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Theater review: 'Fences' is a hit for American Stage
American Stage
Evander Duck Jr., Travus Leroux and Jayne Trinette star in American Stage's production of August Wilson's Pulitzer Prize-winning play "Fences."
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Published: September 29, 2009
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American Stage Theatre Company has hit another home run with "Fences," the company's third production from August Wilson's 10-play Century Cycle. Each play chronicles a decade of the African American experience, nine of which are set in Pittsburgh's Hill District. "Fences," Wilson's sixth installment, takes place from 1957 to 1965 and examines the struggles of the Maxson family.
Garbage man Troy Maxson (Evander Duck Jr.) has a wife, two sons and a big chip on his shoulder. He played for a Negro baseball league but blames the "white man" for thwarting his career. He forbids his 17-year-old son Cory (Travus A. Leroux) from playing football because, he says, he doesn't want Cory to suffer the same fate. Troy can't admit, though, that he's more afraid Cory will prove him wrong and live the life he couldn't have.
Despite his bitter outlook, Troy enjoys a faithful following that includes his wife Rose (Jayne Trinette), his oldest son Lyons (Reginald Trent Robinson Jr.), his brother Gabe (Ron Bobb-Semple) and his best friend Bono (Kim Sullivan). They take the good with the bad — his practicality and strong work ethic with self-righteousness and unyielding judgment.
Troy is so hard on himself and everyone else that something has to give. The result is Raynell (Trinity Edwards), a child born of an affair with another woman. Troy shakes the confidence of his family and Bono that he would always do right. It's clear that the rules he lays down for others and the ones he lives by differ considerably.
Wilson's richly developed characters and language are real enough to give audiences the feel and taste of the Maxsons' world. Director Timothy Douglas, with Jeffrey W. Dean's authentic set design and Saidah Ben Judah's costumes, realized the full potential of the playwright's work.
Duck's powerful performance soared above Dean's ramshackle house and stoop. He was proud, strong, defiant — in perfect step with a character that justifies every failure or transgression with unwavering arrogance.
In trying to convey emotional restraint, Leroux was stiff and uncomfortable. He didn't seem part of the company on stage, though perhaps this was intentional to emphasize Cory's separateness from Troy.
The rest of the cast was strong, and Edwards — who popped up in the final act — was cute as a bug's ear.
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