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 Exits
and Entrances
a kate west review
by Athol Fugard
directed by Stephen Sachs
at the Fountain Theatre, 5060 Fountain Avenue, Los Angeles (near
Normandie)
May 13 - July 25, 2004; Call (323) 663-1525 or www.fountaintheatre.com
Known for writing powerful plays that expose the damage to humanity
and its far-reaching effects caused by apartheid, Athol Fugard
presents the world premiere of his newest play, "Exits and
Entrances," at the Fountain Theatre in Los Angeles. It explores
the relationship between two South Africans: an idealistic playwright
and a famous actor. Based on the story of André Huguenet,
the critically acclaimed and award-winning South African actor
of the 1960's, "Exits and Entrances" is a flashback
to Huguenet's extraordinary theatrical career, seen (in this version)
through the worshipful eyes of his dresser-turned-playwright.
In
this intimate two-person production, William Dennis Hurley plays
The Playwright with appealing innocence and optimistic fervor,
while Morlan Higgins does a nice turn as the actor genius, André,
portraying him as a larger-than-life personality who ultimately
comes to terms with his own humility. Both are extremely personable,
in spite of the constant bickering between the characters.
The
play opens with The Playwright reading André's obituary
and then taking us back to his heyday when he brilliantly plays
Oedipus in the highlight performance of his career. Through a
series of flashbacks, we watch the great André prepare
for his role, while carelessly dispensing wisdom to the eager
young Playwright. He regales him with flamboyant and extravagant
tales of his youth and life which The Playwright avidly drinks
in, filled with awe.
The
final scene takes place several years later, after they have long
ago parted ways and The Playwright discovers André in a
production of "The Prisoner." His more recent performance
is so different from the regal and proud Oedipus, so much more
nuanced and basely human, that The Playwright is compelled to
visit him in his dressing room, not merely for old time's sake
but to commend him on a very moving experience. Both actors play
this pivotal scene very well, illustrating the vast maturity and
growth of both characters. Each has learned about harsh realities
but has chosen to deal with life in different ways. André
chooses a tragic, untimely end while The Playwright believes he
can save the world. Each is a little bit right, but a little bit
wrong too. The backdrop of the political atmosphere of South Africa
is but a small reflection of the greater universal injustice rampant
in the world. And yet there are also exquisite moments of beauty
in art and the hope of the intellectual.
The
language alone in Athol Fugard's piece commands attention from
the riveted audience. Director Stephen Sachs honors the words
by staging the setting simply and perfectly, encouraging the actors
to give understated, yet powerful performances. He understands
how to make our giants human, while leaving their dignity intact.
A fine production, "Exits and Entrances" merits a good
run.
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