Athol Fugard's Award-Winning 'Master Harold'... and the boys
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The last date listed for 'Master Harold'...and the boys was Saturday November 19, 2011 / 8:00pm.
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When the mysterious and sultry Vanda walks into playwright Thomas Novachek's office, he thinks the search for the perfect lead in his latest production might finally be over. But her audition quickly turns into a seductive and erotic power play that'll make you wonder who's really running the show. Among the most acclaimed -- and most provocative -- new plays in recent Broadway history, David Ives' Venus in Fur blurs the lines between fantasy and reality, seduction and power, and love and sex. Learn More
Reviews & Ratings
Quotes & Highlights
- “Ridgell rises greatly to the challenges of his character, ably flanked by Rollins-Mullens, and Simpson; he embodies the depth of Sam's humanity, from his wisdom of experience, to his admiration for beauty, to his capacity to bear and finally to forgive Hally's need to lash out at him. It is a moving and memorable rendering.” --<a target="_blank" href="http://www.sfbg.com/listing/19"><em>San Francisco Bay Guardian</em></a>
- "What makes this little one-act gem exceptional are the descriptive powers of its playwright and the compassion and respect he has for its characters... This marvelous production by a tiny company with a magnitude of talent will linger in the mind long after one leaves the theatre." --<a target="_blank" href="http://www.starkinsider.com/2011/10/review-master-harold-and-the-boys-offbroadway-west-san-francisco.html"><em>Stark Insider</em></a>
- The trio of actors are magnificently cast... the absolute purity of the actors' portrayals is astounding. It's a treat to be up close and personal in this 50-seat comfortable theater. Kudos to Director Richard Harder for assembling such a finely-tuned ensemble cast." --<a target="_blank" href="http://caripaceforallevents.blogspot.com/"><em>For All Events</em></a>
Taking place in South Africa in the 1950’s, the play focuses on the relationship of a young white boy with his father, and with the two black men who have worked in the family business for many years. While the social and political climate of South Africa made it possible for Hally (the young man) to view himself as more knowledgeable than Sam or Willie (the two black men who have worked for the family), it is Sam who teaches Hally about the harsh realities of the world.
Although the institution under scrutiny is apartheid, race relationships, familial relationships, and prejudice are as universally prevalent today. Fugard demonstrates how the fractious and disruptive effects of apartheid challenge all notions of traditional relationships and journeys so deep into the psychology of racism that all national boundaries quickly fall away and no one is left unimplicated by his vision. But we are also left with the exultant hope that we may yet practice compassion without stumbling.
Athol Fugard was born in 1932 in Cape Province, South Africa. An actor, a director, and a writer, he is the author of A Lesson from Aloes, Boesman & Lena, Sizwe Bansi Is Dead, The Island, and The Bloodknot, among others, with his latest being, The Train Driver. He also wrote a novel, Tsotsi, and film scripts, The Guest and Marigolds in August. In his youth, Fugard’s mother operated St. George’s Park Tea Room, and his father, who suffered from depression and physical ailments, was found many times in the saloons in various degrees of drunkenness. One evening, Sam, who worked at the Tea Room helped the young boy retrieve his father from a drunken stupor. The incident, along with Sam's kind treatment of Fugard as an innocent white child in a world that abused its black citizens, became the basis for Fugard's 1982 play ‘Master Harold’…and the boys.