REVIEW: ‘Blood Knot’ twists with time | New York Theater | -- Your State. Your News.

Jun 30th
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REVIEW: ‘Blood Knot’ twists with time


Athol Fugard’s early apartheid drama inaugurates a handsome theater complex


Before reviewing Signature Theatre’s worthy revival of “Blood Knot,” let’s talk about the new Pershing Square Signature Center, where the production opened last week.

Designed by Frank Gehry, Signature’s three-space complex is located only two blocks away from the Lincoln Tunnel exit/entrance, which certainly makes the venue very handy for New Jersey playgoers.

A large and airy second floor lobby contains a café, a bookstore and expansive views of the midtown skyline. These bright environs are Spartan but cheerful and welcoming with creamy walls and blond woodwork, accented by jumbo-sized portraits of playwrights like Edward Albee and Horton Foote whose works Signature has staged over these last 20 years. Three intimate theaters lead off the lobby.

The 199-seat Alice Griffin Jewel Box Theatre, where “Blood Knot” is being performed, features a modest balcony, black cinderblock walls, very comfortable seating and a lofty feeling to the auditorium.

Produced off Broadway in 1964 and again on Broadway in 1985, “Blood Knot” is regarded as South African playwright Athol Fugard’s breakthrough drama. Like so many of Fugard’s plays, the first act involves some laborious wind-up before unleashing its power in the second part.blood2knot022112_opt

The two-character drama involves biracial half-brothers eking out a hardscrabble existence in a shack in a “coloured” shanty town in South Africa in the early 1960s. The ginger-haired Morris (Scott Shepherd) easily passes for white but his sibling Zachariah (Colman Domingo) looks very black.

The playful brothers, who share a happy fantasy life, appear quite comfortable with each other’s mild eccentricities. Then their pen-pal correspondence with a woman – who turns out to be white in a country where apartheid strictly segregates the races – upsets their equilibrium.

The increasingly surreal second act sees these brothers act out stereotypical white and black roles that leads them to violence signifying the country’s racial tensions.


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