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Archive for Athol Fugard

VALLEY SONG at International City Theatre

Michael A. Shepperd and Belle Guillory. Photo by Kayte Deioma.

Michael A. Shepperd and Belle Guillory. Photo by Kayte Deioma.

Dana Martin – Stage Raw

International City Theatre’s latest production of South African playwright Athol Fugard’s Valley Song is a welcomed beacon of light. First produced in 1995, Valley Song is Fugard’s first work post-apartheid. He searches for hope through the messiness and confusion of a rapidly shifting world and finds it in a younger generation ready to step into a new and unknown future. Read more…

Rob Stevens – Haines His Way

South African playwright Athol Fugard has written over 30 plays in his long and storied career. Most of his work dealt with the effects of Apartheid, the separation of the races as practiced in South Africa until 1994. His plays were not epics about the struggle for equality. Instead, they were intimate works about how the policy and politics affected both whites and blacks and their inter-tangled relationships in the large nation. His plays mostly consisted of small casts and he often directed and sometimes acted in them, both in South Africa and in the United States. The first play he wrote after the abolishment of Apartheid, 1995’s Valley Song, is being given a stellar revival at International City Theatre in Long Beach Read more…

Now through September 11

The Blue Iris, Fountain Theatre

Photo by Ed Krieger.


The Blue Iris by Athol Fugard.


David C. Nichols - Backstage

In The Blue Iris, prolific South African playwright Athol Fugard treads delicately yet resolutely through the landscape of the heart. In doing so, the venerable 80-year-old dramatist cannot help clutching at ours, as this riveting U.S. premiere demonstrates.  Read more…


Sharon Perlmutter -

It’s hard to know exactly what to make of The Blue Iris, Athol Fugard’s latest play to have its U.S. premiere at the Fountain. It’s a small, intimate piece—much more about people than South Africa. To be sure, the play’s setting, the semi-desert of the Karoo, is the play’s catalyst, if not its actual antagonist. But the play features only South Africa as an inhospitable climate, not South Africa as a sociopolitical entity. It is a household who lives here—or, more accurately, lived here—that is the focus of The Blue Iris.   Read more…


Bob Verini - Variety

Athol Fugard’s “The Blue Iris” is deceptively simple: A desert farmhouse, just destroyed by lightning, is picked over for its treasures and memories. But secrets lurk in the ashes, too, and in just over an hour the South African master takes us on a journey of loss with the potential to move anyone who’s ever sifted through his or her life and feared what would be dug up. This little gem gets an exemplary American premiere mounting from helmer Stephen Sachs at Fugard’s self-described artistic home out west, Hollywood’s Fountain.  Read more…


Terry Morgan -

One mixed blessing about being successful is that people can no longer tell you what to do, and if they try, it’s easy to ignore them. On the one hand, pure artistic freedom is a wonderful thing, but on the other hand, sometimes people need editors and sometimes plays need rewrites. I have no way of knowing what Athol Fugard’s artistic process is these days, but his latest work, The Blue Iris, (currently in its U.S. premiere in a solid production at the Fountain Theatre) is intermittently compelling but ultimately seems undercooked.   Read more…