The Road to Mecca [UNABRIDGED] (Audio Cassette)

by Athol Fugard (Author), L.A. Theatre Works (Author), Steve Albrezzi (Author), Amy Irving (Author), Julie Harris (Performer), Harris Yulin (Performer)

Editorial Reviews

Review
THE ROAD TO MECCA, by celebrated South African dramatist Athol Fugard, depicts the struggle of eccentric, reclusive Miss Helen (Julie Harris), whose friend Elsa (Amy Irving), tries to goad her out of her depression while her pastor (Harris Yulin) attempts to admit her to a nursing home. This idea-rich play probes the concerns of old and young, liberal and conservative, and the secular and religious. The performances are all memorable: Julie Harris movingly brings out the lovable frailty of Miss Helen, and Amy Irving captures both the angry and caring sides of Elsa. Director Steve Albrezzi's occasional use of subtle background music highlights the play's lyrical moments. -- AudioFile

Winner - "Best Theatrical Performance - 1999" -- Audie Awards

Product Description
Are aging Miss Helen's bizarre sculptures, fashioned from beer cans and old headlights, evidence of artistry or insanity? South Africa's preeminent playwright Athol Fugard explores the backwaters of human creativity in this inquiry into the transformative power of art.

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Product Details

• Audio Cassette
• Publisher: L. A. Theatre Works; Unabridged edition (October 10, 2001)
• Language: English
• ISBN-10: 1580810152
• ISBN-13: 978-1580810159
• Product Dimensions: 7.1 x 6.5 x 1 inches
• Shipping Weight: 7.2 ounces
• Average Customer Review: 4.8 out of 5 stars See all reviews (4 customer reviews)
• Amazon.com Sales Rank: #2,551,456 in Books (See Bestsellers in Books)

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Customer Reviews

Most Helpful Customer Reviews

6 of 6 people found the following review helpful:

5.0 out of 5 stars Thought Provoking and Stunning, April 3, 2001

By	Niki Collins Queen "author" (Forsyth, Georgia USA) - See all my reviews (REAL NAME)

This review is from: The Road to Mecca (Paperback)

Home sweet home: a place of love, refuge, and memories. For Helen Martin's it was also her life, her work and her Mecca. In the play "The Road to Mecca" Athol Fugard explores the question: Should we leave our Mecca, our spiritual fountainhead, when we can no longer take care of ourselves? The conflict between the three strong willed characters Helen, Elsa and Pastor Marius explores the question in the light of different religions, cultures, genders, ages and environments. Fugard said the play was suggested by the life and work of Helen Martins of New Bathesda, South Africa. The real Helen from age 50 to 75 transformed her house into a personal universe that enters the realm of archetype, symbol and metaphor. The house, furniture, windows and walls became a kaleidoscope of colored glass. In her garden she constructed over 200 figures: owls, Biblical figures, Buddhas, and ancient gods and goddesses. One South African scholar described her work as one of the most stirring experiences of his life and another called her one of South Africa's artistic geniuses. Fugard in his play shows Helen's creations as a glorious, makeshift oasis of creativity and life force and Elsa, his character, sees Helen as an example of freedom and transcendence. One powerful scene is when Helen, seated in her Mecca with dozens of candles playing off glittered walls and mirrors, tells Pastor Marius "I can't reduce my world to a few ornaments in a small room in an old-age home." The effect is stunning. The play is thought provoking and gives few answers. Helen is alive when it ends. Sadly, in 1975, the real Helen committed suicide. She drank caustic soda and died after three days I solitary agony. Her will included complex instructions listing in detail the ritual disposal of each of her sculptures. But today her home, known as "The Owl House" has been proclaimed a national monument and is a mecca for artists and tourists.

2 of 2 people found the following review helpful:

4.0 out of 5 stars An elderly iconoclast blossoms..., November 5, 2004

By	Aco - See all my reviews

This review is from: The Road to Mecca (Paperback)

The Road to Mecca is a crucible for Miss Helen, the seemingly strange, eccentric widower holed up on her bizarre property in rural New Bethesda, South Africa. She is clearly different, as evidenced by her many sculptures and odd creations surrounding her house, which unto itself holds a myriad of eccentric charms.
She comes to odds when Elsa, a young woman committed to Helen surprisingly appears at her door and discovers Helen on the verge of giving up on life. Elsa's staunch commitment to Helen's unique beauty conflicts with Dominee Marius', a local preacher who stands on the side of the patronizing, yet caring Christian community.
The play is dynamic in it's a)exposure of isolated aging, b)Elsa's youthful/urban attitude vs. Helen's elderly/rural one, c)soul crushing Christian convalescence vs. a spirited iconoclastic artistic home, d)characteristics of artistic inspiration, e)creativity's essential place in daily life, f) the long journey of self discovery, among others.
A powerful conclusion as well demonstrates Fugard's unbound compassion and empathy for spirited life under South Africa's skies.

5.0 out of 5 stars A Memorable Pleasure, February 17, 2001

By	Stephanie Holler "seholler" - See all my reviews

A reclusive elderly widow (based on the late Helen Martins, whose South African home is now a museum) has created her own "Mecca" by decorating the inside of her home with candles and mirrors and by surrounding the house with an assortment of personally-sculpted mermaids, wisemen, peacocks and pyramids. Although her neighbors view Miss Helen as a crazy old woman, she has made friends with Elsa Barlow, a young teacher who has returned for a surprise visit. On that same day, clergyman Marius Byleveld has come to help Helen apply to a nursing home. Marius is fond of Helen and fears for her safety. Elsa is in opposition to a move as it would take Helen away from her art.

I was originally concerned that a drama focusing on an old woman's artwork would not translate well to a listening experience. How could I care as deeply about Miss Helen if I was not able to see the oddball sculptures she had created? Surely the vision of "a city of light and color more splendid than anything I had ever imagined" could not be adequately transmitted through the speakers of my tape player. I need not have worried. One of my favorite parts of the entirely wonderful listen remains the moment when Helen lights her room with candles -- music comes up and there is absolutely no problem seeing a room aglow in a growing light of imagination and art. Adding to the experience is a superb cast performing a well-written examination of what it means to be an artist, what it means to be older, and what it means to be shunned. Fabulous!