Lady Beverly Cohn
Entertainment Editor
The famous Yale Repertory Theatre saw something intriguing in Athol Fugard’s “Master Harold”… And The Boys” leading them to produce the play in March 1982. Only two months later it made its way to Broadway where it ran for over almost 350 performances. The play takes place in South Africa during the apartheid reign of terror and gently, but powerfully, illustrates the insidious systemic evil of that era. Directors Emily Mann and Tarell Alvin McCraney took the material and created a riveting evening of theatre.
Co-directed by Emily Mann and Geffen Playhouse Artistic Director Tarell Alvin McCraney.
Photo by Jeff Lorch.
Set in a white-owned tea shop, the two employees, Sam Samela, masterfully portrayed by John Kani and Willie Malopo, well played by Nyasha Hatendi, are practicing their dance steps for an upcoming dance competition. They are cheerful and at first sight, there is no trace of the restrictive boundaries under which they have been forced to live. Willie complains that his girlfriend and dance partner isn’t as enthusiastic as he would like her to be to which Sam playfully reminds him that every time she makes a mistake, he hits her. By and by Hally, the teenage son of the owner of the tea shop, arrives with his school books and settles down to do his homework. He has to study for a test but doesn’t really care if he passes or fails. Superbly played by Ben Beatty, at first glance it’s quite apparent that Sam has played a tremendous role in Hally’s upbringing and their friendship is quite palpable. An intellectual conversation ensues around “A Man of Magnitude” and historical figures thought of as heroes are named along with their important contributions. They reminisce about the good old days when they lived in a boarding house with Hally recalling how Sam taught him to fly a kite which he created from scraps. We later learn that it was his mentor’s metaphor for always looking up and not becoming discouraged. At that time, it was quite unusual to see a white boy with a black man flying a kite, but it illustrates the unusual relationship he had with Sam who, as it turned out, practically raised him and is clearly the emotional and intellectual anchor of the play.
Following Hally receiving several phone calls from his mother telling him his dad is in the hospital but insists on being discharged, he gets visibly upset and begs her not to bring him home. One can only assume from his strong emotional response, that growing up in that household with a one-legged, alcoholic violent father was not a pleasant experience, further illuminating why he spends so much time with Sam. Their close relationship has continued into his current teenage years and has been quite loving….until now, that is. Overwrought that his dad is coming home, he directs his anger towards Sam and Willie reminding them to “Remember who is boss!” Slowly, ever so slowly, the relationship transitions from being close friends to “Master/Slave” with the boy defending his father and eventually getting so furious that he spits in Sam’s face.
Photo by Jeff Lorch.
Thus this young man’s upbringing of being raised in the apartheid society, is deep in his DNA and it only took an emotional crisis for him to tap into those embedded roots. He is not an evil boy, just one raised with a strict moral structure which ultimately surfaces with him insisting that Sam and Willie now address him as Master Harold. There is an almost violent confrontation between Sam and Hally with unexpected, shocking actions from both of them. But, there is the possibility of a reconciliation as the young man leaves his mother’s tea shop making a reference to not being able to fly a kite in the falling rain which, by the way, is visible throughout the play. Speaking of production values,
enhancing the splendid direction and acting is the talented team consisting of Beowulf Boritt’s Scenic Design, Adam Honore and Spencer Doughtie’s Lighting, Susan Hilferty’s Costumes, and Choreography by Koko Iwasaki Nyemchek and Kiki Nyemchek.
“Master Harold”…And The Boys Photo by Jeff Lorch
Why I think this play has endured through the passage of time is because Fugard had so deftly illustrated the darkness of that period and the ultimate division between the races, that division affecting even the long friendship and caring of a black man towards a young white boy. He was spot-on in writing a play that remains universal at its core, illuminating racial divisions which have long manifested in the USA and in countries around the world to this day.
“MASTER HAROLD”…AND THE BOYS”
Gil Cates Theatre
The Geffen Playhouse
10886 Le Conte Avenue
Los Angeles, CA 90024
Run:
Wednesday & Thursday: 7:30 pm
Fridays: 8:00 pm
Saturdays: 3:00pm & 8:00 pm
Sundays: 2:00pm & 7:00pm
Closing: Sunday, May 10, 2026
RunTime: 95 Minutes – No Intermission
Tickets: $36.00-$139.00
310.208.2028 or
Warnings:
Theatrical Haze – Partial Nudity
Content Advisory: This production contains
profanity.