Community Actor Theatre (C.A.T.) Presents Fugard’s “Master Harold and the Boys”
Words by Kristen Fogle
Set in the midst of apartheid era South Africa, playwright Athol Fugard bestows upon us “Master Harold and the Boys.” Specifically, we are thrust into an unassuming tea room, belonging to 17-year-old Hally’s mother, where during the course of a rainy afternoon, Hally spends time with his two middle aged black servants Sam and Willie. Sam, who Hally has a closer bond with, engages in philosophical discussions with Hally—much to Hally’s delight, as he believes he has taught Sam most of what he knows. Later, the three ruminate on times spent together, times when Hally would run to the servants quarters to play or to hide out when things became difficult. By way of a phone call with his mother, Hally finds out his crippled, alcoholic father is being brought home from the hospital, and the good spirited fun of the afternoon is quickly brought to a halt. Hally’s entitled, resentful feelings toward Willie and Sam surface. What results is a fight that leaves us questioning: Can one‘s relationship truly be saved when one (or both) parties have said too much? And which takes precedence in a friendship: the history between two people or societal stature?
The ties that bring us closer and the societal expectations that can much too easily drive us apart are at the heart of Fugard’s work; his is a fiercely in-your-face dramatization of our self-created and realistic differences. Due to its context, one might be inclined to write off this play as one that represents a certain time and place. But, as optimistic as we wish to be, I believe it is the cast and crew’s hope to illuminate that there are still strides to be made. “Master Harold” is a gentle, hopeful reminder that the characteristics of classism, racism, and elitism can and should be assuaged and even abolished.
All three cast members’ performances are commendable. Christopher Carter is effective as the likeable but flawed Willie, possessing the attitude of someone who does menial work day in and out, dreaming all the while of something larger than himself. TJ Johnson (Sam) brings to his character a patriarchal wisdom that is capably delivered through his bold vocal instrument. Even when Sam behaves in an uncivilized manner and though he has an academic deficit, you feel that his character has much to teach us about life. And a true breakout talent—Jacob Gardenswartz (Hally)—this 15 year old actor compels us to simultaneously hate and sympathize with the confused boy that has seen too much and can’t seem to hold back enough. Generally Hally is played by a much older actor, and director Mark Henry expressed in a Q&A held after the production that he initially had some doubts about casting such a young actor; however, Gardenswartz is more than able. Perhaps it is by interacting with less mature peers his age that allows him to reference the verbal tantrums characteristic of such unabashed childishness.
What was rather impressive about this piece was the fact that nothing remained stagnant. Fugard might get preachy at times, but the character’s lengthy monologues and discourses are never delivered in one place for very long. However, movement was always beautifully executed. I noted that there were always reasons for the characters to change up their positions. Additionally, Henry, unlike other directors, was clearly not afraid to have his characters turn their backs on us or deliver lines to each other. Instead of always being cognizant that the players were playing to us, I was conscious of their awareness of each other.
In addition to the script and the cast, I am continually impressed with this space. Having co-directed two shows here, I am always interested to see how it transforms completely for each production. In the case of “Master Harold,” the sparse set had all the necessary elements—plain tables and chairs that were indicative of a café, a bar with all the necessary items, and a beautiful vintage jukebox that drove the time period home.
After “Master Harold,” a visiting troupe will put on “A-Bit-Of-Burlesque” November 4, 5, and 6, with children/youth play “The King of Creampuffs” playing November 12 and 13. The normal season resumes December 8 with C.A.T.’s annual Christmas production “The Messiah” directed by Jennie Hamilton. As the theater generally has open mic’s and other opportunities, the C.A.T. website is a great resource for both actors and theater goers to peruse and is updated regularly.
But, before it is gone, for a powerful script by a gifted playwright, a visit to C.A.T. to see “Master Harold and the Boys” is in order.
Master Harold the Boys
Community Actors Theatre
10/14-10/30
2957 54th Street
San Diego, CA 92105
(619) 264-3391
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