Fences (play) – Wikipedia, the free encyclopedia

Fences is a 1983 play by American playwright August Wilson. Set in the 1950s, it is the sixth in Wilson's ten-part Pittsburgh Cycle. Like all of the Pittsburgh plays, Fences explores the evolving African-American experience and examines race relations, among other themes. The play won the 1987 Pulitzer Prize for Drama and the 1987 Tony Award for Best Play.

The focus of Wilson's attention in Fences is Troy, a 53-year-old head of household who struggles with providing for his family. The location is never specified but seems to be Pittsburgh as there are several references to some of its notable institutions. Troy was a great baseball player in his younger years, having spent time practicing in prison for an accidental murder he'd committed during a robbery. Because the color barrier had not yet been broken in Major League Baseball, Troy was unable to make good money or to save for the future (However, one line of the book does cast some doubt as to whether it was Troy's age, not his skin color that kept him from becoming a professional baseballer). He now lives a menial, though respectable life of trash collectingremarkably crossing the race barrier and becoming a driver instead of just a barrel lifter. He lives with his wife, Rose, his son Cory (who still lives in the house at the play's opening), and Troy's younger brother Gabriel, an ex-soldier whose war injury to his head has caused him noticeable psychological damage. Lyons is Troy's son from a previous marriage, and lives outside the home. Bono is Troy's best friend. Troy had taken Gabriel's money that he'd been entitled to for his injury, and bought the house he currently lives in. A short time before the play's opening, Gabriel has rented a room elsewhere, but still in the neighborhood.

The play begins on payday, with Troy and Bono drinking and talking. Troy's character is revealed through his speech about how he went up to their boss, Mr. Rand, and asked why Black men are not allowed to drive garbage trucks (Troy works as a garbage man); Rose and Lyons join in the conversation. Lyons, a musician, has come to borrow money from Troy, confident that he will receive it and promises to pay him back because his girlfriend Bonnie just got a job. Troy gives his son a hard time, but eventually gives him the requested ten dollars after Rose persuades him to do so. About mid-play, an affair between Troy and a woman named Alberta (who is never seen in the play) is revealed, followed by the discovery that Alberta is pregnant. Cory tells Troy and Rose about an opportunity for a college football scholarship. Troy tells Cory he won't let his son play football in fear of racial discrimination, like Troy experienced while playing professional baseball. Troy and Cory argue about Troy's actions but Troy stubbornly does not back down from his argument and sends Cory to his room. Later on it is discovered that Troy told Cory's coach that his son is to no longer play football. With Cory's discovering of this, he and Troy get into a fight resulting in Troy kicking Cory out of his house. Troy gets a call concerning Alberta's pregnancy. She dies during childbirth. Rose agrees to adopt the baby girl, Raynell, and take care of the baby as her own, though she no longer considers herself to be Troy's woman. Seven years later, Troy has died. During this final act, Raynell, the daughter conceived in Troy's union with Alberta, is seen as a happy seven-year-old; Cory comes home from military training. He initially refuses to go to his father's funeral due to long-standing resentment, but is convinced by his mother to pay his respects to his fatherthe man who, though hard-headed and often poor at demonstrating affection, nevertheless loved his son.

The fence referred to by the play's title is revealed to be finished in the final act of the play, and Bono has bought his wife a refrigerator as he promised Troy he would do if he finished building it. It is not immediately known why Troy wants to build it, but a dramatic monologue in the second act shows how he conceptualizes it as an allegoryto keep the Grim Reaper away. Rose also wanted to build the fence and forced her husband to start it as a means of securing what was her own, keeping what belonged inside in and what should stay outside stay out.

Fences premiered on Broadway at the 46th Street Theatre on March 26, 1987 and closed on June 26, 1988 after 525 performances and 11 previews. Directed by Lloyd Richards, the cast featured James Earl Jones (Troy Maxson), Mary Alice (Rose), Ray Aranha (Jim Bono), Frankie R. Faison (Gabriel), and Courtney B. Vance (Cory).

The production won the Tony Awards for Best Play, Best Performance by a Leading Actor in a Play (James Earl Jones), Best Performance by a Featured Actress in a Play (Mary Alice), and Best Direction of a Play (Lloyd Richards), as well as the Drama Desk Awards for Outstanding New Play, Outstanding Actor in a Play (Jones), and Outstanding Featured Actress in a Play (Alice). It also received Tony Award nominations for Best Featured Actor in a Play (Faison and Vance).

The first Broadway revival of the play opened at the Cort Theatre on April 26, 2010 with a limited 13-week engagement. Directed by Kenny Leon, the production starred Denzel Washington (Troy Maxson) and Viola Davis (Rose) as the married couple struggling with changing U.S. race relations.[1] The revival was nominated for ten Tony Awards,[2][3] winning three for Best Revival of a Play, Best Actor in a Play (Denzel Washington), and Best Actress in a Play (Viola Davis).[4]

In 2013 the play was revived by Theatre Royal Bath in the UK, starring Lenny Henry as Troy Maxson and directed by Paulette Randall. This production transferred to the Duchess Theatre in London's West End for a run that lasted between June and September 2013.[5]

Reviews of Fences have mostly focused on Lenny Henrys performance in the lead role, which has attracted wide acclaim. Giles Broadbent from the Wharf said Lenny Henry is immense.[6] Charles Spencer from The Telegraph said of Henry He is, and I dont use the word lightly, magnificent.[7] Jane Shilling, also from the Telegraph said What you dont expect is to find Henry entirely unrecognisable in the physically and morally immense character he embodies.[8] Best of Theatre said You may love or loathe his comedy but it is impossible to deny Lenny Henrys determination to become a serious actor of some note.[9] Paul Taylor from The Independent, said the performance cements Henry's status as a serious actor.[10] Henry Hitchings from the Standard Hes on superb form.[11] Simon Edge from the Express Henry gives a perfectly controlled performance, combining physical poise with an armoury of carefully judged vocal ticks and facial mannerisms.[12]

The play itself is noted for its challenging subject matter. Henry Hitchings commented that Fences is dense and unsettling. Its brave to programme such a meaty, daunting piece during the summer months.[13] Camilla Gurlter from A Younger Theatre described it as very heavy and with its nearly three hours of lost hope and broken dreams it can feel long and depressing [14]

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Fences (play) - Wikipedia, the free encyclopedia