While there is always a play or two being staged at any given time in Jamaica, there is seldom one that is wholesome enough for children's consumption, except for the National Pantomime. So, Lorna Bailey's KrisMus Duppy would have been a welcome children's play, but the playwright and director's decision to incorporate a multitude of concepts resulted in creating an 'it could pass for a children's production' instead.

After three performances, spanning two weekends, the curtains came down on KrisMus Duppy on Sunday at Philip Sherlock Centre for the Creative Arts, on the Mona campus of the University of the West Indies.

It was an emotional ride for the sprinkling of audience who was in attendance. One contributing factor was a fusion of genres - comedy, tragedy and tragicomedy with a dash of melodrama. This mixture, which did not give much movement to the storyline, created a sense of confusion - a very poignant moment is quickly devoured by some rather tasteless action or gesture. But the story is not a lost cause. On the other hand, the production is a lesson in some aspects of Jamaican culture - a mix of strong African retention and a mild dose of European practices, as well as a meaningful message to both parents and children.

The story, which spans approximately 24 hours, is essentially about a family - two parents, a daughter, Kimberley, and son, Kimani. (The parents are just Mother and Father). But that is as far as the ideal family goes. Kimberley and Kimani are constantly fighting; in fact, they wish the worst things on each other. And in spite of threats by both parents, who always blame Kimberley for whatever wrong is done, they seem to get progressively worse - that is until they receive a visit from the KrisMus Duppy. The duppy, who was also a victim of preferential treatment from his mother when he was alive, is also making up for his past so as to go to Heaven.

Plot becomes obscure

However, at some points the plot becomes obscure. A blind grandmother, who had requested a bikini for her Christmas, enters in the second act. Her role? To chase away the ghost, who instead sheds his hideous garment and departs for Heaven. But not before telling a poor joke about his dog, reinforced by vivid images projected on to a screen. It is also in act two that the plot begins to implode and tapers into an anticlimax, ending with the cast singing Fab 5's Mek the Christmas Ketch You in a Good Mood.

Directorially, some decisions were workable. The entrances and exits were clear; the use of a semicircular placement of the set on the spacious stage worked and allowed the free and realistic movements of the characters in the various areas. However, the plastic utensils looked very amateurish and did not complement the flat-panel television and the rich-looking sofa; likewise, the costumes, for the children in particular, were not spectacular. Both wore the same night clothes throughout the play.

The acting was led by youthful-looking parents Tirzah James (Mother) and Horraine Morris (Father), children Tashagye Minto (Kimberley) and Brian Johnson (Kimani) and Randy McLaren as the KrisMus Duppy. Generally, all the performers gave commendable performances. They were brilliant in articulation and perfect in playing their beats (pauses). But special commendations must be given to McLaren and Minto. Both were exceptional. Minto captured the childishness of Kimberley beautifully while McLaren was convincing as the duppy.

Alas, it was not the same for Johnson who, despite his brilliant effort, the juvenescence required of him for Kimani was defeated by his well-developed biceps that also contradicted with very juvenile gestures and mannerism.

But by all account, Bailey must be commended for writing, directing and producing KrisMus Duppy. And no doubt when she, her cast, and crew appear onstage at Black River High in December many will laugh.