‘Exits and Entrances’ Continues APT’s Strong Season
The playwright in
this 2004 autobiographical drama is Fugard himself, and the death analogy
originally was a reference to Fugard’s father. But it also applies to Huguenet,
who served as Fugard’s theatrical father, and one forced to let his son go on
to become part of the “new breed” of South African theater, one in which actors
like Huguenet have no part. Exits and
Entrances is a play about fathers and sons, hope and despair and the
decline that accompanies time’s inevitable passage. Kate Buckley directs her
veteran two-man cast like a beautiful sonata, playing very bright moments in a
predominantly minor key.
Albers, himself a
director, turns in a bravura performance that’s among the most complex of his
APT career. In his refusal to accept pity, Huguenet engenders pathos and
acceptance of this blustering, boastful and inherently flawed man. Daniel, one
of APT’s most powerful performers, reins in and channels his energy to create
an appealing, sometimes confused character who comes to love and appreciate the
flaws in the man who had been his hero. Both actors become masters of some
difficult South African accents.
With Exits and Entrances Touchstone hits its third homerun in a very strong season.