Review: Fences by August Wilson at Seattle Rep. Directed by Timothy Bond. With James A. Williams, Kim Staunton, Stephen Tyrone Williams. Now through April 18th.
I’ve had to review more than one production lately, where the text of the play wasn’t of the highest quality; junk food plays of minimal nutritional/artistic value that were entertaining enough…albeit entertainment that could best be categorized as being of the “guilty pleasure” variety. That is dramatically not the case with Seattle Rep’s revival of August Wilson’s Tony and Pulitzer Prize winning American theatre classic, Fences, the sixth play chronologically in Wilson’s 10 play “Pittsburgh” cycle examining African-American lives and stories in 20th Century America. It’s a first-rate production of a canonical theatre masterpiece by one of the greatest playwrights of the last quarter century. The impeccable cast, the commanding direction and the beautiful, lyrical sets, lighting and costumes are just added bonuses to a play already brimming with the bounty of Wilson’s lyrical language, and a plot rich with dramatic intensity, heartfelt emotion and honest, genuine comedic moments. It is not to be missed.
Wilson’s play, set in 1957 in Pittsburgh’s African-American Hill District, the setting of nine of Wilson’s 10-play cycle, focuses on Troy Maxson, a 53 year old garbage man living with his wife Rose and 17 year old son Cory in a brick home he purchased with disability money received by Troy’s brother Gabriel, for the debilitating injuries he received during WWII. Troy is a strong, proud but profanely stubborn and hard man who demands respect from his family, his job, and the society he lives in, but he is embittered by the lack of opportunities he had as a younger man. His hardness eventually drives away Cory and estranges himself from Rose after she learns of an affair he had, which resulted in the birth of Troy’s daughter Raynell who ends up being raised by Rose after the child’s mother dies giving birth. Years later, Cory returns home from the Marines, for Troy’s funeral, still bitter at his father but gradually, with the help of Raynell and Rose, grows to accept and forgive his father. The play ends with the possibility that the strong spirit of Troy Maxson will still live on, in his family, friends and children.
Troy Maxson is a role that ranks in the American theatre pantheon with James Tyrone, Amanda Wingfield, Blanche Dubois, Willy Loman and Prior Walter. In the hands of a lesser artist, the role can be overplayed and bombastic and unsympathetic; in the hands of a great actor, the role takes on depth and meaning and pathos. James A Williams towering performance is center stage in this production and his masterful portrayal of Troy is a delight. Mr Williams is able to channel the pain and anger of the man, as well as the bravado and the humor and the warmth. Denzel Washington is currently in previews for the Broadway revival of Fences but I’m not sure I can picture anyone but Mr Williams and his burly grandeur in this very demanding role.
Mr Williams is evenly matched by the performance of Kim Staunton as Troy’s loyal and loving wife Rose. The scene where Rose learns of Troy’s betrayal and affair was heartbreakeningly delivered by Ms Staunton in a crescendo of pain and remorse and anger and nervous emotional exhaustion. Stephen Tyrone Williams shines as Rose and Troy’s son Cory, who is able to successfully play both the optimistic young football star of the first scene and the jaded bitter Marine we encounter at the end of the play. His emotionally charged clashes with Troy are dramatic highlights of the show. José A Rufino as Troy’s affable, laid back oldest son, Lyons and William Hall, Jr as Troy’s best friend Bono are equally fine in their roles with Hall in particular shining as the buddy always a bit in the shadow of his more dynamic friend. And, Craig Alan Edwards does a splendid job as Troy’s brother Gabriel, a man made mentally challenged by wounds received in WWII, a role that can easily trip up a lesser actor who might succumb to mentally challenged stereotypes, but one that is well navigated by Mr Edwards who’s heartfelt, charming performance ends the show on a beautiful note as Gabriel pays his respects to the spirit of his brother Troy. (Young Shiann Rush, from Tacoma, also delights in her small role as daughter Raynell, the hopeful ray of light that ends the play on an up note.)
And, this is one production where the exceptional talents of the design teams cannot be omitted. William Bloodgood’s beautifully realized set is a pleasant reminder of the “good ole days” of theatre when sets were large and literal. His realistic back alley brick house, dirt and scrubgrass yard and surrounding buildings with faded signs of by gone days is a visual delight. And, the sets are only magically enhanced by the lighting design by Geof Korf and his subtle use of ambers to create a twilight world of realism and illusion. Both sets and lighting are able to visually recreate the texture and mood of an Edward Hopper painting. Also in tune with the mid-century setting are Constanza Romero’s effective and accurate costumes that accurately reflect time, mood and place. Ms Romero is the widow of playwright August Wilson and a long time valued member of Seattle’s theatre community, (Wilson spent the last years of his life in his Capitol Hill home) and her familiarity with the subjects and textures of the play comes first hand. And, finally a shout out to the excellent direction by Tim Bond a respected Seattle theatre professional who is now the artistic director of Syracuse Stage the co-producer of this production which will move to Syracuse after the Seattle run; Mr Bond’s able handling of the play is a testament to his talent and years of experience including direction of other plays in the Pittsburgh Cycle. Here’s hoping to further work from Mr Bond in Seattle.
Fences plays at Seattle Rep at Seattle Center now through April 18th. And, a plea for y’all to check it out. Professional live theatre productions of outstanding plays MUST be supported. (And, it’s even better than chicken soup for the soul…) Tickets are as low as $20 for balcony seats and $12 for anyone under age 25. Check it out.
Photos by Chris Bennion and courtesy of Seattle Rep
-Michael Strangeways
About the Author: Michael Strangeways
