Athol Fugard

It is difficult to remember a recent production of a drama where the design elements played so profoundly important a role in the understanding of the production that it is almost as if set, lighting and sound are themselves characters in the narrative. Subtle often, sometimes erupting in violence or dissonance, Erin Witton’s soundscape allows Jack Weir’s shadows to waltz in Nancy Surman’s barbed-wire hell. The fusion of these elements gives the entire production an operatic/balletic feel which eminently suits Fugard’s flowery imagery and the grandiose aspects of the writing.