Skin Deep

Naively, perhaps, racism is not something one would expect to encounter at so-called centres of educational enlightenment such as TCD. And even though Ugandan actor George Seremba, who studied at the Beckett Centre in that institution for four years, is unwilling to point a finger specifically at Trinity, he does say that he has encountered racism “in certain establishments” then cryptically add that Trinity is the “establishment” at which he has spent most of his time since arriving in Ireland.

Either way, I say this not simply to stir the shit at Trinity but to highlight from the start that Seremba clearly has no problem in relating to the racism that sits at the soul of Athol Fugard’s masterful and semi-autobiographical play ‘Master Harold’…and the Boys which was a resounding success at last year’s ESB Fringe Festival and now returns to the Project. Seremaba also is fully aware that racism is becoming more and more of a problem in the “New Ireland”, which makes this classic tale of ’50s South Africa more relevant than ever.
“I have encountered racism in various ways,” he says. “But I should add that the times I have encountered it I have been consoled by the thought that there are people who have taken a stand against it and not just empathised with me but actually spoken out. But I have definitely seen the seamier side of racism in this country. And sometimes in the most unexpected places. I’ve never been subjected to violence but I have been subjected to things that are equally frightening. But though I originally come from Uganda, Canada is now my home and it has evolved further down the line in terms of racism because it has been a multi-cultural country for years. So, hopefully, in time Ireland will follow the same path. But it still has a long way to go and that’s why I do think this play is so relevant. In fact, many people who saw the first production at the Festival said that part of their response to the play is that they have become less tolerant of any kind of racism.”
So how would George describe this play - which incidentally, Athol Fugard has heard such “good reports on” he is flying to Ireland to see the performance on opening night?
“It’s set in South Africa during the early years of apartheid” he responds, referring to the early 1950’s. “And it’s about a 17 year old white South African guy coming of age. So it’s about him and two black servants in a restaurant that his mother owns and runs. But it does get an extra dimension because it is based on an actual incident where the playwright, when he was a young lad, turned against Sam, who was his surrogate dad, and actually spat in his face. But they, in many ways, had grown up together intellectually because, as represented in the play, ‘Master Harold’ shares his books and everything with Sam who is a similarly intellectually curious person. He’s also a wonderful dancer. And dance is a big thing in the play. Ballroom dancing is, I guess, a metaphor for the possibilities of, perhaps, all of us getting along better. Fugard seems to be saying if we could only abide by the laws of dance we’d get on better. Even if that only meant we could avoid bumping into each other!”
Indeed. But the white boy in question has, says, George, grown up absorbing “almost unconsciously” many of the racist codes that then surface. This he agrees, may also be the case with many Irish people who attend the play and who must then reassess their perspectives. Perhaps he means you.

‘Master Harold’ … and the Boys opens at the Project February 1st.