Tributes continue to pour in for South Africa’s most influential playwright, Athol Fugard, who died on Saturday, at the age of 92.

A towering figure in theatre, Fugard leaves behind a legacy of fearless storytelling that challenged apartheid and reshaped the global stage.

His career, spanning seven decades, was defined by a relentless pursuit of truth, justice, and the unshakable power of theatre.

Born to an Afrikaner mother, Fugard was a writer, director, and actor who dismantled racial barriers at a time when the system sought to enforce them.

His 1961 play, The Blood Knot, was a watershed moment—marking the first time a black and white actor performed together before a mixed audience in South Africa. The backlash was swift.

The apartheid regime banned his works and confiscated his passport, but that only fuelled his resolve. He became a thorn in the side of the state, using theatre as a weapon against oppression.

He collaborated with the Serpent Players, a group of black actors who performed in townships under the constant watch of security forces.

It was there that a young John Kani was introduced to him, an encounter that would change both their lives.

“In 1965, when everything looked bleak, a friend told me about a drama group performing Antigone in the township,” Kani recalled as he pays tribute to his longtime friend and colleague. “I was shocked to see my militant friends working with a white man. That man was Athol.

It was the beginning of a lifelong friendship.”Kani, along with Winston Ntshona, would go on to create Sizwe Banzi Is Dead and The Island with Fugard in the early ’70s—plays that exposed the brutal realities of apartheid to the world.

These productions, often staged under threat of police harassment, became defining moments of protest theatre. Through it all, Fugard remained steadfast.“He believed in my anger, and I believed in his cool temperament,” Kani said. “He showed me that words are the most powerful weapon for change.”Fugard’s plays transcended borders.

Boesman and Lena, "Master Harold"... and the Boys, and The Road to Mecca didn’t just document apartheid—they examined the human condition with a depth that resonated far beyond South Africa. His works were performed in London, New York, and beyond, influencing generations of playwrights.