His ancestors are known for throwing off the shackles of enslavement, slipping into the jungles of Suriname and daring to seize freedom with both hands.
Sefanja Richard Galon is now tapping into that energy.
With the power of familial stories flowing through his veins, Galon has painted a portrait of humanity and resistance on his canvas of choice, a theatrical stage.
‘It’s a story of human survival,” he says.
“OSKUNERU 2025: A Theatrical Journey Through the History of the Surinamese Maroons” is a play written and directed by Galon, presented by Maroon Isle Productions. The show debuts at MDC's Art Lab on Thursday, Feb. 6 with performances through Saturday, Feb. 15.
Miami-born and Suriname-raised, his tribute to the maroons of Suriname and their legacy has come a long way.
Initially presented as a Zoom reading organized by the Black Student Union at the New World School of the Arts, it has since progressed into a live college production, a theatrical workshop at Main Street Players, and finally a reading in City Theatre's HOMEGROWN playwright development series at the Adrienne Arsht Center in 2023.
Galon recalls how it all began.
At the time, he had been coping with the effects of a worldwide pandemic, government shutdowns, isolation, national protests and racial strife. The turmoil of it all weighed heavily.
“I was alone, kind of depressed in my house, and I was watching everything that was happening on the news.”
What helped him the most, he says, was to draw from the strength of his ancestors. To acknowledge and embrace the lessons of the past so that he could focus on moving forward.
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He realized that not only was it an effective way to center himself, but it also allowed him to put things in the proper perspective.
“Hey, my ancestors came from slavery,” he says. “They fought colonialism. They won. They lived in the jungle away from all of that stuff. So, who am I to feel defeated by all the things that we have going on today?”
His conclusions led to further investigation.
Plunging headfirst into a pool of information, Galon eagerly sought out all aspects of his heritage.
His research led to cultural experts, historians, Surinamese lore or oral accounts passed down from parent to child, and even YouTube videos; pretty much anything he could get his hands on.
And then he began to write. And then he wrote some more.
Eventually, Galon’s search began to seep deep into his subconscious where he received nocturnal messages.
“I just started having these dreams,” he reveals. “These dreams of scenes and characters.”
At one point, he confides, Galon awoke and discovered that he was speaking the word Oskuneru, the title of his play.
But to manifest one’s dreams into reality, it often means that you have to hash out minutiae or other mundane logistics or even deal with overarching essential components. This includes producing the perfect score.
“Music is cultural. Music is transcendental. It overcomes all the language barriers that we have,’ declares Galon. “It becomes something that you just feel in your body and in your bones. You hear the words when that music is playing and boy, your soul just moves.”
He turned to former classmate Mikhael Mendoza, who was more than happy to contribute as musical director. Turns out he was well attuned to the task at hand. He knew exactly Galon was looking for.
“Being a composer is about creating the feeling of each song individually,” says Mendoza.
“It's whatever we want the audience to feel in that moment, visually, but also musically. When they work together, it creates the perfect atmosphere theatrically. So for me, it was really important to try and just get you into the zone of what we were trying to make you feel in that moment.”
Working on the process has also given Mendoza the opportunity to hone his skills in an innovative way.
“This was a new challenge, but it was inviting, and it was fun,” says Mendoza, who has witnessed firsthand the evolution of the play.
“This is the first time that we're actually going to implement live instruments throughout the entire show. Previously, we would all use (pre-recorded) tracks because I do have a producing background. But I've been learning more and more how to implement myself in terms of being a full composer and creating sheet music.
“Having sheet music and having a full score is very important, obviously, for musical theater artists, so being the music director and composer, I've taken upon myself to really dive into that process, really understand instruments and how they sound, their different timbres.
He says, while it's been rewarding, it's been challenging.
"I'm excited to see how it all turns out.”
Margaret M. Ledford, artistic director for City Theatre Miami, is equally as thrilled.
“We are proud parents. Actually we’re more like grandparents,” Ledford says in an interview, laughing at her own grandparents reference.
“We are pleased and so excited for Sefanja. We are excited that this story is going to be out in front of the world.”
Ledford says that providing support for playwrights like Galon and productions like "Oskuneru," and then seeing the efforts reach a larger audience, is part of the bigger picture of City Theatre's "HOMEGROWN" initiative.
The program, launched in 2021, works to promote and develop writers from historically marginalized communities by providing mentorship and instruction – the training and time to create original work.
Ledford says that "Oskuneru" is just one example of how "HOMEGROWN" has made a difference.
“You know, people don't necessarily think of Miami as a theater town, but there are some talented theater artists here, including playwrights; having a local playwright development program allows the voices of Miami to be heard. And it allows the fostering nature of the program to not only support them as writers, but also as business people and functioning theater practitioners.”
She encourages people to support Galon's new work to not only be entertained but to support and encourage those working as Miami artists.
“I think they're going to have an experience, a theatrical experience that moves them. They might even see themselves. People are going to see it as such a strong new voice with such a unique perspective. It just has to be heard and seen.”
IF YOU GO
What: “OSKUNERU 2025: A Theatrical Journey Through the History of the Surinamese Maroons”
When: 7: 30 p.m. Thursday, Feb. 6 , Friday, Feb. 7 through Saturday, Feb. 8. Also, Thursday, Feb. 13, Friday, Feb. 14, and Saturday, Feb. 15.
Where: MDC’s Wolfson Campus, The Art Lab, 300 NE 2nd Ave., Miami
Cost: $35 general admission, VIP $55
Information: (305) 680-0959 or maroonisleproductions.com
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