The play started a little slow, as we got used to the Afrikaner accents that were sometimes difficult to understand. Sam tried to coach Willie for his ballroom dancing competition. Hally arrived and the course of his homework led to a discussion of values and what constitutes a “Man of Magnitude.” Hally’s difficult relationship with his disabled, drunken father was revealed though memories and phone calls. The image of a kite Sam made to distract Hally from trouble with his dad gave him something to look up to, literally and figuratively. Hally’s writing assignment became inspired by the beauty of ballroom dance, “a world without collisions.”
Caleb was a cute if awkward ballroom dancing student; I found it hard to believe his reports of beating his dance partner if she didn’t know her steps. Ayden was glib at first, mastering this demanding role with its large line load, but developed believable emotion later in the script, confronting his anger and barricading himself in his white privilege. Ndegwa had the fatherly gravitas, vocal power and wisdom to serve as a mentor, and offer hope of moving toward a world with fewer collisions.
Director Gabe Francisco offered this Nelson Mandela quote in his director’s note: "A man who takes another man’s freedom is a prisoner of hatred; he is locked behind the bars of prejudice and narrow mindedness.”
Master Harold…and the boys continues through next weekend in Riverwalk’s Black Box. Remember, Black Box shows now include the 7pm “Bargain Thursdays” popular with Main Stage shows. Friday/Saturday at 8 and Sunday at 2.
http://www.riverwalktheatre.com