Weyers’ ‘Performance’

In his review, “South Africa’s Marius Weyers in ‘Performance’ ” (Dec. 15), Dan Sullivan stated that he was made “uncomfortable” at the Tiffany Theatre by Weyers’ performance in the Kafka piece, not by the actor’s skill, which he praises, but by the dark political inferences which Sullivan insists are “evident.”

It is a matter of record that Weyers’ performance of this piece throughout Europe and South Africa has been artistically hailed and never before viewed as a “symbol (of) the folly of trying to educate the black man beyond his station.”

As a white South African now living in Los Angeles, I can assure Sullivan that, having seen Weyers perform the piece previously in our own country, it has never been interpreted as a covert political statement but merely as what it is--a superb example of the art of acting by South Africa’s foremost performer.

How unfortunate that Sullivan felt compelled to enter into shallow and introspective political assertions, to use Weyers’ American stage debut to question motives rather than to welcome his considerable talents.

ERICA RODGERS

Los Angeles