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Fences
by August Wilson
Directed by Lorna Littleway
The Black Rep
January 6, 2017

Ron Himes, Richard Agnew
Photo by Joe Clapper
The Black Rep

The latest production at the Black Rep is a well-known modern classic. A Pulitzer Prize winner recently made into an award-winning film, Fences is a poignant, incisive play by August Wilson. With its casting requirements and powerful script, this is a challenging play, and the Black Rep has presented it with poignance, power, and precision.

The story follows a family in Pittsburgh in the late 1950’s and early 1960’s, focusing on a character whose life has been profoundly affected by the systemic and societal racism of the times. Troy Maxson (Ron Himes) was once a star baseball player in the Negro Leagues, but after spending a long time in prison for petty offences, missed out on his chance to play in the Major Leagues because of his age. Troy, who now works for a sanitation company, lives with his wife, Rose (Linda Kennedy) and their teenage son, Cory (Brian McKinley), who has shown promise as a football player, although the embittered Troy refuses to let him talk to a college recruiter. The trials and events of Troy’s and Rose’s lives also involve Troy’s friend and co-worker Jim Bono (Robert Alan Mitchell), who questions some of Troy’s personal choices; Troy’s son from a previous relationship, Lyons (Steven Maurice), a musician who lives in the hope of gaining his father’s approval; and Troy’s brother Gabriel (Richard Agnew), who hasn’t been the same since he was injured in the war and who used to live with Troy, and who now wanders the streets during the day seeming to believe himself to be the Angel Gabriel, ready to blow his trumpet to signal the opening of the gates of Heaven.  Through the course of the play, Troy is forced to confront his own past and his disappointment with the way his life has turned out, as well as his goals for the present and the future, and his own thinly veiled resentment for his own son, whose hopes for advancement are viewed as something of a threat.  The play deals with a variety of issues, including personal and family responsibility; the effects of societal racism on individuals, families, and communities; parent-child relationships, and more. It’s a powerful character study as well as a thought-provoking portrait of a time and place in history, with themes that resonate still today.

This is a long, talky play, marked by Wilson’s insightful dialogue and richly-drawn characters, including a deeply flawed central character. Troy is a difficult role, as bitter, manipulative and self-focused as he can be, but there’s also an inherent sympathy in his situation, and it takes a strong actor to convincingly play all the many layers of this character. Himes is simply superb in the role, bringing his strong stage presence to the role and conveying with authenticity all the complexities of this character. He’s well-paired with the truly excellent Kennedy as the determined, longsuffering Rose, whose love for and exasperation with Troy are in full evidence, as is her devotion to her family.  There are also strong performances from Mitchell as Troy’s loyal but increasingly disillusioned (with Troy) friend, Bono; and by Agnew in a standout performance as the unstable, single-minded Gabriel. Maurice as Lyons and McKinley as Cory are also convincing, for the most part, although their stage presence isn’t quite at the same level as the rest of the powerhouse cast. For the most part, this is a strong, cohesive ensemble, supporting the first-rate performances of Himes and Kennedy who are real anchors of this production, thoughtfully and dynamically staged by director Lorna Littleway.

Technically, this show is also impressive, as is usual for the Black Rep. The stage at Washington University’s Edison Theatre has been transformed into the Maxson’s backyard by means of  Jim Burwinkel’s comprehensive, detailed set. There’s also excellent character-specific costume design by Marissa Perry. Joseph W. Clapper’s striking lighting, Kareem Deanes’s clear, effective sound design, and Kate Slovinkski’s props also contribute to the overall dramatic impact of this play.

The Black Rep is known for its remarkable work, including previous productions of August Wilson’s works. This latest production of Fences is yet another example of this company’s commitment to excellence and its position as a showcase for superb acting. It’s a riveting, personal, highly affecting drama, especially highlighting the performances of some of St. Louis’s more celebrated performers. It’s well worth seeing.

Robert Alan Mitchell, Ron Himes, Linda Kennedy
Photo: Joe Clapper, Phillip Hamer
The Black Rep

The Black Rep is presenting Fences at the Edison Theatre until January 21, 2017

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