Why John Kani is Returning to “Master Harold”...and the Boys after 40 Years 01.27.2026 In the rich and often painful landscape of South African theatre, few artistic partnerships have been as transformative or enduring as that between John Kani and Athol Fugard. Their collaboration, forged in the crucible of apartheid, not only produced some of the most powerful protest plays of the twentieth century but also laid the foundation for a lifelong friendship between two artists committed to telling the truth about their country’s injustices. An Unlikely Bond Across Racial Divides For more than half a century, Kani and Fugard stood together on stages here and abroad. In the 1960s and 1970s, they worked closely with fellow actor Winston Ntshona, developing groundbreaking works such as Sizwe Banzi Is Dead and The Island, plays that confronted apartheid’s brutality and defied South Africa’s racial laws by touring internationally and performing for multiracial audiences. Their collaboration remained rooted in mutual respect, trust, and a shared belief in the power of theatre to awaken consciences, even as the apartheid regime monitored their every performance. Pictured Above from left to right, South African playwrights and actors John Kani, Athol Fugard and Winston Ntshona, UK, 12th September 1973. Together they wrote the play "Sizwe Banzi Is Dead" which is on stage at the Royal Court Theatre in London. Photo by Evening Standard/Hulton Archive/Getty Images. Though their backgrounds were very different, their relationship transcended the barriers of their society. Kani has described Fugard not only as a trusted colleague but as a brother and comrade in the struggle for justice and liberation. The work they created together brought the reality of apartheid to audiences across the world and helped forge a global understanding of the human cost of racial oppression. This road was not easy. Fugard faced state repression including passport restrictions for his outspoken plays, and Kani endured far worse. After returning home in 1975 having won the Tony Award for Sizwe Banzi Is Dead and The Island, Both Kani and Ntshona were imprisoned and nearly beaten to death by South African police. Then in 1982, Kani was stabbed multiple times for performing in a play about interracial marriage. Despite detentions and violent attacks, Kani, Ntshona and Fugard continued to create and perform in plays they believed needed to be seen. Joanna Weinberg, Richard Haines and John Kani during a performance of Othello at the Market theatre in Johannesburg, 1987. Photo by Ruphin Coudyzer/AP. From Willie to Sam Kani’s connection to “Master Harold”…and the Boys is longstanding. In the acclaimed 1984 film adaptation, he portrayed Willie, the hotheaded waiter whose volatility stands in contrast to the quiet moral authority of Sam. Kani’s performance brought depth, humor, and heartbreak to the role, underscoring his lifelong intimacy with Fugard’s language and themes. Fast-forward several decades. At Geffen Playhouse, the idea emerged: What if John Kani returned to “Master Harold”…and the Boys—not as Willie, but as Sam? Instead of a younger man, this Sam could be a grandfather figure seasoned by time. A Sam whose wisdom is lived, not theoretical. A Sam whose dignity carries the weight of lived experience—mirroring Kani’s own extraordinary life. John Kani and I share a long relationship with each other and Athol Fugard. The idea of John’s lived wisdom and age coming to bear on the role of Sam seemed so right to me. When I wrote to John to ask him to play Sam, he immediately answered yes. He, like I, was looking for a way to honor Athol the year of his passing, and "Master Harold"...and the Boys at the Geffen under Tarell’s artistic leadership seemed the perfect opportunity to honor him together.– Emily Mann, Director There was just one detail to resolve: Sam’s age. With the full support and blessing of the Fugard Estate, Geffen Playhouse received permission to adjust the age of Sam in the script, allowing Kani to inhabit the role in a way that honors both the character and the artist. The play’s emotional architecture remains intact, while making space for a performance enriched by decades of lived truth—a profound tribute to Fugard’s humanity and Kani’s legacy. A Reunion that Feels Like Home This production is more than a revival. It’s a reunion. A conversation across time. A celebration of what happens when great artists trust one another and when theatre makes room for evolution. John Kani’s return to “Master Harold”…and the Boys is a reminder that great roles don’t age out, they deepen. And at Geffen Playhouse, we’re honored to be the place where this story, and this friendship, continues. “Master Harold”...and the Boys APR 8 – MAY 10, 2026GIL CATES THEATER Written by Athol FugardDirected by Emily Mann & Tarell Alvin McCraneyFeaturing Ben Beatty, Nyasha Hatendi & John KaniStep into the charged atmosphere of a 1950s South African tea shop in Athol Fugard’s “Master Harold”…and the Boys, a gripping, deeply personal drama that unflinchingly confronts the realities of race, power, and betrayal. On a rainy afternoon, Hally, a white teenager, passes the time with Sam and Willie, two Black waiters who have helped raise him by filling the gaps of a broken home with warmth, wisdom, and laughter. But as the day unfolds, playful memories give way to painful truths, and a single moment threatens to shatter the fragile bond between them forever. LEARN MORE Next Post →
