"Master Harold"...and the Boys delves into the complexities of apartheid-era race relations

The cast of "Master Harold...and The Boys" from left to right: Sello Maake kaNcube, Lebohang Motaung, and Daniel Anderson. Picture: Theatre on the Square.

History is replete with turning point moments that mark the change of course and reset the dynamics of society. The fall of the Berlin Wall, for instance, is seen as the watershed moment that set in motion the modern era as it ended the Cold War and kickstarted the German reunification.

In South Africa, the Afrikaner ethnic nationalist party took over the government in 1948 and implemented the system which formalized and intensified racial segregation and discrimination against the non-white majority. The implementation of apartheid for nearly 50 years marked a significant escalation of existing discriminatory practices that still endure today, even insidiously, in South Africa.

This is the history that is confronted by one of Athol Fugard’s masterpieces and directed by Warona Seane, Master Harold…and the Boys, currently captivating audiences at the Theatre on the Square in Sandton. The production offers a poignant exploration of race relations against the backdrop of apartheid South Africa. 

The play, starring veteran actor Sello Maake kaNcube alongside Lebohang Motaung, masterfully dissects the intricate themes of institutionalised racism and human connection during a turbulent period in South African history.

Set in 1950 just at the onset of the apartheid regime, the storyline unfolds in a quaint tea-room on a rainy day in Port Elizabeth, where two black servants, Sam and Wille, find respite from the storm outside. Lacking customers, the pair utilise this opportunity to rehearse the foxtrot three-step for an upcoming ballroom competition, with Wille struggling to perfect his steps, burdened by recent personal turmoil as his dancing partner and girlfriend, Hilda, has abandoned him due to domestic violence.

Amidst their jovial preparation arrives Hally (marvelously portrayed by Daniel Anderson), the teenage son of the tea-room owner, who has essentially grown up under the mentorship of Sam and Willie, and they are determined to nurture him from being a boy to an upstanding man. Their bond initially appears unaffected by the deep-seated prejudices of their time, as Hally engages with them as equals.

The cast of "Master Harold...and The Boys" from left to right: Lebohang Motaung, Sello Maake kaNcube, and Daniel Anderson. Picture: Theatre on the Square.

However, as the discourse unfolds—transitioning from trivial school topics to profound political and philosophical musings—the play addresses the uncomfortable realities of their socio-political landscape. While Hally displays a charming naivety towards race, it is soon revealed that his domestic life is deeply troubled, heavily shadowed by the presence of a disabled, tyrannical and alcoholic father.

The narrative takes a darker turn when Hally provokes contention by mocking his father's condition, leading Sam to remind him of the importance of respect, regardless of one's circumstances.

What follows is a pivotal moment where the subtleties of power dynamics emerge. Hally's response—a declaration of superiority by demanding the title "Master Harold"—forces a critical examination of race and authority. 

“I’ve been far too lenient with the two of you,” shouts Hally. “But what really makes me bitter is that I allow you chaps a little freedom in here when business is bad and, what do you do with it? The foxtrot! Specially you, Sam. There’s more to life than trotting around a dance floor and I thought at least you knew it.”

In that instant, the play manoeuvres through the hazardous terrain of personal identity and systemic oppression. Sam's reaction is telling; he challenges Hally to reflect on his privilege within the apartheid structure, urging him to make a choice between his humanity and the bitterness of inherited bias.

“To begin with, why don’t you start calling me Master Harold, like Willie,” demands Hally, to which Sam ask: “Do you mean that?”

“Why the hell do you think I said it?” responds Hally.

“If you make me say it once, I’ll never call you by anything else again.”

The confrontation escalates further when Hally reacts violently, spitting in Sam's face. It’s such an emotionally charged and dramatic occurrence in the play that it completely changes the tone and narrative the production had taken all along. This is an act of aggression from Hally, which exerts the very same brute force on his family’s servants that the oppressive apartheid laws had on the entire black population: subjugation, denigration, and indignity. 

Yet, in an extraordinary act of restraint, Sam and Willie choose wisdom over aggression. Rather than yielding to the temptation of violence, they impart crucial life lessons focused on accountability, compassion, and the ongoing struggle for dignity within a divided society. Their teachings transcend the immediate conflict, addressing the broader implications of humanity in the context of their lived experiences under apartheid.

Personally, I must also commend Maake kaNcube for taking on such an emotive role and the monologue he delivers thereafter. He demostrates his depth and experience as he puts on an impeccable performance that leaves the audience holding its breath until the end. He's so much into character that only in the end does the audience get back to its senses that it's all an act, a performance, as he smiles and bows. But the recital is so believable, exactly what the subject matter requires.

Sello Maake kaNcube and Daniel Anderson during the rehearsal of "Master Harold...and the Boys". Picture: Theatre on the Square. 

But I digress. As Hally departs, cast in a new light by the profound interactions, the audience is left to ponder the complexity of human relations, the injustice of apartheid, and the responsibility that comes with privilege.

The play is also a commentary on the person that Fugard was since it’s a semi-autobiographical production and he managed to objectively introspect on his privileges and the consequences thereof. Fugard’s boyhood was very similar to Hally's, including his father being disabled, and his mother running a tea shop to support the family. His relationship with his family's servants was similar to Hally's as he sometimes considered them his friends, but other times treated them like subservient help, insisting that he be called "Master Harold", and he once spit in the face of one he had been close to.

Master Harold…and the Boys is more than a play; it is a reflective narrative that forces us to consider the depth of humanity and the impact of societal structures on personal connections. It stands as a reminder of the horrendous scars left by apartheid and the imperative to overcome these divisions, continuing the conversation about race and equality in contemporary South Africa.

Master Harold…and the Boys is showing at the Theatre on the Square in Nelson Mandela Square in Sandton until 28 June 2025. Tickets sell between R150 and R200 each.