Steadstyle Chicago
	January 2010 Theatre Review by Alan Bresloff
	Master Harold...and the Boys Timeline Theatre Company has become a major player in the Chicago Theater scene.  The small theater located at 625 Wellington (at Broadway) in the Wellington Avenue United Church of Christ building is now home to a wonderful look at history that looks at the defiance and outrage that are a part of the South African experience in Athol Fugard's "Master Harold and The Boys".  The story takes place in 1950 in a small tea room on a rainy afternoon, when Harold, a young white student comes in to do his studies and have a bite to eat.  The two black employees, men he has known all his life are preparing the tables for the next day.  Harold's mother runs the shop and has left for the hospital to take Harold's father home. As it turns out, Harold's father is crippled and has a drinking problem.  He has not been much of a father to Harold and the elder of the two employees, Sam (a strong performance by Alfred H. Wilson, who will be replaced by Director Jonathan Wilson after February 28) has in truth been the boy's mentor and father-figure.  During the afternoon, many topics are discussed by the men, in particular some of the past that has brought them all together as a sort of family.  Harold (a fierce character study by Nate Burger) teaches these men some of what he learns in school and finds himself playing mind games with Sam.  Willie (deftly handled by Daniel Bryant) also looks up to Sam, who is also his mentor and looks on so that he can be more like Sam.  Sam and Willie are both entered into a dancing competition and as Harold looks for a theme to write about, takes this on as his topic.  During all of this as they equate dancing as a "world with no collision", we see the harmony between the three men. But as the underlying story, we find that Harold is unhappy with his father coming back home.  While in the hospital, home is peaceful and serene, but his father is a demanding sort, a man who still feels that the black man is the servant and must be controlled.  He is a drunk and Harold has to clean up after him.  He is upset over his father coming home and begins to take out his pain on these two workers.  While Fugard takes us to one point where unity could exist as the story progresses, he shows us that while progress may have been made, there are still those who cannot and will not allow for this.  From the notes, it appears that much of what we see is based on his own history and perhaps the telling of this story was his way of coming to terms with his relationship for once and for all. This is a sparkling production with three strong characters and Wilson's direction is smooth and simple, yet intense.  For 100 minutes (no intermission) we are in Africa, we are in a small restaurant (a very detailed set design by Timothy Mann) and these men are real.  The lighting by Heather Gilbert sets the mood as does the sound by Christopher Kriz.  We feel the rain that is created by sound and light as if it were truly a storm.  I also loved the detail in the props by Julia Eberhardt with each piece making the total picture complete.  A production made whole by the sum of its parts, is a way one could describe this production.  Every piece of the puzzle fits to perfection, making the total experience one worth viewing. "Master Harold" will continue through March 21, 2010 at Timeline.  Performances are Thursdays at 7:30 p.m., Fridays at 8 p.m., Saturdays at 4 and 8 p.m., Sundays at 2 p.m.  There are Wednesday performances at 7:30 p.m. (March 3,10 and 17 only).  Tickets range in price from $25-$35, a great value for a production this strong, and can be purchased by calling 773-281-8463 xt 24 or online at www.timelinetheatre.com.    About Alan Bresloff Alan Bresloff, once an actor himself, has been covering the Chicago Theater Scene since 1993, first as the Theater and Arts critic for LaRaza newspaper, then with Salsachicago.com and then onto Extra Newspaper and The Epoch Times.  He also writes for ElImparcial and TeleGuia.  His reviews can also be seen on www.theatreinchicago.com.  Alan does not call himself a "critic" but a "reviewer" as he tries to educate the reader about theater itself, what is a good value, what to look for in a play or musical and more.  "Exposure to theater is a very important part of a young person's life" he says. "Learning about the arts and culture is in fact learning about life" and he tries to explain more in his reviews than just if it is good or bad.  Even some of the poor productions have some value, he often says and he would love your feedback on shows that you have seen.  You can write him here or at albresloff@sbcglobal.net.