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Master Harold and the Boys: A Play (Vintage International), by Athol Fugard
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This play about a young white boy and two African servants is at once a compelling drama of South African apartheid and a universal coming-of-age story.� Originally produced in 1982, it is now an acknowledged classic of the stage, whose themes of injustice, racism, friendship, and reconciliation traverse borders and time.
- Sales Rank: #39901 in Books
- Published on: 2009-10-13
- Released on: 2009-10-13
- Original language: English
- Number of items: 1
- Dimensions: 7.98" h x .21" w x 5.21" l, .17 pounds
- Binding: Paperback
- 64 pages
Review
"One of Fugard's most universal works of theatre.� It operates on two levels:� as the story of a loving but lacerating relationship between a black man and a white boy; and . . . as a powerful political statement about apartheid."� —Mel Gussow, New Yorker
"The greatest active playwright in the English-speaking world." —Time
"In 'Master Harold' . . . and the boys the author has journeyed so deep into the psychosis of racism that all national boundaries quickly fall away, that no one is left unimplicated by his vision. . . . Mr. Fugard has forced us to face point-blank, our capacity for hate . . . but we're also left with the exultant hope that we may yet practice compassion without stumbling. . . .� The choice, of course, is ours.� Mr. Fugard's wrenching play, which insists that we make it, is beyond beauty."—Frank Rich, The New York Times
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"An exhilarating play . . . a triumph of playmaking, and unforgettable!" —New York Post
About the Author
Athol Fugard was born in South Africa in 1932 and is an internationally acclaimed playwright. His best-known plays include Bloodknot (1961); Boesman and Lena (1969); Sizwe Bansi Is Dead (1972); The Island (1973), and My Children! My Africa! (1989).
Most helpful customer reviews
21 of 22 people found the following review helpful.
Life: "None of us knows the steps, and no music's playing"
By Mary Whipple
Set in Port Elizabeth, South Africa, in 1950, this powerful three-character play considers the interwoven relationships of young Harold (Hally), the seventeen-year-old son of the white proprietor of a tea room, and two of the African men who have worked there for years. Hally, unable to depend on his alcoholic father, now living in an institution, has always depended on Sam, the waiter, for guidance and knowledge about the real world. They share a long history in which Sam has been very much a father substitute for Hally, who has always shown him respect.
Willie, the custodian, who also looks to Sam for guidance, plans to participate, along with Sam, in a ballroom dancing competition in two weeks. For them, dancing "is beautiful because that is what we want life [in South Africa] to be like." In real life, however, "none of us knows the steps...we're bumping into each other all the time." As the play progresses, the three men reminisce, talk about their ideas of what constitutes a great hero, and show their easy relationship with each other.
A phone call announcing that Hally's father is being released from the hospital upsets the equilibrium, however. Hally, morose and worried about the future, fears that his father will once again destroy his world. Taking out his anger on Sam and Willie, he tears at their dreams regarding the dancing contest, mocking their goals and becoming cynical about what the contest means to them. As his frustration grows, Hally hurts them as he has been hurt by his father, demanding ultimately that both men call him "Master Harold."
Based on an incident in the life of the playwright, who was strongly opposed to the policies of apartheid which began in South Africa around 1948, this powerful and poignant drama casts Sam, a black man, as a person of vision and nobility. Hally, a young white man, chooses to exert power, instead of being human, and shows that he is a lesser man than either Sam or Willie. Less a political drama than a human one, the play rises above its immediate setting to consider universal feelings and human relationships. Mary Whipple
11 of 12 people found the following review helpful.
South African litterate beauty
By A Customer
Words and the imagination of the reader are quintessentials of modern drama. Never since Shakespeare do you find such fine and eloquent use of words and language as in Athol Fugard's "Master Harold and the boys." Speech is powerful and has never more been so than in this play
3 of 3 people found the following review helpful.
A Masterful Play
By Valerie J. Saturen
Set in 1950s South Africa, this short one-act play packs a lot of power. The play starts fairly slowly, building the scene and allowing the reader to get to know its three characters: the teenage Hally, who's white, and Sam and Willie, the two black men who work in Hally's mother's restaurant. Willie is a less developed character than the other two; he is a simple man who is thick-headed and abusive toward his girlfriend. More central to the play is the complex relationship between Hally and Sam, who are in a sense opposites--Hally is well-educated but arrogant, while Sam lacks formal education but is humble and wise. Sam has been a lifelong fixture in Hally's life, essentially raising Hally while his father spent his days drinking. Beneath their dynamic relationship is an undercurrent of racial tension, which builds to a powerful climax at the play's end.
Much of the play's effectiveness owes to its portrayal of the subtleties of racism. It is clear that Hally views himself as an enlightened person; he espouses lofty ideals, tutors Sam in geography, and prides himself on the taboo friendship he had with the two black men as a child. When Sam finally gets him to take an interest in his passion of ballroom dancing, Hally seems to congratulate himself for finding some value in what he calls "the release of primitive emotions through movement" in a "primitive black society." Yet in his smugness, Hally is oblivious to what's really going on. For all his talk of the need for "progress," he is unwilling to take personal responsibility for it, resigning himself instead to waiting for the next great social reformer to come along. He is condescending toward Sam and fails to realize he has anything to learn from the older man. However, the young man's ignorance comes through most poignantly when the two recall an incident during Hally's childhood where Sam took him to fly a homemade kite. We learn later that because of Hally's obliviousness toward Sam--and toward the sting of racism--his recollection of the event is missing a painful, essential truth that changes the story completely.
MASTER HAROLD does leave the reader with a glimmer of hope, embodied by the dignity and compassion Sam maintains even when abandoning these virtues would be more than understandable. But the play also shows how formidable are the psychological obstacles standing in the way of change, and the degree to which racism causes suffering on both sides. Once the truly ugly side of Hally's view of Sam comes out, he becomes committed to it. Further, it's not just between Sam and Hally--Hally is burdened by the failings of the previous generation, and beneath his arrogance is a deep shame about his crippled, pitiful alcoholic father. In the end, one cannot help but feel for Hally, because of the damage his racism has done to the most important relationship he has.
The dialogue in MASTER HAROLD is very real, yet it's also fraught with layers of meaning. That this play imbues a single sixty-page scene with so much significance, complexity, and wrenching emotion is a real testament to Fugard's masterful writing.
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