THE BASICS: Athol Fugard’s three character, semi-autobiographical play, which made its premiere in 1982, is a deceptively calm, kitchen-sink type drama with some serious terminal resonance. The Shaw Festival revival, directed by Philip Akin, plays in repertory at the Courthouse Theatre in Niagara-on-the-Lake through September 10th. MASTER HAROLD runs about 90 minutes. There is no intermission.
THUMBNAIL SKETCH: The show is set in the St. Georges Park Tea Room, a run-down, cafeteria-like eatery, in Port Elizabeth, South Africa, 1950. Apartheid is the order of the day. Sam and Willie, who have worked for the husband-and-wife owners for many years, are babysitting the empty place (it’s raining), and discussing an upcoming ballroom dance competition that they have both entered. Seventeen year old Hally, the owners’ son, pops in, and gets the bad news, by telephone, that his ne’er do well alcoholic dad will be returning home yet again. Hally tries desperately to get his mother to take a stand against this, but to no avail. In his pain and impotence, Hally lashes out against Sam, who has been like a father to him. This sudden outburst of meanness and bigotry threatens their long, positive relationship. Overwhelmed by shame and uncertain how to continue, “Master Harold” exits the café in silence, leaving the injured Sam and Willie to heal in their own way, by practicing their dancing steps.
THE PLAY, THE PLAYERS AND THE PRODUCTION: Taking a path that many might eschew, playwright Fugard has served up a decidedly unflattering portait of his teenage self, drawn basically from life (see the program notes). The play’s final 20 minutes are pretty darn riveting. I only wish that the first hour or so was half as engaging! By and large, it’s pretty prosaic stuff–banter and reminiscence, laced with a little gentle humor. There are no ominous untertones, nothing to make us anxious until just before the theatrical dam breaks. I don’t think the director can be blamed for this; it seems to me to be an issue of the writing.
Castwise, Andre Sills the particular standout as the savvy, soulful Sam. James Daly seems a bit mature for the role of Hally, but carries an appropriate chip on his shoulder, and delivers his lines with a distinctive South African accent. Allan Louis also does well as the more docile and servile Willie.
Director Philip Akin is handcuffed a bit by the play’s long slow start, but delivers the emotional goods at the end. The highly detailed, period-evoking set by Peter Hartwell.
IN SUM: MASTER HAROLD takes quite a while getting to its powerful climax, but get there it does. Strangely, the play seems almost better in retrospect, when its various nice allegorical elements really start taking root in your mind. This isn’t a total wow, but it’s certainly a worthy revival.
*HERD OF BUFFALO (Notes on the Rating System)
ONE BUFFALO: This means trouble. A dreadful play, a highly flawed production, or both. Unless there is some really compelling reason for you to attend (i.e. you are the parent of someone who is in it), give this show a wide berth.
TWO BUFFALOS: Passable, but no great shakes. Either the production is pretty far off base, or the play itself is problematic. Unless you are the sort of person who’s happy just going to the theater, you might look around for something else.
THREE BUFFALOS: I still have my issues, but this is a pretty darn good night at the theater. If you don’t go in with huge expectations, you will probably be pleased.
FOUR BUFFALOS: Both the production and the play are of high caliber. If the genre/content are up your alley, I would make a real effort to attend.
FIVE BUFFALOS: Truly superb–a rare rating. Comedies that leave you weak with laughter, dramas that really touch the heart. Provided that this is the kind of show you like, you’d be a fool to miss it!