Fences A New Review By: Wes Hessel

“Fences”

By Wes Hessel

 

Playwright August Wilson’s greatest legacy is that of his ten-drama series known as the “The American Century Cycle”.  Of those, “Fences”, now being produced resoundingly by American Blues Theater, is arguably one of the finest of the storied portfolio, garnering a Pulitzer and a Tony, amongst other honors.  This production, helmed by Monty Cole, is an exemplary example of Wilson’s prodigious, probing, perceptive prose.

 

It is set in the 1950’s, in a Pittsburgh backyard framed by the title constructs, one of the two not yet completed.  Yeaji Kim’s scenic design strategically takes these elements to dominant divides, each being two of the opposing walls of the theater space, the wood extending to the ceiling and right over the entry/exit doors, thus stating the various metaphors right our front.  Between this pair of barricades all of the play’s action is displayed dramatically, literally and otherwise.

 

This space is the domain of Troy Maxson, titular man of the house attached, and character center of this work; Kamal Angelo Bolden’s portrayal is intense, integral, and illuminating.  Maxson’s work is as a sanitation engineer, if you use the euphemism – in other words, a garbageman.  But there is much more to him, which is played out in his interaction with the other people who come and go from his world in this seemingly safe space outside.

 

The two most frequent “visitors” to this territory are his long-time friend Jim Bono and his almost as long wife Rose.  Martel Manning convincingly characterizes the best bud, hanging in there even when Troy’s territorialism extends past borders of friendship and fair play, but moves on home when Bono’s sage suggestions fall on deaf ears.  Long suffering, loving Rose is brought to likeable life by the searing Shanésia Davis – her portrayal of the woman trying to stand by her man despite Mr. Maxson’s penchant for prideful purpose demonstrates decisively those we have in our life who love us even when we stray, but don’t hesitate to lay down boundaries in hope of bringing us back in.  As is often the case in real life, Rose’s patience will only go so far when her heart has been trampled on terribly too many times.

 

Another wounded soul is Troy’s brother Gabriel, a man left damaged by the wreckage of war – as Manny Buckley presents him heroically with heart, the veteran who has taken on a new cause of trumpeting as a human version of his angelic namesake, who heralds hope of heaven in the awaiting Pearly Gates.  Maxson does try to cover when his sibling’s “work” isn’t appreciated by those earthbound, but misses the message of redemption.  Troy’s sons enter and exit his orbit often, but what he does for them is more about himself than their benefit.  William Anthony Sebastian Rose II delightfully depicts the musician son Lyons, who is no longer under his father’s roof and is striving to be his own person, but still looks longingly for love from the “old man”.  His younger brother Cory, excellently illustrated by Ajax Dontavius, hasn’t yet escaped the pull of his pop’s paternal prying but longs to stretch his wings before they are clipped.

 

One more child is drawn in to Troy’s territory in circumstances both trying and tragic.  Riley Well’s Raynell is preciously precocious – her character represents the opportunities we are handed to change the narrative and write a different story but will be missed when our own regrets rule.  The extraordinary acting and inspired environmental elements mix to form a great work about borders, boundaries, and hubris, one which you will not want to miss out on, but “Fences” is only playing through August 6th, so go to www.americanbluestheater.com for tickets or more information.

 

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