Word: fugard
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Dates: during 1980-1989
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Playwright Athol Fugard's semi-autobiographical Master Harold and the Boys takes place in segregated South Africa in 1950. What makes this a great work, however, is its ability to transcend the racial line and take us into a higher realm of human emotions. That is not to say apartheid is not a subject, but it is only one facet in this play of interlocking themes...
Glover and Kashka Bonjoko gave one performance of "The Island," by the anti-apartheid South African playwright. Athol Fugard, at Paine Hall last night, and will give another tonight...
...Master Harold" . . . and the Boys. To each of his dramas, South Africa's Athol Fugard brings a tormented conscience, a touch of the poet and scalding honesty...
...bringing his crippled, alcoholic father home from his latest hospital stay. The boy remonstrates with her and, almost in tears, finally blurts out, "I'm warning you now; when the two of you start fighting again, I'm leaving home!" What follows is an example of Fugard's psychological astuteness. For the father he cannot strike, Hally substitutes the father who cannot retaliate. He tongue-lashes Sam for not doing his work, not keeping his place, not showing proper respect, and he finally spits in his face. Sam wipes away the spittle with the resignation of centuries...
...would be difficult to overpraise the one-man magnetic field that is Mokae's Sam, or the audacious emotional tightrope walking that Price does with Hally, or the unyielding, unquestioning goodness that Glover puts into Willie. A taut grace governs all under Fugard's flawless direction. The final scene will not leave the mind's lens. Willie shoots his carfare money into a jukebox. Lena Home chants the lyrics of Little Man, You ve Had a Busy Day. The two men take each other's arms and glide across the stage in the manner of Rogers...