Word: fugard
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...begins another rehearsal of Athol Fugard's Master Harold...and The Boys, the latest in a series of plays produced by the Black Community and Student Theater (CAST)--the only undergraduate drama group for Black students on campus...
Glimpses of the enduring agony of South Africa's blacks have long been afforded to Western playgoers by Athol Fugard, two of whose works -- The Island and Sizwe Bansi Is Dead -- also emerged from township improvisations. But Woza Afrika! promises to hurl its viewers onto the other side of the fence, in the midst of the fray. Though far less polished than a Fugard play, Asinamali! is far more charged; its fury lies in its energy. Fugard's eloquent dramas turn upon the moral and emotional conundrums facing whites who wish to choose the right way; Woza Afrika! dwells...
...they insist on returning to the heartland. Their commitment is yielding a season any city might envy. Last week Danny Glover, the busiest black actor in Hollywood (The Color Purple, Witness, Silverado), made his Chicago stage debut at Steppenwolf's intimate--and perforce uncommercial--211- seat space in Athol Fugard's A Lesson from Aloes. A few blocks away, William Peterson, star of the film thriller To Live and Die in L.A., has rejoined the funky, avant-garde Remains Theater in a portrayal of brainwashing, Days and Nights Within...
...shows now on Chicago stages, none is stunning, but each displays a facet of the city's theatrical strength. A Lesson from Aloes seems a more overtly political play, more about the inequities of the government in Fugard's native South Africa, than in its 1980 Broadway production. Yet it sacrifices none of the personal agony in Joan Allen's portrayal of a woman literally maddened by the intrusions of the police state. As a black friend who may or may not have been betrayed by the woman's husband, Glover makes the suffering less classically tragic but more universal...
...ineradicable stench in the air of their mean home, but their squabble for power within those walls is neither didactic nor particularly political. The wry, absurdist humor recalls Beckett, and the inchoate sense of menace parallels Pinter. The candor of the final confessional between the brothers is Fugard's own. At Yale, as in the original, Fugard has directed and plays the half-derelict, fair-skinned brother. At the outset he seems fragile, ineffectual, on the border of madness. As the narrative focuses on the implications of his relative whiteness, he gathers strength and wisdom. Zakes Mokae, a 1982 Tony...