THE FINAL RECKONING: A Tribute to Athol Fugard - A Master of Theatre and Voice of Resistance by Chepape Makgato

It is with great sadness that we bid farewell to one of the giants of South African theatre, Harold Athol Lanigan Fugard, who passed away at the age of 92 at his home in Stellenbosch on Sunday. Athol Fugard’s life and legacy are intertwined with the struggle for justice, equality, and human dignity, and his death marks the end of an era in the world of theatre.

The Shadow of the Hummingbird Athol Fugard in his own play at the Long Wharf Theater in New Haven.Credit...T. Charles Erickson

Born in June 1932 in Middelburg in the Eastern Cape, Fugard grew up in a time of great social and political upheaval. He attended school at the Marist Brothers College in Port Elizabeth (now Gqeberha) and later studied at the University of Cape Town. His early years were steeped in the complexities of South Africa’s racial segregation, which would deeply influence his art and activism. In 1956, Fugard and his then wife, Sheila Meiring, founded the Circle Players. This would be the beginning of a prolific career that saw Fugard emerge as not only a playwright but also an actor and director, whose work continues to resonate globally.

I was first introduced to Fugard’s genius in 2011 when I had the privilege of witnessing a production of Sizwe Banzi Is Dead (1972), an acclaimed play originally co-written by John Kani and Winston Ntshona and directed by Athol Fugard. The production, staged at the Market Theatre, starred Arthur Molepo and Omphile Molusi, and was directed at the time by Vice Motshabi Monageng. It was an unforgettable experience that sparked a deep curiosity within me about the breadth and richness of Fugard’s work. The play, with its powerful exploration of identity and survival in apartheid South Africa, became a touchstone in my understanding of both the personal and political struggles embedded in his art.

My admiration for Fugard’s craft reached new heights in 2014 when I had the rare opportunity to attend a performance of A Shadow of A Hummingbird at the Market Theatre, where he not only wrote the piece but also directed and acted in it. After the performance, I participated in a Q&A session, and I had the immense honor of asking him a question: "What is your take on the present state of the arts in the country?" His response was both candid and deeply insightful: “Art activism is needed now more than ever, looking at the toll of maladministration by the leaders and the corruption happening. The arts sector is hardly supported as it should be.” His words resonate today more than ever, a poignant reminder of how the arts can serve as a powerful tool for both reflection and resistance.

A friend of mine, recognizing my growing admiration for Fugard’s work, bought me a special birthday gift in 2012: Tony Palmer’s documentary film Falls the Shadow: The Life and Times of Athol Fugard. The film offered an intimate glimpse into Fugard’s life, exploring not only his monumental contributions to theatre but also the personal and political forces that shaped his work. Watching it further deepened my understanding of the man behind the art and solidified my respect for his courage and vision.

Athol Fugard’s contributions to the stage were not merely theatrical; they were political acts in themselves. His plays, many of which became symbols of resistance during the dark days of apartheid, offered a platform for voices that were silenced and a lens through which the world could witness the struggles of ordinary South Africans. His works such as The Island, Master Harold...and the Boys, Sizwe Banzi Is Dead, and A Lesson from Aloes are etched in the annals of theatre history and will continue to inspire generations to come.

Fugard’s deep commitment to his craft and his country was evident in his refusal to remain silent in the face of injustice. Even in the later stages of his career, with pieces like A Shadow of A Hummingbird, he continued to delve into the complexities of human nature, exploring themes of memory, loss, and redemption. Through his characters, he gave voice to the voiceless and, in doing so, reshaped the landscape of South African theatre.

In addition to his impactful works in theater, Athol Fugard, in another production by Sylvia Vollenwoven for SABC 3 titled Athol Fugard - Making Music with Words, shared a deep reflection on his craft. He expressed that he will never stop writing because he loves the tactile experience of his pen on paper. Fugard described this process as "the challenge of inquisition on blank paper," highlighting the intellectual and emotional journey that writing offers him. This statement not only emphasizes his passion for writing but also his commitment to exploring complex ideas and emotions through the written word.

In the aforementioned film, Athol Fugard - Making Music with Words, Fugard reflected on a passage from Nikos Kazantzakis' Report to Greco. He described how, upon reading a particular paragraph, the words struck a deep chord within him. The essence of the passage conveys that as the day ends, one must put aside their tools—not because they are tired, but because night is approaching, signaling the time to close the workshop. Fugard explained that these words symbolized a final reckoning, a wise and deeply felt resignation to the inevitable. He expressed a quiet longing, admitting that he could not help but wish he could one day end his life in such a peaceful and accepting way.

(Special thanks to Nikos Kazantzakis for his literary work, and to the creators of Athol Fugard - Making Music with Words for providing the platform for these reflections.)

His legacy is far-reaching, transcending borders and inspiring theatre-makers worldwide to use the stage as a means of social commentary and change. As an actor, director, and playwright, Fugard had an unmatched ability to weave the personal with the political, creating works that were both intimate and universal.

While his physical presence may have left us, Athol Fugard’s influence will never fade. He leaves behind a body of work that will continue to resonate and inspire not only in South Africa but around the world. His words, his artistry, and his unwavering commitment to justice and humanity are his enduring gifts to us all.

Rest in peace, Athol Fugard. Your legacy lives on in every performance, in every heart you touched, and in the enduring power of your words.