Word: fugard
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...only two drama critics: Louis Kronenberger (1938-61) and T.E. (Ted) Kalem (1961-85), who died of cancer this summer. Their successor is Associate Editor William A. Henry III, who this week inaugurates the new theater season with his reviews of Andrew Lloyd Webber's Song & Dance and Athol Fugard's The Blood Knot. Henry also wrote a critique on the "Festival of India," a series of events in the U.S. celebrating that ancient civilization's arts and culture...
Some playwrights storm to greatness, some proclaim their devotion to great virtue, and some achieve majesty by all the while seeming to seek after something smaller. Athol Fugard uses deceptively simple language and stories to explore vividly specific individuals, yet he makes every wrong step between them seem a natural metaphor for some larger collision of mankind. He knows that the domestic quarrel is the central tragedy of any age. It is this pained acuity about the buffeting nature of daily life, even more than his passionate denunciation of the social system in his native South Africa, that makes Fugard...
...reputation rests chiefly on works of the past few years, A Lesson from Aloes (1978), Master Harold . . . and the Boys (1982) and The Road to Mecca (1984), and on two remarkable collaborations with actors, Sizwe Bansi Is Dead and The Island (both 1972). But Fugard, 53, found a mature voice almost from the moment he began, as the Yale Repertory Theater demonstrated last week in what it billed as a "25th anniversary" revival of his first international success, The Blood Knot. The play, which Fugard started writing in 1960 and performed in 1961, is the story of two mixed-race...
Dutka has collected some show business memories: "Cats Director Trevor Nunn giving me a mesmerizing reading of T.S. Eliot's 'Grizabella, the Glamour Cat'; Paul Newman letting me take a rare close look at his souped-up Volkswagen; South African Playwright Athol Fugard sitting in the Algonquin Hotel lobby and analyzing the tragedy of apartheid; Robert Redford asking for my opinions on President Reagan, the press and living in New York City before launching into a discussion of directing in Hollywood...
...cannot resist beginning to sketch a simplistic, two-toned play about a milk truck and a coal truck. Often, too, he is so ready to find himself guilty of every kind of moral inattention and to punish himself unsparingly that his soul searching comes to resemble breast beating. Yet Fugard's relentless self-scrutiny guards him from the traps of self-indulgence. "Do I pose?" he asks himself. "I don't think so-but I'm very given to tears...