For more almost forty years, Jamaica's Barn Theatre was a crucial part of the development of a Caribbean theatre that extended beyond the Europhile elite. When it began in 1965, there were scarcely any plays written by Caribbean playwrights to perform. By its presence The Barn encouraged the work of dramatists such as Dennis Scott, Ashani Harrison and Carmen Tipling, and above all the work of Trevor Rhone, with whom Yvonne Brewster enjoyed a close if sometimes tumultuous theatrical relationship. Yvonne Brewster's splendid retelling of the making of the Barn captures the phenomenon of youthful ambition, creative optimism and rollicking intellectual excitement that characterized the spirit of young people fired with the zeal of imagining a postcolonial self as distinct from a colonized self.