Multi-award winning playwright and producer, Basil Dawkins, in his play Which Way Is Out? deals with universal themes. He deals with love, romance, marriage, family breakdown, religious faith, and resilience of the underclass and the main topic of how to escape one's difficult situation. He has a competent team in bronze Musgrave medal-awardee, Douglas Prout and an interesting mix of actors representing youth and experience, led by Ruth Ho Shing and including Maylynne Walton, Sakina Deer and new entrant to the commercial stage, Jean-Paul Menou.

Which Way Is out? playing at Little Little Theatre, is the story of Monica, a poor girl from a rural district, with whom a rich American tourist falls in love. After much convincing, he marries her and takes her to the United States (US). The man's sister vehemently rejects Monica, but he protects her. Tragedy strikes; her husband suddenly dies and Monica, without support, is forced to face life as a stranger in the US. Which Way Is Out? is an inspiring story of perseverance, resilience and triumph.

A playwright tells a story based on his or her understanding of life. In this play, unlike Uptown Bangarang II, Dawkins seems to have portrayed a more positive impression of the US. This production will play well in the Diaspora as it explores the efforts of Jamaicans to eke out a life in 'the Big Apple.' He shows that Jamaicans, whether documented or undocumented, try very hard to make two ends meet.

Delightful innovation

There are other changes in this play. Dawkins allows more singing than usual and the audience discovers that Monica not only has acting skills, but she can sing. She got her start in the church choir. In fact, Dawkins allows her to sing during one of the scene changes, which was a delightful innovation. The scene changes were quick and the set was good. The music was well chosen and appropriate. One folk song reminded me of a similar song in the excellent musical, The Harder they Come, which I saw last July in London, England.

As is customary with Dawkins' plays, the women are strong characters. It was so in Uptown Bangarang and Feminine Justice. Monica was indeed the star of the show and she delivered a good and convincing performance. Once again we see that good can come from the rural folks; a theme also in Dawkins' play, Same Song, Different Tune, in which he treated rural characters with dignity and not stereotypically as buffoons. In this play, he shows that good and wholesome values come from the remote rural areas. Monica shares willingly her chicken-back meal with others, she resists men who want to have her forcibly and marries her prince charming.

Inconsistencies

The play, in dealing with these many issues, is well-written, with many memorable quotations: "yuh wrong fe trouble Rasta", "yuh tink it easy fi Rasta a cook and serve pork to people everyday?" "How you pass me so like exam?"

I did not understand why Monica's husband was away for nine months. Furthermore, on the demise of her husband I thought Monica's affection went to Eustace too quickly. However, my family thought it was realistic.

In Uptown Bangarang, Dawkins' attention was on the inconsistencies and weak faith of a pastor, but in Which way is Out? he turns on the inconsistencies and weak faith of a Rastafarian.

Dawkins' play is well-written and the scenes flow. The issues are interwoven nicely and based on my wife's reactions - frequent, uncontrollable outbursts of laughter - this is one of Dawkins' funniest plays, dealing with serious issues.

This play is ready, so I say, "Which way is out?" to the world.

Devon Dick is pastor of the Boulevard Baptist Church and author of' Rebellion to Riot: the church in nation building'. Feedback may be sent to columns@gleanerjm.com.