Theater has Power in Athol Fugard’s ‘The Island’

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Photo Credit: Paul Ruffalo

A pair of Black prisoners use the power of theater and storytelling to survive in a harsh South African prison in The Island. The play, by Athol Fugard, John Kani and Winston Ntshona, was written almost 50 years ago. But its immense power and immediacy resonates in light of the current need for social justice reforms.

Milwaukee Chamber Theatre pairs two strong local actors, DiMonte Henning and Sherrick Robinson, under the direction of Chicago-based director Mikael Burke. Theatergoers can stream a pre-recorded version of the play, which was filmed live on stage, through March 28.

It is no coincidence that the names of the play’s characters, Winston (Henning) and John (Robinson) are the same as those of two of the play’s authors. When the play opened on Broadway in 1974, the production featured these playwrights in the leading roles. The play, which is inspired by true events, went on to win a Tony Award that year. Both actors shared a Tony Award as Best Actor.

Athol Fugard is widely regarded as the theatrical voice for human rights in his country. He is best-known for some of his other work, such as Master Harold … and the Boys (1982) and The Road to Mecca (1984). But in The Island, he creates a powerful, intense and thought-provoking drama that is certain to rivet audiences to their virtual screens. This is also a play about an unlikely friendship that’s about to be tested.

The play is set in an unnamed prison, which is widely believed to be South Africa’s notorious Robben Island prison. This is where Nelson Mandela was held for 27 years. It is a place designed to break the spirits of those jailed there, and the opening scene explains why.

Two men, clad in roughly made, sand-colored shirts and shorts, silently mimic the process of digging holes and transporting dirt in wheelbarrows. Although they do not speak, it is clear from their grunts, moans and heavy breathing that this is a difficult task. It is also a pointless one. As one man drags and dumps his dirt into the hole of his partner, the partner does likewise. The two men are forced to repeat a similar procedure every day.

By night, they rehearse in their cell for an upcoming variety show that the prisoners are doing for their guards. It is John who has chosen the play, Sophocles’ Antigone. He has cast himself as Creon, a king who must enforce the state’s laws. That leaves a very reluctant Winston to play the title character, and who must wear a wig and necklace scavenged from scraps found around the prison.

Winston repeatedly refuses to don a woman’s outfit, as he fears being laughed at. But John calmly prods him on, noting that the play’s message will speak to their fellow prisoners. Antigone rebels against the laws of the state to bury her brother. She realizes that her penalty is death. Creon holds a trial of sorts, with himself as judge and jury. It parallels the real-life situation of the prisoners, who have received long sentences for minor infractions.

The imprisoned men lack any form of entertainment while cooped up in their cell. They are separated from the arts much like today’s performers and audiences are separated from each other in the wake of this pandemic.

Some of the play’s scenes are filled with humor, such as the pretend phone call that John makes to his friends back home. He talks into an empty can. Overhearing the one-way conversation, Winston becomes increasingly animated. He tells John to ask about what is happening in their town, and with their families.

Conflict arises when John learns that an appeal has drastically reduced his sentence. While Winston faces a life sentence, John is going to be released in three months. Winston is initially pleased for his companion, but his feelings soon turn to jealousy. “Your freedom stinks,” he tells the chastened John. Their friendship is tested for the remainder of the play. At the end, they are able to perform a much-simplified version of Sophocles’ drama.

Perfectly Cast

The two-person play, which runs about one hour, 15 minutes, has been perfectly cast with DiMonte Henning and Sherrick Robinson in the roles. From the outset, they give the impression of long familiarity with each other. Although they don’t exactly continue each other’s sentences, their dialogue flows with the informal rhythms of casual conversation. The tension inside their cell is palpable, especially when unseen guards suddenly appear. Both actors are adept at maintaining this tension until the final scene.

It is heartening to see actors return to the stage, which yields a more authentic theatrical experience. Stephen Hudson-Mairet’s set design is a large, square cement floor, with another “concrete” slab as a backdrop. Cor Valentine-Christophe’s lighting adds dimension to the proceedings, as well as signaling daytime vs. nighttime in these gray surroundings. The videography by Studio Gear allows viewers to move seamlessly from close-ups to full-frame images.

Milwaukee Chamber Theatre is to be commended for doing the hard work necessary during COVID to launch The Island. Viewers who elect to download the play will be glad they did.

The Island continues through March 28. For online tickets, visit milwaukeechambertheatre.org