Voodoo, the Caribbean, Calypso and a Hint of Moliere in ‘De Obeah Mon’

“It’s a mystical, magical, Caribbean musical-comedy farce,” said Charles Douglass, describing his “De Obeah Mon,” which opens Saturday at the Westwood Playhouse.

Like its closest literary relation, Moliere’s “The Doctor in Spite of Himself,” Douglass’ play features feuding spouses, rich suitors, obstinate brides and reluctant medical practitioners. This time, though, the action takes place on the mythical island of Khakikotonga; the medicine men are voodoo doctors ( obeah means witchcraft), and the musical style ranges from calypso and reggae to jazz, blues and down-home gospel.

Douglass, whose local stage appearances include “Lena Horne: the Lady and Her Music” (Pantages, 1982) and “Sweet Bird of Youth” (Ahmanson, 1988), began acting at age 12 in the Germantown, Pa., community theater. One of the plays the company performed over and over was “The Doctor in Spite of Himself.” Years later, when a girlfriend introduced Douglass to her Caribbean culture, the memories of Moliere kept tugging.

Before long, “De Obeah Mon” was done in a workshop in New York at Westside Arts Theatre and Actors Studio. In 1987, it migrated to Hollywood for a run at the Gene Dynarski Theatre; last April came a brief stint at the Wilshire Ebell. Last year, the show won four NAACP Image Awards--for best Equity-waiver play, writing (Douglass), actress (Delores Hall) and costume design (Samuel P. Barton and Ron Cremers).

Yet the path to the Westwood hasn’t been easy. Lots of backers’ auditions, lots of deals fallen through, lots of skepticism. “When Charles first said he was doing a calypso musical, I told him that wasn’t my style,” recalled Jimmy Justice, who shares credits with Douglass for the musical score and who also plays the title role. “I said, ‘I’m opera-trained. I like jazz, blues.’ He said, ‘Why don’t you be eclectic? We’ll work something out. Only thing is, it’s got to have an island feel.’ ”

The production is equally eclectic in its makeup: from Douglass (who has appeared on Broadway in “Over Here,” “The Wiz” and “Eubie”) and the piano-playing Justice to Tony-winning actress Hall, choreographer/director Stephen Semien, supervising producer Anthony B. Major (“Super Spook”) and executive producer Henry Lawrence, a former Los Angeles Raider.

Without causing too much confusion, the plot goes something like this: Bougainvillea, the beautiful young daughter of the village aristocrat, is engaged to marry a man she does not love, and so feigns an illness rendering her speechless. The faux Obeah Man--whom, his wife proclaims, is an MD, Ph.D, DWD (Doctor of witch doctors) and a DOD (Doctor of de obeah doctors)--is brought in to cure Bougainvillea. “It’s very lightweight,” Douglass said with a laugh.

Although he’d originally planned to star in the piece himself, Douglass has his hands full as writer and co-producer. “I can’t wear that many hats,” he said with a shrug. “I’ve seen enough plays where the writer is the director, star, producer--and you do lose some objectivity. I don’t think I’m strong enough to handle that dynamic. But I’ve been in the theater long enough to be able to give leeway to my directors. I’ve also gotten too old to play the part.”

“De Obeah Mon”

At the Westwood Playhouse, 10886 Le Conte Ave., in the Contempo Westwood Center. For reservations, (213) 208-5454.

Opens Saturday and plays at 8 p.m. Thursdays through Saturdays and at 2:30 and 7:30 p.m. Sundays, to July 21. Tickets are $22 and $27.