Athol Fugard: The Blood Knot. It’s about two brothers in that segment of our society called “the colored people,” people of mixed racial descent. And as tragically happened very often to families in that group, one brother can be born — or one sibling can be born — dark-skinned, and another one can be white, white enough to try to pass for white. And that is a temptation that is faced in that society, in that group of people in those years. And my play, which was really written not so much to — but then this has happened with so many plays I’ve written — not written so much to make a comment about or to say something about the racial tensions in my country. It was written to explore the relationship with my elder brother, about whom I felt very guilty because I was the smart one in the family. And Royal — his name was Royal Fugard — and Royal struggled very hard with his education and then subsequently with his attempts to get work and things like that. And that is what The Blood Knot was about. And it’s a play, as I first wrote it, which is flawed enormously by a young man’s enthusiasm for language. It’s grossly overwritten as first written. It has now been pruned down, and there’s a very, very good — not version — the soul of the play lives now in a very severely edited version of the play, and that is the one I did at the Signature Theatre, for example, in New York at the opening of their first season in that wonderful new premises they have.