John Simon, writing for New York magazine, was measured in his review:
Fugard has now perfected his way of writing plays about the tragedy of apartheid; he avoids the spectacular horrors and concentrates instead on the subtle corrosion and corruption, on the crumbling of the spirit for which the cure would be heroic action that may not be forthcoming, which the blacks try to assuage with the salve of dreams, the whites with the cautery of oppression.
— John Simon, "'Two Harolds and no Medea." (May 17, 1982)[3]
Frank Rich of The New York Times praised the performance at the original Broadway premiere:
There may be two or three living playwrights in the world who can write as well as Athol Fugard, but I'm not sure that any of them has written a recent play that can match 'Master Harold' ... and the Boys. Mr. Fugard's drama - lyrical in design, shattering in impact - is likely to be an enduring part of the theater long after most of this Broadway season has turned to dust.
— Frank Rich, "'Master Harold,' Fugard's drama on the origin of hate." (May 5, 1982)[1]
Andy Propst of Time Out ranked it the 42nd greatest play of all time.[4]
