Word: zachariah
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...produce Blood Knot in South Africa was daring. In the shanty on stage, two brothers, Zachariah and Morris, are in hiding from the hatred that apartheid demands they show each other. Morris has tried unsuccessfully to pass for a white; he now idles time with a forty-five pound six-quid dream of a farm. Zachariah works as a gate-keeper to chase the black kids away from the public park; he brings home only nostalgia over good times and women...
Tension between the two men keeps Blood Knot from being a mawkish paean to poverty. John Dullaghan, who played Morris off-Broadway, mumbles like a flat-car hobo that he was forced to come back to Zachariah from his guilt at trying to pass. With a frog-legged squat and a patchquilt beard he nags and cajoles Zachariah not to leave...
...same feminine peevish tone Morris proposes that Zachariah substitute a pen-pal correspondence with Ethel for his former carousing. Zachariah (James Spruill, a Boston University Fellow and director of the New African Company), only leers good-naturedly at the suggestion, Ethel: sixteen, white, and well-developed. Though wiser than Morris in knowing that dialogue does not replace sensual aspirations, in furrow-browed innocence Zachariah sees no reason why he should fear making it directly with his white...
...REGINA M. ZACHARIAH Boulder, Colo...
They live in a tin shack in the colored ghetto outside Port Elizabeth, South Africa. The white brother, Morris (J.D. Cannon), an intense, broody, mothering sort, keeps house for the pair. The black brother, Zachariah (James Earl Jones), is one of nature's children, open-faced and openhanded. He tends a park gate where he shoos away any colored child who tries to enter. Every night Morris readies a ritualistic footbath for Zach's raw, swollen feet. But in the realm of color, skin-deep is heartdeep and there is no balm for those abrasions...