"It operates on two levels: as the story of a loving but lacerating relationship between a black man and a white boy; and… as a powerful political statement about apartheid." - Mel Gussow from The New Yorker
Mel Gussow's review, located on the very top of the play's cover, has more or less communicated the powerful message behind the seemingly simple interplay of men from different races, social status, and age. All of the aforementioned three factors are heavily tied under the branch of the apartheid system, with the Dutch whites on top and the black Afrikaans subverted beneath them. Gussow clearly illustrates this power dynamic through the phrase "two levels" because the black men are introduced as "leaning" and "on his knees" as opposed to Hally who enters the scene most likely on his two legs and with his back standing upright. I also noticed how Gussow refers to the play as a "story" demonstrates casual and ordinary atmosphere where the men are arguing about reality while at the same time using ballroom dancing as an escape into "a world without collisions". Stating that this playwright is a "story", in my opinion, undermines the "powerful political statement about apartheid". However, I always find myself oscillating between whether Fugard intended to emphasize the damaging internalized racism in the apartheid system or if he wished to develop a play with apartheid lingering in the background but the spotlight is on romanticized ballroom dancing and escaping reality. Both viewpoints seem equally plausible, but after experiencing the heavy underlying tones within the somewhat delusional play, I think Fugard is leaning more towards emphasizing the ramifications of apartheid on both the the ones who dominate and the ones being blatantly oppressed.
Another interesting view is how Gussow chooses to describe the men's relationship as a "loving but lacerating relationship". Once again, I am torn between to what extent their relationship is "loving" or to what extent it is instead more "lacerating". According to Merriam Webster, lacerating is to cut or tear deeply or roughly or to cause sharp or mental pain. When looking up the definition of Gussow's choice of word to contrast the loving aspect of their friend, I realize that apartheid may also be what brings them closer together even though it's not necessary "love". Sam found the need to become the father-figure for Hally since his biological father was an alcoholic and a cripple and failed to raise his son into a man, Willie refers to him as "Master Harold" to maintain the master-servant relationship, both Sam and Willie are conscientious of the race issues in apartheid but at the same time has the need to protect Hally. In a way, the lacerating dilemmas due to social apartheid paves the road for this unique bond between Hally, 17-year old "Master Harold" and Sam and Willie, Hally's loyal servants.
