The Painted Rocks at Revolver Creek NYC Reviews and Tickets

"The show can be repetitive — Jonathan reminds us over and over how the Big One tells Nukain’s story — but it tackles the two sides’ fear and anger in a surprisingly gentle way. Jonathan and Elmarie eventually reach a precarious peace, even as Fugard suggests the country’s issues are too deep to be easily fixed."
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"It’s powerful source material, but some writing choices leave a bit to be desired—during a heated exchange, should it really be the black character’s responsibility to advocate for peace and understanding, and attempt to teach the gun-wielding white woman the error of her ways?... But the author obviously has good intentions, and under his guidance, the small cast deliver impeccable performances all around."
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"Since the end of apartheid, Fugard's plays have been more personal than political. His latest represents a return to politics, specifically a reckoning with lingering inequalities and the rule of law in modern South Africa. The result is as insightful as those earlier works, with an added layer of nuance that can only come from a seasoned dramatist like Fugard...'The Painted Rocks at Revolver Creek' is potent not just for its astute politics, but its subtly poignant meditation on mortality."
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"Touching and lyrical new drama...The ensemble cast is very strong and the volatile issues are explored with soft-spoken eloquence. A very moving piece presented in an engaging production."
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"In the early passages of 'The Painted Rocks at Revolver Creek,' I feared that Fugard was setting up his situation in too neat and pat a manner, as if determined to teach us all a lesson. I couldn't have been more wrong. Now in his 80s, he continues to combine incisively drawn characters and situations with a commanding moral voice. This is a small play in some ways, but it contains a multitude of ideas about the still-undecided fate of a nation."
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"The need for reconciliation and tolerance from both sides is palpable, and, as both writer and director, Fugard has brought it out with a razor-edged softness all his own. He highlights the "everyday" nature of the conflicts that underlie the action, letting us view them as disparate outposts in a much broader struggle, and making the remarkable betrayals and truces along the way that much more effective."
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"Fugard makes no attempt to tone down the polemical flavor of the dialogue and the tenor of that dialogue deserves attention...The performances are all outstanding...The production values overall are, like all Signature productions, wonderful. The stage hands get quite a workout preparing the rock garden for its second act transformation. The dialogue includes many non-English expressions, but no worries — The program includes a helpful glossary."
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"'The Painted Rocks at Revolver Creek' provides a sturdy platform to discuss change while regaling us with cultural flavor and a charming rapport between a spiritual father and son. Though the first act is stronger, more profound, and more lively than the second, the arc and the completion of the story is there...First and foremost, what will stay with you is the storytelling, the performances, and the imagery that you encounter on the journey there."
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