BWW Reviews: Athol Fugard Brings a Touch of Class to the Fountain with The Blue Iris

The Blue Iris/by Athol Fugard/directed by Stephen Sachs/Fountain Theatre/through September 16 (will not extend)

To celebrate Athol Fugard's 80th birthday, the Fountain Theatre presents the American premiere of his latest work The Blue Iris, a one-act set in the Karoo, South Africa around 2003. Fugard is known for his luminous poetic language and evocative images that make that corner of the world increasingly more familiar despite its eclectic dialect and lifestyle. The Blue Iris begins after a disastrous tragedy, and within the confines of debris and rubble, two very different people uncover a minor miracle that speaks not only to them but universally to the human heart. Director Stephen Sachs lovingly nurtures three emotionally engaging performances that grow and bloom on the Fountain stage through September 16 only.

Only the very best writers are able to utilize and sustain symbolism over the course of an entire play. Fugard is definitely one who creates an image that, although solid, is free to change in form or meaning. When farmer Robert Hannay (Morlan Higgins) finds, amidst the ashes of a fire that has destroyed his home, a painting of a blue iris that his wife Sally (Jacqueline Schultz) had painted, he is stunned by the very fact that it has survived pretty much in tact, untarnished. The painting symbolizes the delicate beauty and perfection of Sally, whom he adored and who died from a heart attack at the start of the fire - or more accurately from a broken heart. Most of her art perished, so with that gone and Robert away tending his flocks and farmland, what did she have? Life was unbearably lonely, without a mate or the art that nourished her very existence. Robert feels remorse for her unhappy state, which had developed long before the fire. In fact, living through a six year drought had been taking a toll on both of them, turning his gentle soul to cruelty.

The African American servant Rieta (Julanne Chidi Hill), who had been with them since childhood, is still looking after Robert as the play opens and is trying to console his loss. She admired Sally, but had been secretly jealous of the marriage. She herself has always been in love with Robert, something Sally knew, but not Robert. This is only one of the many secrets lurking beneath the rubble. As we come to find out the blue iris, in spite of its simple beauty, is a poisonous plant, posing a danger to man and beast. For Robert, it is a threat to his animals, so he despises it. The painting means different things to different people, and thusly stands as a reminder of the harsh imperfection in Robert and Sally's relationship. Spiritually moved, Robert destroys the painting, and as the chapter closes on Robert and Sally, another one begins for Robert and Rieta, who perhaps as a couple may find happiness in 2003, which, under the strict code of apartheid, would have been forbidden to them altogether thirty years before.

Director Sachs paces his actors beautifully throughout the 75 minute piece, and each shines optimally. Higgins is the perfect match for Robert whose rugged sturdiness is betrayed only by his inner sensitivity. Hill is a wondrous reactor as Rieta unraveling ever so gradually layer upon layer of complexity. Schultz, on stage for only a brief fifteen minutes, brings the spirit of Sally to fiery and tempestuous life. Resembling a young Jessica Tandy, she fills every move with a frail delicate quality that makes us experience fully Sally's depth of torment. Jeff McLaughlin's set and lighting design are stupendous and add a great deal to the earthy, dismal atmosphere.

After experiencing The Blue Iris, it is no small wonder why Athol Fugard remains one of our greatest living playwrights. Bravo to a theatrical triple threat: great writing, great directing and great acting, creating another triumph for the Fountain Theatre.

https://www.fountaintheatre.com/

 

 

 

 

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