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I first encountered Russell Vandenbroucke in 1987 when he started as Northlight's Artistic Director. That summer, I was involved in the remounting of Michael Maggio’s production of Dealing. During a performance, my wife Candy went into labor. I had to leave immediately after the curtain call, informing Russell with a quick, “Candy’s having a baby!” as I rushed away, leaving him in the parking lot.
The following morning, after the birth of our child Michaela, I returned to the theater to apologize for leaving abruptly. Over his tenure, Russell was supportive of my work, both directing and acting. I recall him asking me to step in for him while he traveled to Florida to be with his ailing father.
Russell’s career includes an Emmy Award for producing Eleanor Roosevelt: In Her Own Words, though he does not mention this in his biography. His connection to the work of Athol Fugard is noteworthy, and I sought his perspective on Fugard's legacy.
When I met Athol Fugard after a New York matinee of Valley Song, he greeted me warmly. The play, highlighting societal contrasts through a farmer and his granddaughter, had received positive reviews. Fugard was 64 then and had recently passed away at 92. He was known not only for his plays but also for his love of nature.
Hoping to direct Fugard’s new work at Northlight, I expressed my interest. We premiered it in May 1996 in Winnetka. My term saw 60 productions in various Chicago venues, highlighting the theater's transient nature.
Reflecting on Fugard’s Boesman and Lena, the piece tackles themes of homelessness and poverty. Despite the hardships depicted, the play's dialogue is evocative, illustrating existential quandaries and societal conditions. South Africa's apartheid backdrop is integral to Fugard’s narratives, yet his work transcends time and place, resonating globally.
Fugard’s Blood Knot examines racial inequality through biracial brothers, while “Master Harold”…and the Boys explores the complexities of personal relationships and the repercussions of hatred. Statements after an Arrest Under the Immorality Act presents intimate yet stark realities of societal intrusion and racism. These works reflect Fugard’s deep understanding of flawed societies and their impact on individuals.
Russell Vandenbroucke served as Northlight’s Artistic Director until 1998. His work includes the publication Truths the Hand Can Touch: The Theatre of Athol Fugard. He is now Professor Emeritus at the University of Louisville, where he founded the Peace, Justice, and Conflict Transformation program.
