Review: A Masterful MASTER HAROLD… AND THE BOYS at The Schoolhouse Theater

With great anticipation, I entered The Schoolhouse Theater, a long standing beacon for high quality theatre here in the Hudson Valley. The non-profit professional theatre company performs in an old elementary school building built in 1925 and transformed into an Arts center in 1983. Under the leadership of Artistic Director, Owen Thompson and Producing Director, Bram Lewis, The Schoolhouse Theater continues to present thought-provoking and relevant works that inspire, challenge, and entertain.
Master Harold...  And The Boys, that evening’s offering, certainly checked off all those boxes.

Athol Fugard was said to have written this semi-autobiographical play as a critique of how institutionalized racism filters down to those living under it. Fugard has been critically acclaimed for his anti-apartheid theatrical work. The play was banned in his native South Africa where it is set, so the 1982 premiere took place in New York. The play offers a brutally honest look at one of the darkest eras of South African history. The play was made into a television movie in 1985, starring Mathew Broderick, Zakes Mokae and John Kani. A 2010 South African production of the play, which starred Freddie Highmore was also made into a film.

The action unfolds in an empty café in Port Elizabeth in the early 1950s not long after the introduction of apartheid. “The boys”, Sam and Willie, two black waiters, have been part of the St. George's Park tearoom staff and part of the family for most of Master Harold's life. Their white employer’s son, affectionately called Hally, is a seventeen-year-old schoolboy who often stops by his mother's tearoom for lunch and homework.

There are years of history among these three. Hally’s father is an invalid and a bitter drunk, so Sam and Willie have become his surrogate family. Sam has been a father figure, philosophical sparring partner, friend and of course, servant. There is always an awkward awareness of apartheid, the separation of black and white and the inbred belief in inherent white supremacy and privilege.

There are no customers this day due to heavy rains. Willie and Sam banter, joke and dance as they clean the tea room. They teach Hally the beauty of ballroom dancing, “a dream about a world where accidents don’t happen,” unlike the real world where “no one knows the steps… there are big collisions, and they make a lot of bruises.”

The close bond between the three is brutally challenged over the course of this fateful afternoon. Hally’s mother calls to say that his crippled father is coming home from the hospital. This is not welcomed news for Hally, as it ends the much needed respite from the constant home care his father requires. Angry with his parents, Harold brutally lashes out at Sam verbally and physically, in a way that is shocking and heartbreaking. We discover how indoctrinated into racism and the apartheid Hally really is. But, in the end we are left with hope in the character of Sam as he shows us how big love can be.

Owen Thompson’s Direction is astounding. Under his proficient eye, the interactions and relationships were powerfully and thoughtfully acted by this terrific cast of three. They deliver a wide range of authentically human emotions. At once, funny, vibrant and deeply moving. The pace was brisk, but never rushed. His staging was lively and kept us engaged. The great care and great love was evident in his every choice.

Will DeVary plays Hally with both warmth and a deep-burning rage. This is the perfect portrayal of a teenager desperate for connection and frustrated by his broken family life. We also see the entitlement afforded him by his white skin. He is terrific in the role.

As Hally’s friend and father figure Sam, Alvin Keith creates a touching man who has big dreams and cares more for his relationships than his pride. A wonderful performance, every posture, word, and dance step is meaningful.
Devin E. Haqq gives a compelling performance as the more reserved Willie. He brings a natural warmth and humor to this character. During the play’s climax, his raw, emotional moment had us in tears. 

The beautifully conceived period set is by Tony Andrea and painted expertly by Isabelle Favette. The tearoom is realistic with a fully stocked counter that includes glassware, tea tins of every shape and size, vintage posters and baked goods ready for the eating. There is even an antique juke box. A wet, rainy street scene is visible just outside the windows. Hally makes his first entrance with his hair and jacket drenched with the rain. The sound of raindrops can be heard throughout the show, thanks to Sound Designers, Jessica Klee and Owen Thompson. And It was satisfying to finally hear the glorious music from that juke box.
Lighting Design by Dennis Parichy was effectively mood provoking and contributed greatly in transporting us to the St. George's Tearoom. Heidi Leigh Hanson’s perfectly assembled costumes and Ariana Harris’ expertly curated properties added to the overall excellence. Dialect coach, Lisa Ann Goldsmith insured that the different South African accents were authentic.
Excellent job by stage manager, Kevin E. Thompson and his crew who kept everything running smoothly. A shout out to Wardrobe supervisor, Sierra Madison, Sound engineer, Jessica Klee, and to the terrific Technical Direction by Tony Davidson.

Master Harold... And The Boys is an extraordinary play. We are reminded that true equality can never exist in a society where the color of your skin dictates what career you might have and which park bench you may sit on. Unfortunately, the play feels crushingly relevant in today’s America.  
The Play is masterfully directed, beautifully acted and meticulously produced. 
Don’t miss it!
Evening and matinee performances of Master Harold... And The Boys will run through Sunday, September 22, 2024.
Adult Tickets are $50. Seniors $45. Students $15.
The Schoolhouse Theater 3 Owens Road, Croton Falls, NY 10519.
www.theschoolhousetheater.org
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