Master Harold . . . and the boys

by Athol Fugard

Theodore M. Snead, Jason B. McIntosh and Ben Davis in Quotidian Theatre Company’s “Master Harold..and the boys”

QTC Archives: 2010-2011 Season

March 18 – April 17, 2011

Set in South Africa in 1950, two years following the enactment of apartheid laws, Athol Fugard’s masterpiece examines racial tension and the dignity of the human spirit.

Praise for Master Harold … and the boys: Joe Barber lists Master Harold as a Best Best on WTOP.

Joe Barber, WTOP

Highly recommended.  …a superb production at Quotidian Theatre.   One of the pleasures of visiting a small theater like Quotidian is that you occasionally get to see a breakout performance by an emerging actor.  Here I saw two.  McIntosh — who you may remember as the Trekkie cop in Studio’s Superior Donuts — is a revelation as Sam:  serene, powerful, wise, yet moved by anger to the very boundary of behavior permitted to him as a black South African.  There is not a single false step in McIntosh’s portrayal.  He lets us know what it is like to radiate dignity in a society which permits you none.  And Davis …hits all the right notes as Hally — simultaneously arrogant and obnoxious and supremely likable…  This is not to ignore the good work done by the veteran Snead, who in the less complex role of Willie manages to convincingly transmit his character through reactions, movement, and silences, as well as through his dialogue.  …director Bob Bartlett’s production is meticulous…  Quotidian hasn’t chosen its name by accident; it produces plays in which God is in the details, and He is in the details here.

Tim Treanor, DC Theatre Scene- Read the Review

In the intelligent production of Master Harold… at Quotidian Theatre, it remains an extremely timely masterpiece about respect and self-knowledge.

Barbara Mackay, The Washington Examiner – Read the Review

…director Bob Bartlett gets nearly everything right.   …Davis succeeds wonderfully at making Hally both likable and understandable. He is matched by McIntosh, whose confident maturity, easy laugh, and soulfully soft voice combine into a performance worthy of a thousand praises. Snead, who has to spend the entire time onstage with very little to do for long stretches but restaurant busywork, still manages to craft a complete Willie, temperamental and naive, yet able to actually learn something in the end.

Brett Abelman, DCist – Read the Review

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