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Pecong: “a verbal battle of insults hurled in rhymed verse.” In reality, Pecong, written by Steve Carter, is the story of Medea, the classic Greek drama. Ah Mediyah, Mediyah, Mediyah cry many, “you is a hard, harsh, bitter and sore woman.”

Produced by Take Wing and Soar Productions at the National Black Theatre, the story takes place on a mythical Caribbean Island in the late 1890’s. Mediyah (Lorna Haughton) has inherited her Granny Root’s (Phyllis Yvonne Stickney) magical, voodoo powers.

Granny soon dies, but is always present as the spirit, directing her young protégé grand-daughter in the business of healing and supernatural powers. Alas, poor Mediyah shows her all too human frailties when she falls desperately and completely in love with Jason Allcock (David Heron), losing all control, becoming nothing more than a mere mortal. She surrenders to Jason, a braggart, whose claim to fame is the number of women he’s bedded, his sexual prowess and seeming lack of emotional involvement with any of them. He boasts about all his baby daughters but he’s never been given any sons.

Mediyah believes he will marry her when she becomes pregnant with his twin boys. However, he is disgusted with her unclean house and personal ways, and no longer responds to her desires. All the while, Granny Root works her sorcery to lead Mediyah to the inevitable revenge that awaits - “a woman too much in love, ain’t got no power!”

The assembled cast includes Persis (Joyce Sylvester) and Faustina (Kim Weston-Moran), the town busy-bodies, the latter a fortune teller who makes predictions via tarot cards. They’re a raucous group of two, who, along with the rest of the sexually playful cast, made for many laughs. Creon Pandit (Karl O’Brian Williams) is the dapper King and father to Sweet Bella (Lily Robinson) who does not speak.

Mediyah’s twin brother Cedric (Albert G. Eggelston III) engages in a carnival display of competition for title of Calypso King against Jason, where the rhymed insults and gyrations are down and dirty as they refer to their sexual abilities, parts and prowess with women. Some might say it borders on pornographic (did you note Jason’s last name?) and belittles women. But it all creates an amusing spin as Jason meets Sweet Bella falling instantly in love, which gives her voice.

The tale continues to unfold as Mediyah gives birth to the twins, Jason comes to claim his offspring and hate, with a capital “H,” takes hold of Mediyah’s heart. The Greek tragedy is dramatically concluded as Mediyah murders her twins, casts a spell on Jason and takes care of Sweet Bella at the same time, regaining her rightful place in the world of magical powers.

The dialect is Creole/West Indian Patwa which can sometimes be difficult to understand. Much of the dialogue is rhymed verse which is catchy even when insults are not being hurled.

Phyllis Yvonne Stickney is powerful, cunning and almost frightening in her portrayal of Granny Root. Lorna Haughton, lean and lovely to look at as Mediyah, seemed too pragmatically played, with little emotional range and occasional strings of dialogue discharged too rapidly. Strong performances were turned in by Persis and Faustina along with Creon Pandit. Jason’s permeating crassness and shallowness made for a well-portrayed character. Cedric was downright comical as the high-spirited twin brother.

The play covers all the ritualistic and traditional attitudes that prevail about color.

The direction, by Arthur French and Timothy D. Stickney is first rate theatricality. Costume design by David Withrow included stunning dressings of the period. Brigette Watts was responsible for the well moving, undulating cast. Pecong is produced by Debra Ann Byrd and Jacqueline Jeffries.

Pecong runs through Sunday, March 28th. The National Black Theatre, 2031 5th Avenue (bet 125^th & 126^th), New York, NY. SmartTix (212)868-4444.

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