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Fugard masterfully observes political realities through the magnified lens of deep personal relationships.
—Misha Berson, The Seattle Times
Athol Fugard's uncanny ability to capture the nuances of intense interpersonal relationships ultimately illuminates issues of major social and political importance. In A Lesson from Aloes, he depicts the reunion of Piet Bezuidenhout, an anti-apartheid Afrikaner and possible informant, and Steve Daniels, a Black activist, on the eve of Steve's departure from South Africa to exile in England. Prodded by Piet's nervous wife, they confront each other and the events which led to their sudden falling-out years ago. Fugard's poetic dialogue heightens the raw emotion of the characters, leaving readers and playgoers deeply moved by the encounter.
Exile, madness, utter loneliness—these are the only alternatives Mr. Fugard's characters have. What makes Aloes so moving is the playwright's insistence on the heroism and integrity of these harsh choices. Short of Beckett, it's hard to think of a contemporary playwright who so relentlessly and unsentimentally tracks down humanity in the midst of apocalypse.
—Frank Rich, New York Times
If there is a more urgent and indispensable playwright in world theatre than South Africa's Athol Fugard, I don't know who it could be.
—Jack Kroll, Newsweek
Athol Fugard (1932-2025) worked in the theater as a playwright, director and actor for more than fifty years. His plays include Blood Knot, Boesman and Lena, “Master Harold”… and the boys, The Road to Mecca, My Children! My Africa!, Statements After an Arrest Under the Immorality Act and Valley Song.