The playwright inthis 2004 autobiographical drama is Fugard himself, and the death analogyoriginally 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 onto become part of the “new breed” of South African theater, one in which actorslike Huguenet have no part. Exits andEntrances is a play about fathers and sons, hope and despair and thedecline that accompanies time’s inevitable passage. Kate Buckley directs herveteran two-man cast like a beautiful sonata, playing very bright moments in apredominantly minor key.
Albers, himself adirector, turns in a bravura performance that’s among the most complex of hisAPT career. In his refusal to accept pity, Huguenet engenders pathos andacceptance of this blustering, boastful and inherently flawed man. Daniel, oneof APT’s most powerful performers, reins in and channels his energy to createan appealing, sometimes confused character who comes to love and appreciate theflaws in the man who had been his hero. Both actors become masters of somedifficult South African accents.
With Exits and Entrances Touchstone hits itsthird homerun in a very strong season.
