Family dynamics hit home in Mad Cow’s fine ‘Fences’ – Orlando Sentinel

The sins of the father cast long shadows, and perhaps no play illustrates that as brilliantly as August Wilsons Fences. The Pulitzer prize-winning examination of family dynamics and the consequences of thwarted desires is given a solidly engaging production at Mad Cow Theatre, buoyed by sharp visual moments.

Director Tony Simotes has the stage virtually humming with undercurrents of emotional energy positive and negative coursing among the characters. A few missteps such as amateurish fight choreography can take you out of the moment, but the Maxson family pulls you right back in.

At the head of the clan is Troy, a middle-age city garbage collector who as the story opens has questioned his boss about why black employees, such as himself, have to empty the cans while white employees drive the trucks. Its 1957, and asking such a question could cost Troy his job.

It wouldnt be the first disappointment in his life: A talented baseball player, Troy played in the Negro League years ago and still resents the fact he never got a shot in the majors. That resentment rears its ugly head in his attitude toward son Corys burgeoning football career.

Larger than life, Troy is a master teller of tales, mixing truth with allegorical hyperbole like Uncle Remus, according to his friend Bono, deftly played by Patric Robinson in a strong Mad Cow debut.

As portrayed by Johnny Lee Davenport, who has done fine work locally for Orlando Shakespeare Theater, Troy has less roguish charm than often depicted. The way he captured the heart of long-suffering wife Rose (Sheryl Carbonell in an exquisitely modulated performance) rarely peeps through his irascibility.

Davenport takes a blustering, stammering approach that sometimes seems to tangle Wilsons finely crafted script. But the characters power still comes through. Its up to Damany Riley, as Troys elder son, to indicate his fathers charm, which he does with breezy panache. Stelson Telfort nicely puts a very human face on Codys internal dilemma: Will he choose bitterness, like his father, or forgiveness?

Jim Braswell beautifully makes Troys mentally disabled brother Gabriel of this world and yet beyond the world.

Robert F. Wolins scenic design cleverly lets the audience peek inside the Maxson home, even when the action is taking place on the front stoop. Its an idea Simotes and his actors do great things with. Although its clearly on view, the familys wooden fence somehow doesnt carry the heft it might. But Mad Cows production makes it clear that Fences is about far more than lumber.

mpalm@orlandosentinel.com

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Family dynamics hit home in Mad Cow's fine 'Fences' - Orlando Sentinel