This material relates to Playwrights Against Apartheid, a campaign led by the Anti-Apartheid Movement in 1963 that was part of a wider cultural boycott. It was initiated by the South African writer and activist Freda Troup (also known as Freda Levson), who wrote to British and American writers and playwrights, encouraging them to withdraw rights to have their works performed in racially segregated theatres in South Africa.
Troup’s letter was sent with a statement written by Dennis Brutus, a South African activist, poet and educator who was classified as ‘coloured’ under apartheid rule. The statement reads:
The essence of apartheid is to develop two worlds: one white and one, considerably inferior, all black. The nett result of separate shows for blacks is to achieve precisely this: far from breaking down barriers, separate nights serve to consolidate them to make apartheid ‘work’!
Troup gathered 48 signatures for the petition, which was released on 25 June 1963 and presented the following day in a press release at the House of Commons. Those who signed the declaration included Samuel Beckett, Shelagh Delaney, Daphne du Maurier, Arthur Miller, John Osborne, Harold Pinter, J B Priestley, Iris Murdoch and Tennessee Williams.
Some correspondents expressed doubts over whether a cultural boycott was an effective tool. Yet Brutus and Troup, among many others, believed that radical actions were necessary, and that international involvement could place pressure on the government and white public.
Samuel Beckett, Waiting for Godot and apartheid
Shown here is the Irish playwright Samuel Beckett’s handwritten reply to Troup: ‘I am in entire agreement with your views and prepared to refuse performance except before non-segregated audiences’ (f. 9r).
After the boycott, Waiting for Godot was first performed again in South Africa at the racially integrated, politically conscious Market Theatre, Johannesburg, in 1976. The production was directed by Benjy Francis and starred an all-black cast. In this context Waiting for Godot became inescapably political. For those living under segregation, the play’s portrayal of waiting, of cruelty and oppression, resonated strongly – but Godot’s power also came from its fundamental message of humanity and resilience.
Francis wrote that Godot ‘provided a powerful metaphor of our struggle which allowed me to get past the censor and speak to my people’ (avoiding the censor’s suspicion because it is famously viewed as a play where nothing happens). Francis continued:
The tree was central to my staging; when it started to sprout leaves in act two, that sent a powerful message to oppressed people – it suggested new life and resolution, an image of hope against all desolation.
 Benjy Francis, quoted by David Smith, Imogen Carter and Ally Carnwath, ‘In Godot we trust’, The Guardian (8 March 2009), <https://www.theguardian.com/culture/2009/mar/08/samuel-beckett-waiting-for-godot> [accessed October 2016].