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MASTER HAROLD,’FUGARD’S DRAMA HAROLD on ORIGIN of HATE.” New York Times, 5 May 1982

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MASTER HAROLD,’FUGARD’S DRAMA HAROLD on ORIGIN of HATE.” New York Times, 5 May 1982 (Continued) Works Cited signature theatre Morson, Gary Saul. “Leo Tolstoy.” Encylopædia Britannica, 16 Nov. 2018. https://www.britannica.com/biography/ Leo-Tolstoy. Accessed 9 Dec. 2018. Phillips, Brain. “Ploughing the Page: An Interview with Athol Fugard.” Journal of Human Rights Practice, vol. 4, no. MASTER 3, 1 Nov. 2012, pp. 384-395. Oxford Academic, https://doi-org.umw.idm.oclc. org/10.1093/jhuman/hus028. Accessed 9 Dec. 2018. Rich, Frank. “STAGE: ‘MASTER HAROLD,’FUGARD’S DRAMA HAROLD ON ORIGIN OF HATE.” New York Times, 5 May 1982, https://www.nytimes.com/1982/05/05/theater/stage- . and the boys master-harold-fugard-s-drama-on-origin-of-hate.html. Accessed 9 Dec. 2018. Robbins, Richard H. “Constructing the Ideology of Racism.” Cultural Anthropology: A Problem Based Approach. 6th ed., Wadsworth Cengage Learning, 2013, pp. 273- 276. “A Study Guide for Athol Fugard’s ‘“Master Harold” and the boys.’” Encylopedia.com. Originally published in Drama for Students, edited by David M. Galens, vol. 3, Gale, 1998. https://www.encyclopedia.com/arts/ educational-magazines/master-harold-and-boys#I. Accessed 25 Nov. 2018. Written and ATHOL Directed by Written and Designed by Sandra Shtabnaya FUGARD Works Praise for Master Cited Harold Belmonte, Kevin. William Wilberforce: A Hero of Humanity. Zondervan, 2007. Bowler, Peter J. “Evolution before the Origin of Species.” “A devastating look at the loss of Charles Darwin: The Man and his Influence. Cambridge racial innocence in a nation where UP, 1990, p. 17. political and social inequality are Clark, Nancy L., and William H. Worger. South Africa: The Rise the norm.” and Fall of Apartheid. 3rd ed., Routledge, 2016. Seminar Studies in History. — Gallo, Boston Globe Durbach, Errol. “Master Harold ... and the Boys: Athol Fugard and the Psychopathology of Apartheid.” Modern Drama, vol. 30, no. 2, Dec. 1987, pp. 505-513. Project MUSE, doi:10.1353/mdr.1987.0034. Accessed 25 Nov. “Fugard's play, it seems, holds the 2018. sweet dream of justice and the hell Green, Alida Maria. “Entering the Ballroom. A History of of racial hatred in perfect Ballroom Dancing in South Africa to the Mid equipoise.” Twentieth Century.” University of Pretoria, June 2007. repository.up.ac.za/bitstream/handle/2263/5596/Gre — Lahr, New Yorker, 2003 en_Entering%282007%29.pdf?sequence=1&isAllowed =y. Accessed 5 Nov. 2018. Jacobus, Lee A. The Bedford Introduction to Drama. 7th ed., “The question that Mr. Fugard raises - Bedford/St. Martin’s, 2013. how can men of all kinds find the Lahr, John. “BOYS WON’T BE BOYS.” New Yorker, 9 June 2003, courage to love one another? - is dealt p. 106. Literature Resource Center, with at such a profound level that [it] http://link.galegroup.com.umw.idm.oclc.org/apps/doc sweeps quickly beyond the transitory /A102955978/GLS?u=viva_mwc&sid=GLS&xid=decf53 specifics of any one nation.” d7. Accessed 9 Dec. 2018. Meintjes, Louise. Dust of the Zulu: Ngoma Aesthetics after — Rich, New York Times, 1982 Apartheid. Duke UP, 2017. signature theatre CAST HALLY Noah Robbins MASTER SAM SEMELA Leon Addison Brown HAROLD WILLIE MALOPO Sahr Nguajah . and the boys BY ATHOL FUGARD DIRECTOR Athol Fugard PRODUCTION SCENIC DESIGNER STAFF Christopher H. Barreca SOUND DESIGNER ASSOCIATE DIRECTOR John Gromada Paula Fourie COSTUME DESIGNER DIALECT COACH Susan Hilferty Barbara Rubin LIGHTING DESIGNER Stephen Strawbridge Cast and crew names obtained from Signature IMAGES CITED Theatre, https://www. CHOREOGRAPHER signaturetheatre.org/ Peter Pucci shows-and-events/ Jan Christian Smuts. 1919. Library of Congress, https://commons.wikimedia.org/ Productions/2016-2017/ wiki/File:Jan_Christiaan_Smuts_1919.jpg. Master-Harold.aspx. DRAMATURG Mac an Bheatha, Cathal. Red Island, Skerries, Ireland. 12 Jan. 2017. Unsplash, Accessed 28 Nov. 2018. Sandra Shtabnaya https://unsplash.com/photos/iWMbuMbDqUs. William Wilberforce. 2 Jan. 1754. Getty Images, https://www.gettyimages.com/ PRODUCTION STAGE MANAGER detail/news-photo/william-wilberforce-english-philanthropist- Linda Marvel member-of-news-photo/113439948. About the Dancing Playwright Terms FOXTROT Increasing in popularity during the First World War, when it was frequently danced in military training camps, the foxtrot is characterized by its improvised gliding and swinging movements (Green 100). Danced to slow music, it is easier to learn than the Waltz or Tango (Green 100). QUICKSTEP photo by Gregory Costanzo. The Quickstep became standardized in the 1920s as a successor to the Foxtrot and the Tango (Green 100). Danced to lively music, it requires fast, but graceful, movements and Widely considered one of the most prominent dramatic closer contact between partners (Green 101). voices for human rights in the twenty-first century (Phillips), Athol Fugard began his distinguish career in the WAR-DANCE theater in 1956, as a voice against the injustices of While ballroom dancing figured prominently in black culture, apartheid in his native South Africa (Lee 1416). Fueled by white South African historians placed greater emphasis on his experiences as a court clerk filing black arrests, the “tribal” dance competitions performed as entertainment Fugard described his life work as “possibly just to witness among poor African miners (Green 107). They feature as truthfully as [he] could the nameless and destitute of “aggressive and ferocious” movements (Meintjes). this one little corner of the world” (Phillips). Frequently harassed by the police, he helped establish a multiracial theatre company in the 1960s, at a time when it was illegal for whites and blacks to perform together on stage Margaret Burke-White. (“A Study Guide”). Exploring contemporary political and “Native mine workers clad social issues and emphasizing the universal worth of all in traditional costumes performing an African human individuals, Fugard authored such award winning dance.” Johannesburg, plays as Blood Knot (1961), Boesman and Lena (1969), South Africa, 1950. Life. Sizwe Banzi is Dead (1972), and The Train Driver (2010) (Phillips). Men of Note from the Magnitude Dramaturg CHARLES DARWIN Originally banned by the Johannesburg Directorate of An English scientist who published On the Origin of Species Publications for its politically “offensive” exposure of racial oppression (Gainor), “MASTER HAROLD” . and the boys (1859), proposing that natural selection drives evolution (Bowler 17). Scientists like Samuel Morton later used his premiered a world away from its South African origins, at the work to justify the inferiority of Africans (Robbins 274). Yale Repertory Theater in 1982 (Jacobus 1418). It came during a time of heightened anti-apartheid sentiments, when political leaders pressured South Africa to end its discriminatory system WILLIAM WILBERFORCE (“A Study Guide”). While its government has long since abolished racial segregation,“MASTER HAROLD” continues to shock and A British politician who was integral haunt contemporary audiences everywhere, striking painful in abolishing the slave trade in South chords of recognition with its timeless examination of human Africa and other British colonies in cruelty. 1833 (Belmonte 15). He championed moral reformation that corrected Based on a shameful moment in his adolescence, Athol Fugard social injustices (Belmonte 180). wrote the play “at one level, in an attempt to understand how and why [he is] the man that [he is]” (von Staden). Like Hally, Fugard felt torn by the love and hatred he harbored for his LEO TOLSTOY disabled and alcoholic father, unable to side between his A Russian nobleman known for writing War and Peace, which mother’s disdain for apartheid and his father’s racist attitudes emphasized that history is made through the decisions of (“A Study Guide”). He, too, formed a strong bond with a man ordinary individuals (Morson). His philosophies of passive named Sam, a black servant who worked for his family for fifteen resistance later inspired Mahatma Gandhi (Morson). years and whom he deeply wronged after a fateful argument (Jacobus 1438). Although specific to Fugard’s life, “MASTER HAROLD” resonates GENERAL SMUTS outside the boundaries of South Africa. It relates the universal A South African politician who and often strained relationship between parent and child, and served as Prime Minister until 1948 oppressor and oppressed. Its realism compels us to identify with (Clark xxi). Known for strengthening its characters and recognize our own capacity for injustice. It British relations after the Boer War, encourages us to walk away from inequality and strive for a he supported segregation policies, world without collisions. As a facsimile of Fugard, Hally shows us promoting native African inferiority that such a personal transformation is possible. to Europeans (Clark xxi). History of Apartheid “MASTER HAROLD”. and the boys takes place in Port Elizabeth, South Africa in 1950, at the height of the country’s era of racial discrimination (Durbach 509). Since 1948, its government had instigated a nationwide policy known as apartheid, which served to segregate the white, European minority from the black, African majority (Clark 6). Spurred on Margaret Burke-White. “A group of children gaze from behind a barbed-wire fence that marks the boundary of a black shanty-town on the outskirts of Johannesburg.” 21 April 1950. Life. the Separate Amenities Act prohibited blacks from entering areas reserved for members of another race, under penalty of fines and imprisonment (Durbach 509). Due to such decrees as the Pass laws, blacks could only set foot in white districts if
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