Through November 9, 2008
Reviewed by Chris Gibson
Over the course of the last year, three of South African playwright Athol Fugard's works have been staged here in St. Louis. The latest company to tackle one of Fugard's provocative plays is Upstream Theater with their presentation of Blood Knot, which may be his most intriguing attack on the practice of apartheid. This is a powerful show driven by an outstanding pair of actors. Though it was written in 1961, this compelling examination of race issues continues to resonate in our own time.
Zachariah and Morris are brothers, but you probably wouldn't think so on first impression. While Zach is dark skinned, Morris could pass for white, and as we learn later, has on occasion. Morris has come to live with his sibling, and puts his efforts into keeping their shack-like abode tidy and organized, to the point where he keeps an alarm clock wound to remind him to move on to his next chore. He's charged himself with the task of building them both a better future by squirreling away all of Zach's earnings in a candy tin. The idea is to save up and purchase a two man farm they can work together, far from their dismal surroundings. Zach's need to get out and seek feminine companionship threatens their nest egg, and this sparks Morris to substitute a pen pal for the real thing. But, when Zach's correspondent turns out to be white, complications ensue.
As Morris, John Pierson projects an outwardly humble persona that masks the yearning within. Though he should be aware of the fact that, as people of mixed race, he and his brother would never be allowed to purchase the plot of land they dream of, he also realizes that without some kind of future to look forward to, a man is nothing. Pierson gives Morris an roiling anxiety that he utilizes as a driving force for change. Only a balky accent mars his otherwise strong portrayal of this conflicted man.
J. Samuel Davis gives a remarkable performance as Zachariah. Though Zach is not as educated as Morris, he seems to understand and accept his place in the world, until the photo of his white pen pal arrives. He deludes himself into thinking he's worthy of returning her affections before the reality of his position is spelled out by Morris. Davis makes the weary Zach crackle with an intensity that brightens Fugard's bitter and pointed text.
Philip Boehm directs this thoughtfully conceived production, and capably guides his talented actors through this challenging material. Fugard gives his audience plenty to chew on here, and Boehm and his actors makes the most of this opportunity. Scott Neale's set design effectively conjures up an image of a claustrophobic life of oppression, with ramshackle beds constructed from crates and boards, and makeshift wallpaper made from soapflake boxes. John Armstrong's lighting provides clarity and shading in equal measure.
Upstream Theater's presentation of Athol Fugard's Blood Knot continues through November 9th (2008) in the black box theatre at the Kranzberg Arts Center, next to the Fox. For ticket information call 314-863-4999.
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