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Word: athol (lookup in dictionary) (lookup stats)
Dates: during 1970-1979
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Usage:

THEIR BEWYSBOEKS--required identification booklets--say that John Kani and Winston Ntshona are private servant employees of Athol Fugard, the white South African playwright with whom they have collaborated to "devise" Sizwe Banzi is Dead and The Island, now in Boston for their last performances in the United States. "Actor" is not recognized by apartheid South Africa as a possible profession for blacks, so Kani and Ntshona, the best actors you will have a chance to see on stage for a long time, remain second-class citizens, despite a three-year international tour that has garnered universal rave reviews...

Author: By Ta-kuang Chang, | Title: A Wistful Smile and a Pucker | 9/22/1975 | See Source »

Sizwe Banzi is Dead, by the South African playwright Athol Fugard, opened to ecstatic reviews is New York. The performances of the two back South African actors who make up the cast came in for particularly glowing praise, but some critics felt the play treats the subject of apartheid too lightly, sidestepping the harshness and brutality. Still, this is definitely a play worth seeing. At the Charles Playhouse, 76 Warrenton St. In Boston, tonight at 8 and tomorrow...

Author: By Natalie Wexler, | Title: THE STAGE | 9/19/1975 | See Source »

...decide to compete in the marathon. Among them: an American (Ryan O'Neal) who concludes that Methedrine (also known as Speed) is the breakfast of champions; a retired Czech (Charles Aznavour) whose government compels him to give the West his back, just one more time; an aboriginal Australian (Athol Compton), goaded by two promoters; a Briton (Michael Crawford), protege of a former champion (Stanley Baker) who cannot forget the onliness of the long-distance runner. Among the coach's Segalese utterances: "We'll run through pain to the top of the world...

Author: /time Magazine | Title: Cinema: Hate Story | 8/31/1970 | See Source »

South African Playwright Athol Fugard should bless his actors for breathing vitality into his stillborn script. James Earl Jones pours out his rage at existence like a volcanic river of fire, and Ruby Dee's face is one of those relief maps of pain, torment and humiliation that characterize a life when it is brutal, nasty and interminable. The pair ought to get a bonus in salvage...

Author: /time Magazine | Title: Theater: Woe in a Muddy Basin | 7/13/1970 | See Source »

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