"Haiti," which opened last night at the Copley in a revised and amplified version sponsored by the Federal Theatre Project, combines some of the best and some of the worst features of stage production. Any critical analysis, however, should be prefaced by the comment that the play itself is in poor taste, particularly in view of its sponsor.

Against a background of the Haitian uprising led by Toussaint L' Ouverture in 1802 is painted the picture of a girl, who has been brought up in a French family only to learn that she is half Negress. Behind her sudden renunciation of her country and finance and her espousal of the Haitian cause is less patriotism than the admission of a type of "inferiority" too often decried in this country, though seldom recognized in France. Because it is alien to the democratic spirit and because it may easily offend many whose money supports the Federal Theatre, the choice of plot is unfortunate.

Elena Karam heads the white members of the cast and turns in a creditable performance, although hampered by poor direction and a Swedish accent, possibly derived from too great admiration of Garbo in the Napoleonic film, "Conquest." Alvin Childress heads the Negro cast in the role of a former slave and the father of Miss Karam. His role is very sympathetic and not very exacting, facts which make him the outstanding figure of the drama. Little can be said for the other actors white or Negro, except that they appear clumsy on the stage and give unnatural emphasis to their lines, faults that will probably be ironed out as they become accustomed to their parts.

On the bright side of the ledger is the single set and its lighting, which were designed by Perry Watkins of the New York division of the F. T. P. and display genuine artistry. Mr. Watkins has not only constructed a very plausible French colonial interior, but has achieved striking effects by the use of shutters on French windows and the clever lighting of a drop behind them.