A Lesson From Aloes by Athol Fugard, Finborough Theatre, 1 March 2019

This is a superb production of a terrific play.

I have long been a fan of Athol Fugard’s plays. I started reading them in the mid 1980s when on a play reading spree: The Road To Mecca, Master Harold And the Boys…

…they don’t come around all that often to get sight of them. Yet, like London buses, sometimes two come along at roughly the same time. Next week we’ll go and see another one; Blood Knot at the Orange Tree.

Coincidentally, I have lately been writing up my 1988 theatre visits – which was another period during which two Fugards came along in quick succession – A Place With The Pigs:

…then Hello And Goodbye:

This one, A Lesson From Aloes, was right up there, in my view, as a memorable night of top notch theatre drama.

Janet Suzman has directed a fine cast; Dawid Minnaar, David Rubin and Janine Ulfane, in this wonderfully claustrophobic play, set in the early 1960s, about left-leaning folk in the Eastern Cape having had their lives ruined one way or another by Apartheid.

As is so often the case with Fugard, the political undertones are played out in a drama about family and relationships.

The Finborough is, in my view, an ideal location for this type of play – you can read all about the Finborough production here.

In many ways Janie and I weren’t in the mood for this depth of drama on that Friday evening – we’d both had busier, more tiring weeks than we’d pre-planned – but the sheer quality of the play, performances and staging kept us both gripped throughout.

At the time of writing this production has only just opened and has not yet been formally reviewed, nor is it yet sold out. My advice, if you are reading this in time, is to book early to avoid disappointment. Here’s the link again…

https://finboroughtheatre.co.uk/productions/2019/a-lesson-from-aloes.php

…while here is an interesting rehearsal video from this Finborough production:

Janet Suzman was there on that Friday evening (I think the last preview night) so I was pleased to be able to tell her personally that I thought the production was extremely good.

This link should find reviews of the Finborough production.

Solomon And Marion by Lara Foot, The Print Room At The Coronet, 28 November 2014

We rather liked this piece.

Very South African. It reminded us of Athol Fugard’s style of rural chamber plays.

Both of the performers were excellent – we expected nothing less from Janet Suzman but Khayalethu Anthony was also excellent.

Here is a link to a search term that finds the (mostly excellent) reviews.

We’d like to see more Print Room at the Coronet, but since this piece, on the whole they seem to be choosing stuff that isn’t up our street. Sort it out, Print Room folk.

 

Sizwe Banzi Is Dead by Athol Fugard, John Kani, Winston Ntshona, Lyttelton Theatre, 24 March 2007

Two weeks in a row to the National Theatre (RNT) and two theatre visits out of three to see John Kani perform in one of his own plays.

This one, a revival of one of the most famous works to come out of the defiant anti-apartheid theatre in South Africa in the 1970s, in some ways pleased us less than Nothing But The Truth at the Hampstead a few weeks earlier. 

Nothing But The Truth by John Kani, Hampstead Theatre, 9 February 2007

Again, we really wanted to like it. We had loved The Island when we saw the revival of that one. But Sizwe Banzi seemed an altogether lighter and more dated work. The play has some great lines and some excellent points to make, but didn’t move us as we felt it should.

Yes, we were glad to have seen it, but it was a bit like seeing a band of ageing rockers whom you wished you had seen “back in the day”. The point was back in the day.

It got pretty good reviews – click here to find them.

Below is a short excerpt of John Kani and Winston Ntshona performing the play back in the day – early 1980s I think.

Nothing But The Truth by John Kani, Hampstead Theatre, 9 February 2007

We really wanted to like this piece a lot.

John Kani is a bit of a legend of South African theatre, having been so influential in Athol Fugard’s plays and the like.

The subject matter – Truth and Reconciliation and all that – was right up our street. It was great to see John Kani performing in his own play.

In truth, this piece did less for us than we’d hoped.

It was well produced and well acted. Perhaps it had been built up so much as a modern classic that it was bound to disappoint us a bit.

It had some good moments and we were pleased to have seen the piece, but it didn’t really grab us the way we had hoped.

By way of contrast, the play we saw downstairs a few years later, A Human Being Died That Night – click here or below…

A Human Being Died That Night by Nicholas Wright, Hampstead Theatre Downstairs, 10 May 2013

…really did grab us. Coincidentally, our next visit to the theatre was to see a Nicholas Wright – The Reporter.

Click here for a link to reviews and stuff – mostly very good – on Nothing But The Truth.

Below is a clip from a Cape Town production of the piece, but without John Kani himself performing:

Below is an interview with John Kani:

My Children! My Africa! by Athol Fugard, Lyttelton Theatre, 15 September 1990

I’m very partial to Athol Fugard’s work, but thirty years on, I remember very little about this one. Even the log, which was only a few years after the event, says:

Little recollection, strangely.

I saw this with Bobbie Scully, who seemed keen to see Fugard with me back then. Janie also has a taste for his work.

Here is the Wikipedia entry for this play/production.

I think the problem for me/us was that it was a story that pre-dated Nelson Mandela’s release but we were seeing it very soon after that momentous event. In that sense it felt a bit like old news, although of course the injustices and arguments depicted were still (are still) relevant.

Michael Billington in the Guardian loved it:

Billington on My Children!Billington on My Children! Sat, Sep 8, 1990 – 21 · The Guardian (London, Greater London, England) · Newspapers.com

Michael Coveney in The Observer was less sure, finding it, unusually for Fugard, overly sentimental.

Coveney on My Children!Coveney on My Children! Sun, Sep 9, 1990 – 50 · The Observer (London, Greater London, England) · Newspapers.com