THE curtain call after the October 2007 performance of Joe de Graft’s SONS AND DAUGHTERS, also happened to the final-finale for the Theatre Classics planned by the Ghana @ 50 Secretariat.

One fact that will forever linger in the memory of all who patronised the series is the abundant lack ofcompetence in event organisation and planning. Much of the publicity for the productions was by text.

O, the Spectator even heard it whispered that some of those tasked to produce the series have not been paid to date.

Another fact will also live in the memories of theatre lovers who found time to patronise the series: that is, that this country has no lack of theatre talents and skilled performers and directors.

Above 60, it is not certain what the judgement of Ghanaians will be: whether Prof Martin Owusu, in his retirement, is more useful to the nation than he was in active employment. His wits are still as sharp as his directorial skills. Gurus never die.

One person whose capabilities as a director shone like jewel in the Ghana @50 series was Doris Adabasu Kuwornu. That lady is theatre! Re: ‘Coloured Girls’, ‘The Slaves’ and ‘Death and The King’s Horseman’, among others, in her Masters days at the School of Performing Arts, Legon. For many people outside the Legon theatre circles, it was her presentation of Joe de Graft’s Sons and Daughters that brought her forcibly to their attention.

A collaboration with the Old Achimotan Association (OAA) and Achimota School, the 2007 Ghana @ 50 production of Sons and Daughters was more a display of skill and competence than entertainment.

In the end, however, it was pure joy, especially for persons who had seen the play performed in their school days in the 1960s. Credit goes as much to the skills of the cast – the two Abibigromma (of Legon and National Theatre) and students of Achimota Secondary School

Sons and Daughters is an artistic apologia for the theatre profession, a field much misunderstood, misconstrued, and relegated to the backyard by society as a mere vehicle to satisfy the pastime and entertainment needs of those who belong to "the respectable professions" of engineering, law, medicine, administration, accountancy, architecture, etc.

Sons and Daughters enacts both personal and social conflicts in attitudes between youthful idealism represented by Aaron and Maanan, on the one hand, and parental expectations for sons and daughters, based on prejudicial determination represented by their father, James Ofosu on the other.

The other characters – Hannah, Awere, Fosuwa, Lawyer Bonu, George and Mrs Bonu – are players in the drama who contribute to the fulfilment of the playwright’s purpose: "Art" should be accorded the respectable place in society that it deserves; a profession, whatever it is, is respectable or not, not by the misplaced attitude of the community, but by the ethical and decent behaviour of its practitioners.

Also, art can and does have economic viability if adequately encouraged and allowed to flourish, nurtured and practiced by those who love it and have the talent to develop it.