large…as PRODUCER through the production company Oliver Samuels Entertainment Ltd. which he formed in 1985 to perform primarily on the overseas circuit and which offered regular employment to his special troupe of players which included his partner in laughter Volier Johnson, as well as Ann-Marie Fuller, Audrey Reid, Letna Allen, Deon Silvera, Sandra Lee, Mark Martin, Dean Martin and Osbourne McPherson, with technical directors Patrick Russell and Andrew Roach.

o    and you large as PROPERTIES MANAGER for several major Jamaican productions.

All of this would suggest that Oliver Samuels would be able to list many high points in his career, especially when one adds to it awards such as the City of Hartford, Connecticut’s Official Citation which pointed to his unquestionable status as the Caribbean’s premier comedic actor and the New York Carib News which honoured him with a “Front Page Award”.

However, Oliver gives a surprising response when asked about such high points.  This is how he tells it: “Basically, I went into theatre because I wanted people to laugh…not to receive any accolades or awards, or even to get any admiration.  The truth is that I just love the work and the enjoyment it brings.  Not the Best Actor awards, not the national honour of an OD – none of it is important as the accolades from a responsive audience.  And it is especially special when you take your curtain call holding hands with people you’ve enjoyed working with….and the audience gives you a standing ovation.  That is what I count as memorable”

He also counts himself lucky to make crossed paths with several people who helped him hone various aspects of his skill to ensure that he always gives of his best to his audience.

o    First and foremost, there’s Miss Lou who was the only ‘real’ theatre person who would travel from Kingston into his little district…and whose wonderful use of the Jamaican language to make serious comments on social, political and religious conditions in a comical way, made Oliver a dedicated disciple, who listened avidly to her poems and radio commentaries.

o    In the area of Speech & Acting, the late Bobby Ghisay as well as Wycliffe Bennett proved invaluable in sharpening Oliver’s sense of timing, and in honing not only the clarity with which he speaks the language, but his overall delivery.

o    For Acting Oliver’s ideal model was Leonie Forbes who brought not only a high level of professionalism to the way she performed her craft, but a charm and easy style that he describes as “always beautiful to watch”.  Lois Kelly-Barrow’s humour and asides, both on and off stage, were also important to him in underscoring the enjoyment which performers must feel when they are on stage.

o    In the area of Directing, Oliver has high praise for Sam Walters, his first director at drama school, and someone he describes as a very thorough man….. but one who was also patient, and who allowed you the freedom to bring your interpretation to a character, even as he offered guidance.

o    He also credits Wycliffe Bennett with this talent… and has similarly high praise for Lloyd Reckord who, although being more ‘dictatorial’ in his directing style, taught Oliver the importance of control in performance.

Also of importance to Oliver Samuels has been the progress of the young people whom he helped to equip with performing skills through his work as the Social Development Commission.  As National Cultural Co-ordinator he was responsible for designing programmes to help young people island-wide use their time more productively, via the performing arts of dance and drama.  “One of the most memorable activities for me”, he says “was the forming of the Cultural Theatre of Spanish Town – a project on which I worked with Jackie Guy and Tenny Miller who were also at the SDC at that time.  The group did exceptionally well and in fact performed at the Law of the Sea Conference in Montego Bay.  Many of the young ladies from this group now work in the hotel industry as entertainment co-ordinators”.


Oliver recounts proudly how many of the other young people whom his team recruited from the wider Spanish Town area for enrollment in drumming classes have also been very successful – some are now drummers with the National Dance Theatre Company, one joined Jimmy Cliff’s group, and another has his own band in Atlanta, USA.  According to Oliver “I value my contribution at that level because it helped to equip young people with skills that made them employable.

As his citation from the City of Hartford declared “If laughter is the best medicine, then Oliver is the Doctor of comedy”.