MH1: Preview #2 A World Without Collisions

“If this is happening in your country, then God must seem to be crying all of the time.”

Director Kent Gash

A World Without Collisions is an ideal yet an unreal reality.

As a passionate theatre-lover, I am aware of various things that are happening on onstage, however my first priority is to listen to the playwright’s dialogue and its recital, the relationship between the characters, and the play’s themes. This time, as a latecomer, I was so impressed by the set built by Set Designer Jason Sherwood with the 1950’s Tea Room in South Africa and its use of the stage space (as the ATC always seem to do) with the customers’ table, the counter, the jukebox, and the rain behind the stage.

There are themes that I observed in “Master Harold”…and The Boys. One, the different lives between the inside and the outside of the stage. The life that happened onstage was a reality of friendship, kinship, remembrance, playfulness, and informality. The outside of what we was experienced by the characters and the audience was chaotic by Hally’s depressing family life and broken by the apartheid in South Africa. The characters and the audience can experience only by the various phone calls from Hally’s mother about the lame, pained, and alcoholic father. Another theme that I experienced was Hally’s immaturity to his shocking transition to adulthood, because of these phone calls.

I was honored to be at the preview where the audience got to speak with the director, the dialect coach, the costume, light, and set designers about the rehearsal and production process. I questioned about how the directors and designers could keep the play interesting for the audience with one set and only 3 actors, especially because of the last ATC’s production of Cabaret which had over 10 actors in the ensemble and various sets that changed constantly. Director Kent Gash answered my question brilliantly. When staging a production, one must play attention to the playwright’s directions in their play, the characters’ objectives, the demands of the play, having trust in the play, and the choices of the artists.

All in all, bravissimo to everyone who worked the production of “Master Harold”… and The Boys!

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