Reception
In South African circles, the play was well received. The Star dubbed it a "multi-dimensional theatre piece which tries to make sense of the madness which overtook South Africa during apartheid", while Mark Gevisser predicted in The Sunday Independent that it "will be for post-apartheid theatre what Woza Albert was for protest theatre: a touchstone of artful, affecting political engagement".
In Los Angeles, Segal was all praise: "Director and animator William Kentridge skillfully integrates the movement of actors and puppets with his often startling animated chalk-drawings and live-action imagery projected at the back of the stage. 'Ubu' may be unrelievedly depressing, but it is executed with consummate artistry."
In The Washington Post, after viewing the play during a "regrettably brief" run of four performances at the John F. Kennedy Center for the Performing Arts, William Triplett described it to readers as a "stunningly theatrical multimedia piece that drives home the atrocity known as apartheid without ever uttering the words 'atrocity' or 'apartheid' or any like them. By turns chilling and hilarious, brutal and forgiving, the show casts a surreal light on the heart of darkness — and still manages to leave you with hope . 'Ubu' is one of those rarities, a piece of political theater that transcends politics. Its truth is human, but you can hear it only from the mouths of puppets."
It was widely agreed that Dawid Minnaar and Busi Zokufa gave fair and accurate portrayals of Taylor's Ubus. "Minnaar and Zokufa give performances that are wonderfully alive in this tale of death and redemption," wrote Triplett. "Minnaar deserves a special ovation, since Taylor didn't write Pa Ubu as a monster, and Minnaar doesn't play him as one .
General production values, too, were lauded: "The dynamic sound, by Wilbert Schubel, is as complex as the entire range of emotions spanned by the show. Wesley France's lighting sometimes sweeps the bare stage, and other times pinpoints a small area, expanding and contracting focus when necessary."
After one performance, a Romanian woman, deeply moved by what she had seen, approached the cast to congratulate it. Surprise was expressed that a play of such local context could have been accessible to her. "That's it," she explained. "It is so local. So local. This play is written about Romania."
Read more about this topic: Ubu And The Truth Commission
Famous quotes containing the word reception:
“I gave a speech in Omaha. After the speech I went to a reception elsewhere in town. A sweet old lady came up to me, put her gloved hand in mine, and said, “I hear you spoke here tonight.” “Oh, it was nothing,” I replied modestly. “Yes,” the little old lady nodded, “that’s what I heard.””
—Gerald R. Ford (b. 1913)
“He’s leaving Germany by special request of the Nazi government. First he sends a dispatch about Danzig and how 10,000 German tourists are pouring into the city every day with butterfly nets in their hands and submachine guns in their knapsacks. They warn him right then. What does he do next? Goes to a reception at von Ribbentropf’s and keeps yelling for gefilte fish!”
—Billy Wilder (b. 1906)
“Satire is a sort of glass, wherein beholders do generally discover everybody’s face but their own; which is the chief reason for that kind of reception it meets in the world, and that so very few are offended with it.”
—Jonathan Swift (1667–1745)