Athol Fugard’s semi-autobiographical study of ingrained prejudice in 1950s South Africa won Best Play at the 1983 Evening Standard Theatre Awards. Roy Alexander Weise’s taut revival shows it to be an economical, passionate piece of writing, if overly pregnant with symbolism and charged language.
Lucian Msamati and Hammed Animashaun give dignified, layered performances as black servants Sam and Willie. Their fragile camaraderie with his patronising young son Hally/Harold (Anson Boon, impressive but sometimes ungoverned) depends on his mood.
This is a salutary reminder of recent, officially sanctioned racism, but I’m not sure it shines specific light on our world today. Fair enough. But it also feels awkward – if inevitable – that, here and elsewhere, we are still hearing about historic oppression from guilty refuseniks from the oppressor class.
This production confirms Weise as a serious talent, and shows Msamati and Animashaun at the top or their serio-comic game.
I was impressed and often moved by it, but I also found myself thinking: why this? Why now?
In rep to Dec 17 (020 7452 3000, nationaltheatre.org.uk)
