CAPE TOWN, South Africa — The world of theater mourns the loss of Athol Fugard, widely regarded as South Africa’s premier playwright, known for poignantly exploring the devastating effects of apartheid through powerful dramas like “The Blood Knot” and “’Master Harold’… and the Boys.” Fugard, who passed away at the age of 92, expertly depicted how the apartheid system eroded the humanity of the South African people with what he famously referred to as a “daily tally of injustice.”
The South African government publicly acknowledged Fugard’s passing, describing him as one of the nation’s most significant literary and theatrical figures, whose influential works had a lasting impact on the cultural and social fabric of the country. Fugard’s remarkable career saw six of his plays grace the stages of Broadway, including notable productions of “The Blood Knot” and “’Master Harold’… and the Boys.”
“The Blood Knot” is a tale of two Black half-brothers whose relationship deteriorates due to the lighter skin of one brother, enabling him to pass as white, resulting in the siblings grappling with issues of racial identity and inequality. Gayton McKenzie, South Africa’s Minister of Sports, Arts, and Culture, expressed gratitude for Fugard’s role in highlighting the detrimental impact of apartheid, saying, “We were cursed with apartheid but blessed with great artists who shone a light on its impact and helped guide us out of it. We owe a huge debt to this late, wonderful man.”
Surprising many, Fugard, a white playwright, boldly challenged racial segregation by collaborating with Black actors and writers. “The Blood Knot” was believed to be South Africa’s first significant production with a multiracial cast, exemplifying Fugard’s defiance against apartheid’s divisive policies. His political activism made him a target for the apartheid regime, resulting in the confiscation of his passport for four years due to his involvement with “The Serpent Players,” a Black theater workshop. Five members of this workshop were later imprisoned on Robben Island, a stark reminder of the oppressive environment Fugard and his family endured, including government surveillance and invasive police searches.
Athol Fugard once famously stated that the most profound theater in Africa would emanate from South Africa, owing to the pervasive injustice and brutality that demanded a deeper understanding of fundamental human values unique to the region. Viewing his craft as a form of resistance, Fugard declared, “The best sabotage is love.”
“’Master Harold’… and the Boys,” nominated for a Tony Award, depicts the tension in a South African tea shop in 1950, focusing on the relationship between the white owner’s son and two Black servants who have acted as his surrogate parents. The bonds of this unconventional family are tested during a stormy afternoon when the teenager resorts to abusing the servants. The emotional impact of the play resonated deeply with audiences, including anti-apartheid activist Desmond Tutu, who attended its 1983 debut during the height of apartheid. Tutu, reflecting on the powerful narrative, remarked that it was more an occasion for reflection than applause.
The chilling reminder of apartheid shared through Fugard’s storytelling resonated with many, as TIME magazine noted in a 1980 review, highlighting how his work laid bare the moral corrosion affecting both Blacks and whites under apartheid. Fugard’s journey began in Middleburg, South Africa, born on June 11, 1932, to an English-Irish father who loved jazz piano and an Afrikaans mother, a descendant of South Africa’s early settlers. His early exposure to the life of Johannesburg’s Black enclave, Sophiatown, was pivotal in awakening his passion for writing and unraveling the narratives of apartheid’s lived experiences.
Fugard took inspiration from witnessing the everyday injustices at his job in the Johannesburg Native Commissioner’s Court, where Black individuals were penalized for violating racial laws. Though it was a dark period in his life, it spurred an insatiable desire to tell stories that could challenge and inspire change. Later, Fugard ventured into academia at the University of California, San Diego, where he instructed aspiring thespians in acting, directing, and playwriting.
Fugard’s literary influence extended to the film industry with “Tsotsi,” a movie adaptation of his 1961 novel that earned international acclaim, including an Oscar for Best Foreign Language Film in 2006. His illustrious career was recognized with a Tony Award for lifetime achievement in 2011. Notably, Fugard’s later works, such as “The Train Driver” and “The Bird Watchers,” premiered at the Fugard Theatre in Cape Town, a testament to his enduring legacy. Fugard returned to the theater stage in 2014, starring in his own play “Shadow of the Hummingbird,” marking his first acting appearance in 15 years.
