Trey Anthony and D’Bi (Debbie) Young are part of some serious drama, with music, that will have its official opening in the United States at the San Diego Repertory Theatre on Friday, Sept. 16. The production is called Da Kink in My Hair, and there is a loud buzz about this dramatic vehicle, which may plant this entire eight-woman troupe alongside the big White Way – in a comfortable, off-Broadway theater.

I recently had the pleasure of sitting down with these two “kinky” black, lesbian women at The Mission in downtown San Diego. Actually, Trey is the only one of the two sporting her kink; D’Bi has opted for a shaved look, resembling her 18-month-old child, Moon, who sat with us and offered entertainment to the entire restaurant during our interview.

Between bites of cooked egg whites, braised tofu and cinnamon rolls, here’s what they had to say.

Gay & Lesbian Times: When you two first met, did you think your newfound friendship would take you to these heights – of having your own show headlining a theatrical season in one of America’s busiest theatrical cities?

Trey Anthony: It was “professional” love at first sight. We felt good about one another right from the start, and we simply connected. And why not; we were two black, lesbian, Jamaican actors who were both trying to push their writing [playwriting and songwriting].

D’Bi Young: It was in 1997 during a summer theater arts program in Toronto. Yes, we connected immediately.

GLT: How did this whole project begin?

TA: I was working on some monologues after a really tough breakup with my man of seven years. I jumped the fence into a newly found lesbian world. It was all about a question of truth for me. I was very close to the altar of matrimony, and then I just ran.

DY: It was all about truth; finding out who you really are. I was asked to participate.

After their first meeting in Toronto, they went their separate ways. D’Bi went to Montreal to work on some projects while Trey continued working her comedy act at various places throughout Canada.

Da Kink is a part of Trey’s personal history. It moved from personal therapy to an organic theater piece for eight black women. Trey has said that “it’s the biggest piece of activism that I can do.” By that she means that she can put taboo subject matter out there in story form, and individuals from all walks of life can get a glimpse of it themselves.

Trey talks about some of the characters: Patsy’s a grieving mom after a shooting at a high school, Sherelle’s lonely after fighting her way to the top, Stacie Anne’s a molested child and Shawnette’s an abandoned spouse. You get a sense that their tortured lives will be on display in a raw but meaningful way.

As the Da Kink project solidified and casting was just about completed, Trey was having trouble casting the part of Stacey Ann when she and D’Bi crossed paths, literally, on the streets of Toronto. Trey instinctively knew D’Bi would be perfect for the part when she offered it to her.

GLT: How did this piece evolve into the eight-character show that it is?

TA: As I developed these monologues, I felt that I could no longer portray them all myself, even though they come from my own experience. It was then that I discovered the thread that would keep the monologues together and on one track; that was the idea of a Caribbean hair salon in Toronto. Where else do black women really mess with the kink in their hair and the kinks in their lives at one and the same time?

DY: The hair salon offered a safe space for women where they could give voice to so many who are seldom heard, or who remain silent.

Marion Caffey will be directing Da Kink for the San Diego Rep. He has brought in other shows, including Three Mo’ Divas and Cookin’ at the Cookery; hot properties that bring in a wide cross-section of the community into theaters.

GLT: At what point did Marion Caffey jump on board the Da Kink wagon?

TA: I first met Marion when I was auditioning for him for the musical Crowns in Toronto. After I had done my audition piece, he seemed to be yelling at me and told me that I needed to give up acting. I didn’t know how to respond. I later found out that several of the actors trying out for the various parts in Crowns had read monologues from Da Kink. He wasn’t actually telling me that I was a bad actor; he simply wanted me to put more of my energy into writing; he thought there were so few black voices out there.

GLT: Did you get a part in Crowns?

TA: No, he turned me down. But he did visit a production of Da Kink and the rest is history, at least history up to San Diego, September 2005.

Caffey was so impressed with the show (calling it “enlightening, entertaining and inspiring”) after seeing a matinee performance that he immediately called up San Diego Rep’s co-founder and artistic director, Sam Woodhouse, and invited him to Toronto to see the production for himself. Caffey, who was negotiating another show of his (Black Magic) for a possible slot in Woodhouse’s 30th season at the Rep, told him that he should replace his piece with Trey’s show. The fact that Da Kink is the first show of the Rep’s season says a lot about this tale.

GLT: How has Marion’s participation influenced the original production’s concept?

TA: He brought a certain humility to the process.

DY: And a certain respect that is woman-driven.

GLT: In addition to being an actor, do you both sing and dance as well?

TA: I’m a writer, comedian and actor.

DY: I’m a singer, actor and writer.

Of Jamaican ancestry, Trey was raised in England before coming to Toronto; D’Bi was born and raised in Jamaica before coming to Toronto at the age of 15. Since their connection, they seem to be electrifying audiences with their unique talents together, and as separate Jamaican soul sisters.

Trey has interned for the “Chris Rock Show,” continues to produce the Urban Womyn’s Comedy Festival, was recently nominated for the Canadian Emmy (Dora), and is a recipient of the 2005 Eve Ensler, Vagina Warrior Award. She’s working on a screenplay called Rhyme to Reason, a hip-hop love story, and even finds time for her partner, Janet.

Aside from acting and playwriting, D’Bi conducts writing workshops and jams – four albums produced to date – with dub (socio-political) poetry. She starred in Canada’s first Afro-Canadian sit-com, entitled “Lord Have Mercy,” and is work-shopping a dramatic trilogy called “Mudgu.” D’Bi is also scheduled this year to do a one-woman show in Cuba. And she still finds time for her super-energized child, Moon.

GLT: How has Da Kink evolved and/or changed over the years?

TA: The principal stories of the black women remain the same. You have to understand that these stories transcend race and gender. From my original concept of a one-woman show, Da Kink has involved into a polished piece of drama with music and dance. It has gone from bare basics at Fringe Festivals, where the drummer used to do the make-up, through the Passe Muraille production that attracted a wide audience of non-theatergoers, to the Mirvish Production in Toronto (equivalent to the Civic Theatre in San Diego).

GLT: Would you say that much of your work is what D’Bi has referred to as “wombanist?”

TA: In the sense that it is based upon female universal self-worth stories, the womb is a great metaphor to describe such writing.

DY: Much of my work might be called wombanist in the sense that it is a reclaiming from the rib of Adam.

Trey shared something her great granny always said, which has become a sort of metaphor for the show: “If you want to know a black woman, you touch her hair.” She said that’s where black women carry everything – hopes, dreams and pain.

As Trey touched the kink in her own hair, D’Bi gathered up Moon and all three left the restaurant together. I couldn’t help feel their electrically-charged bubble of energy move along with them. I’m sure they are going to carry this same energy with them to launch the San Diego Rep’s 30th theater season. I can only encourage you to support this show with your presence so we can all feel the sizzle from Da Kink in My Hair.