“Master Harold and the Boys” Monologue Character: Sam Semela

[Pages:3]"Master Harold and the Boys" Monologue

Character: Sam Semela

Monologue:

Perdita, I am struck by your incredible story. I fully agree with you, you must go back and help that poor child, it's only fair. As a black man from South Africa, I lived there in a time in which people of my color weren't treated fairly or equally. We were never really treated as human as the white South Africans, although we weren't that different. We all came from our mothers, had red blood running through our veins, and breathed the same air. Aside from the color of our skin, we were no different. That child is no different from the others in Omelas. "It" is not an it. But we were somehow different. I was different, like the child that is hidden away. I understand why you left, and I support your decision, your future child should not have to worry about this potential fate. You got away, it's only one child locked up now, but there will be one in the future. Perdita, I admire you for wanting to make a change, to go back to Omelas and free the child. I believe if you can make a change, you should. That child deserves to be treated fairly, to play alongside the flute player, because they are no different. There may be consequences, we know there will be, but I will come with you, and we will go set that innocent child free. In fact, it's unfair for others in Omelas to prosper at the expense of the child. That child is me, looked at differently, treated differently, and not given the compassion others are. If someone had the power to change my life in South Africa, I wish they would have, and you have the power to change "It's" life. So let's do it.

Rationale:

Sam gives a lot of insight into what it's like to be an underdog, and what it feels like to be the person that is treated differently, like someone who is less than human, and the person that nobody advocates for. He cares deeply about other people's feelings, which is why he would agree with Perdita's idea of returning to Omelas and helping the child. He acts with compassion towards Hally's father, who is not the best person, by telling Hally he probably wants to come home from the hospital because he "supposes it gets lonely in there." So it can only be assumed that he would act with the same compassion towards someone in a similar position as him if he acted like that towards his rude, alcoholic boss. In "Master Harold and the Boys," Sam explains how he admires Gandhi for standing up for what he believed in. He had a vision and he went for it, similar to how Perdita had a plan to rescue the child, and then how Sam would want to help her achieve that. Sam's overall goal is for a "world without collisions," in which nobody suffers at the expense of others, and in Omelas, the child is suffering in order for the town to be prosperous and guilt-free, which is part of the reason that Sam would be so deeply connected to Perdita's cause. Sam, however, is also very aware of the consequences that come with certain actions, as he recognizes how Willie has to deal with the consequences of hitting Hilda, even if it is something as trivial as her not being his dance partner. However, just like when Sam hides the truth about the reason he didn't sit on the bench with Hally after flying their kite, he cares about protecting others. He also protects Willie from Hally's harsh words towards the end of the play. He says to Hally, "You're trying

really hard to be ugly, aren't you? And why drag poor Willie into it? He's done nothing to you except show you the respect you want so badly" (56). This instinct to protect others, and even the one he has for Hally, which is almost paternal, is another factor that links Sam to the child on a deep, emotional level. Overall, Sam is not afraid to stand out and be different, which plays a large role in whether he would agree or disagree with Perdita's plan to go back and rescue the child. It was apparent when Sam builds a kite to fly with Hally and there is a "little white boy in short trousers and a black man old enough to be his father flying a kite. It's not everyday you see that" (31). Obviously he did not care what others thought of him, and instead did what he found best for himself and the people he cared about.

Textual Support:

"Sam: Hiding away in our room when your mother was looking for you" (25).

"Hally: Of course not! I would have been suicidal if anything had happened to it. Watching you do it make me nervous enough. I was quite happy just to see it up there with its tail fluttering behind it. You left me after that, didn't you? You explained how to get it down, we tied it to the bench so that I could sit and watch it, and you went away. I wanted you to stay, you know. I was a little scared of having to look after it by myself. Sam: (Quietly) I had work to do, Hally" (30).

"Little white boy in short trousers and a black man old enough to be his father flying a kite. It's not everyday you see that" (31).

"Hally: You don't know what she's up against. He's already packed his shaving kit and pajamas and is sitting on his bed with his crutches, dressed and ready to go. I know him when he gets in that mood. If she tries to reason with him, we've had it. She's no match for him when it comes to a battle of words. He'll tie her up in knots. (Trying to hide his true feelings) Sam: I suppose it gets lonely for him in there" (34).

"Then you mustn't complain either. Now you pay the price for losing your temper" (36).

"There's no collisions out there, Hally. Nobody trips or stumbles or bumps into anybody else. That's what that moment is all about. To be one of those finalists on that dance floor is like... like being in a world in which accidents don't happen" (45).

"I don't know. But it starts with that. Without the dream we won't know what we're going for. And anyway I reckon there are a few people who have got past just dreaming about it and are trying to go for something real. Remember that thing we read once in the paper about the Mahatma Gandhi? Going without food to stop those riots in India?" (47).

"You're really trying hard to be ugly, aren't you? And why drag poor old Willie into it? He's done nothing to you except show you the respect you want so badly. That's also not being fair, you know...and I mean just or decent" (56).

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