I have seen several productions of August Wilson’s play “Fences.” Usually I leave the theater simply admiring the work and the writing.
Leaving the production of “Fences,” playing at Shakespeare & Company in Lenox, MA through August 27, I was exhilarated. The work made me realize “Fences” is more than good theater – it’s truly a great play.
The eye-opening realization comes from a phenomenal performance of Troy Maxson by the actor who prefers to be called ‘ranney.” It is, perhaps, the most honest portrayal of a Wilson character since I saw Charles S. Dutton in the original production of “Ma Rainey’s Black Bottom.”
It’s an approach that does not try to make the character sympathetic. “ranney”, as did Dutton, plays on the man’s justifiable rage at the world to create an unforgettable character.
Too often, actors try to create a sympathetic person about whom we can understand their bitterness. “ranney’ doesn’t care about the audience understanding why the man is the way he is. He trusts the playwright’s words will bring us to that conclusion. And it does.
More important, this interpretation of Troy makes him a truly tragic figure. His fatal flaw is bitterness. Troy was an outstanding baseball player in the Negro Leagues, before Jackie Robinson broke the color barrier and permitted Black talent to play in the major leagues. Now in the year 1953, at age 57, Troy is a garbage man in Pittsburgh. He’s distrustful of everyone, especially those with white faces.
What elevates the play to genius is that Troy’s resentment and determination to control his life eventually alienates all those who love him. This alienation of loved ones is the essence of his tragedy, which is compounded by several bad life choices, both in the past and present.
“ranney” embraces Troy’s anger and control. It is the character’s logic that his labor provides housing, food, and security for his wife and his two sons. It therefore follows that Troy owes them nothing more. Indeed, they owe him their subservience. He is hard-headed and cold to his children and drives them to work at menial jobs rather than permitting them to follow their dreams - clearly unaware that the loss of his own dream is what destroyed his life.
It is a remarkable achievement that “ranney” plays Troy as a bully who degrades the hopes of those around him. Remarkably, his portrayal makes the man a figure for whom we have compassion.
A benefit of playing the man as angry at the social situations that denied Troy is that his loss of dignity is still prevalent for African-Americans. We’d like to think that was only true for the 1950s, but the play, without beating you over the head, makes you better understand the bitterness of racism today.
Though “ranney” gives a performance to remember, the entire cast fleshes out Wilson’s themes of being an outsider denied dreams of a future. If these good people admire and even love Troy – the audience has to share those feelings.
The entire cast is ideal and guided perfectly by director Christopher V. Edwards. This is a production filled with fresh choices, but Edward’s vision of the play and the shaping that it portrays is so honest you cannot help but be swept away by the experience.
Equal to “ranney’s” performance is Ella Joyce as the devoted wife, Rose. She is gentle, compassionate and loving. However, she is no pushover.
Her second act battle with Troy over his cheating on her is a highlight of the show. Too, her line “From right now … this child got a mother. But you are a womanless man,” is chilling and decisive.
Technically, the production elements are on a par with the acting. Costumes and sound serve the play. Jon Savage’s set design provides an expansive, attractive performing space and Aja M. Jackson’s lighting provides both light and shadows that are perfect for a play about the past that speaks to the present.
During the final scene it is nearly impossible to not compare the theme of a play about failed dreams to Arthur Miller’s “Death of a Salesman.”
On the ride home, I pondered the fact that almost everyone knows the tragic fate of the white Willie Loman, but few know the name of a tragic black man by the name of Troy Maxson.
Thank you “ranney,” director Edwards and Shakespeare & Company for rectifying this telling oversight.
“Fences” plays at the Tina Packer Playhouse of Shakespeare & Company through August 27. For schedule and tickets go to Shakespeare.org. Do try to see it.
Bob Goepfert is theater reviewer for the Troy Record.
The views expressed by commentators are solely those of the authors. They do not necessarily reflect the views of this station or its management.