Fences

It seems all too easy to use a baseball metaphor when describing the Broadway revival of Fences, August Wilson’s play currently in performances at the Cort Theater. The story of Troy Maxson, a former Negro League baseball player, Fences welcomes comparisons to successes in baseball – a home run, a grand slam, a World Series victory. This brilliantly acted and skillfully directed production is all of that and more.The sixth installment of Wilson’s ten-play “Pittsburgh Cycle,” which chronicles the experiences of African-Americans in the 20th century, Fences stars Denzel Washington as Troy and Viola Davis as his wife Rose. The original production, which won Wilson the 1987 Pulitzer Prize for Drama, starred James Earl Jones and Mary Alice and garnered numerous theatrical accolades. While it is a revival, this production stands firmly on its own, establishing the remarkable accomplishments of both the actors and the production team.Much of the success can be credited to the chemistry between Washington and Davis, which is nothing short of remarkable. Washington’s Troy is a contradictory leading man, battling with contentment and resentment, satisfaction and discontent. A runaway from home as a young teenager, and a former star of the Negro Baseball League, he is now employed as a sanitation worker and proudly providing for his wife and teenage son Cory (Chris Chalk) as well as contributing to his grown son Lyons (Russell Hornsby) from a previous relationship. It is clear Troy has vivid memories of racism and prejudice and is determined that his family experience a better life than he did.During his grand speeches and exaggerated descriptions, at times Troy appears to be full of bluster and bluff, but there is a deeply rooted core to him that yearns for recognition and validation, making the character both human and tragic. As Rose, Davis also displays those same desires and longings, but she keeps them to herself, depicting them only through her smile and laugh. It is clear that the two are meant for each other, and when their marriage faces an unexpected challenge, the sense of shock and loss is palpable. This turn of events also introduces the audience to Viola’s hidden side and the anger and loss she has experienced due to her marriage. Davis delivers Viola’s speech as a fierce aria, moving many audience members to tears and applause.As Troy and Viola’s son, teetering on the cusp of manhood, Chalk delivers a conflicted performance, clearly depicting the uncertainty of adolescence, a time when many realize just how flawed their parents are. Stephen McKinley Henderson, a veteran of Wilson’s plays, is especially fine as Troy’s friend Jim Bono and quite moving when he approaches Troy about a situation he fears will hurt Rose. Mykelti Williamson rounds out the ensemble in a deeply moving performance as Troy’s brother Gabriel, who is mentally handicapped from a war wound.Staged on Santo Loquasto’s beautifully simplistic set of Troy and Rose’s backyard, Fences allows the audience to experience the pleasure of plain old excellent acting. And that is what makes this production a grand slam.