The following statement may be taken as a criticism, although it's not meant that way. Athol Fugard's most recent play, The Captain's Tiger, is not an emotional blockbuster. It is a finely crafted piece of work that casts a hypnotic spell over the audience. A cascade of words falls soothingly over the ears, much like the sounds of gently lapping waves. Captain's Tiger is a nautical tale that tells of the author's early days on a steamship. The author is only 20 and very unsure of himself. He does not know quite what to make of his current voyage, but he is thrilled to be journeying into strange waters (a metaphor for the journey to adulthood). Onboard, he serves as the top officer's personal attendant, which is known by the title, "Captain's tiger." The job leaves him plenty of time to explore the ship and dream of adventures in exotic ports of call.
Although this trim, soft-spoken lad could hardly be called a "tiger" in any physical sense, he does display certain ferocity toward his passion, which is writing. His mission is to write a novel about his family's past, in the years "before my father stopped playing the piano and my mother stopped dreaming." He has idealized his mother to the point where she becomes a clearly-drawn character in The Captain's Tiger. In order to exert his literary license, he gives her a saucy name, "Betty." Much to the audience's delight, however, "Betty" doesn't always behave herself. She often ends up doing what she pleases.
As the writer and his muse battle for control, another figure enters the scene. Known as the "donkeyman," he works for the ship's engineer. Brooding, musclebound and almost malevolent in appearance, Donkeyman is nonetheless curious about the new kid. Over the course of the journey, the two men form a kinship. This is the core relationship in the play û the unexpected bond between a callow white boy and the older, more experienced black sailor. The relationship is keenly brought to life by James Ridge as Tiger and Patrick Sims as Donkeyman. These stage veterans bring a satisfying richness to the production under Jonathan Smoots superb direction.
Donkeyman is a man of relatively few words, and many of his sentences are laced in Swahili. But Sims exhibits a palpable presence in every scene. Ridge must carry the brunt of the play's dramatic burden, but he is up to the challenge. An actor of masterful physical presence, he adds a great deal to his role with every gesture and nuance. As Betty, newcomer Betsy Skowbo uses her youthful zest to excellent effect. She perfectly balances her role between shyness and sassiness. During the frequent lulls between dramatic tension, one has ample time to admire Joe Brhel's effective set, which effectively incorporate nautical themes. Marsha Kuyligowski's costumes beautifully complement the scene, and Andrews Meyers does a fine job with lighting elements.
