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Even in the post-apartheid era, the plays of Athol Fugard resonate way beyond the politics of South Africa. They deal with basic human identity and human struggles for a better life, and looking at his early works is always fascinating. Better than fascinating is when a fine new production sheds a slightly different light on an established classic. Chicago’s Court Theatre once again demonstrates its mastery of the classics with their current production of “Sizwe Banzi is Dead” as well as the lasting quality of Athol Fugard’s humanity.

It is the 1970’s, and in The Republic of South Africa all black citizens are required to carry passbooks, which are domestic passports and work permits. It is one of the most onerous daily symbols of apartheid, or official state segregation. The hated passbooks would survive until 1978.

But, this wonderful story of a man who beats the system by assuming the passbook of a dead unmarried man to “beat the system” is much more than tweaking of the nose of a hated bureaucracy. It is a riveting dialogue about the constant quest of the human spirit for freedom and respect, and the men who wrote it lived it.

Actors John Kani and Winston Ntshona teamed up playwright Fugard in 1971 to craft the two actor story of an impoverished man looking for a new life and dignity. The two black actors supplied brilliant dialogue to Fugard’s basic work to create a world-acclaimed sensation. In 1974,Kani and Nsthona shared the Tony Award for Best Actor, and the play was nominated for Best Play. Originally performed with another one act play, “The Island”, “Swize” went on to have a life its own and this 95 minute play sizzles as never before. Apartheid may be gone, but the struggle for freedom and dignity is a never-ending story.

Director Ron OJ Parson has rightly removed “The Island “ from the bill and concentrates all of his efforts on “Swize Banzi is Dead.” Parson has performed in this play before and his choice of actors demonstrates his experience. Allen Gilmore and Chike Johnson are riveting as they play off each other. Johnson’s multiple incarnations include a spray can of roach killer, a photographer, a local activist, a white assembly- line foreman, and even Henry Ford II ! You can forgive a few over-the-top moments for such a variety of virtuoso characterizations. The eye-catching scenic designs of Jack Magaw performs the magic of creating enclosed spaces and city streets with no scene changes to distract the flow of the play.

About the only drawback to this fine production is its short run; it will close on June 13. If you have any interest in the development of the modern theater as a forum for political statement, you cannot miss this production. The Court Theatre is on the campus of the University of Chicago at 5535 S. Ellis. Parking is free. For more information check out: http://www.courttheatre.org/. The box office can be reached at--773-753-4472.