REVIEW: Majestic Theater, “August Wilson’s Fences”

Majestic Theater, West Springfield, MA

www.majestictheater.com

through April 6, 2025

by Beverly Dane

 

Photo by Katie Rankins

August Wilson’s “Fences” at the Majestic Theater is a joy. Some of the subject matter is difficult to comprehend because times have changed since Wilson wrote his masterpiece in the early '80s. For example, the “N” word is used liberally, and the first time it is uttered the audience seemed a little uncomfortable. Yet, as the plot evolves and the characters become known, the audience realizes that this is a slice of life, and as all of Wilson’s plays in what is termed the “Pittsburgh Cycle,” the play examines African-American life.

Director Michael Ofori remains true to the original script, though musical interludes seem to be a bit more contemporary and helps the scenes flow from one to another with just the right references to popular music. Set Designer Calypso Michelet’s backyard scene is magnificent and realistic, from the quality of the brick houses to the details of the kitchen, seen clearly through the windows and door of the Maxxon House, where the action takes place.

Much of the credit for this production goes to the very talented Dominic Carter, who, as Troy, the protagonist of the story, confides in his friend, Bono (Greg Mitchell Alexander) and establishes a loving relationship with his wife Rose (Kyle Boatwright). Carter and Boatwright are a wonderful stage match.  She lovingly lets Troy’s Friday night drinking show how she controls Troy’s boundaries, so they are kept in check. Martinez Napoleon as Gabriel, Troy’s unfortunate brother who was wounded in the war, is a sympathetic character who has become mentally challenged because of his injury. Napoleon does a fine job taking the stage in his scenes, but also actively observes from the periphery to show his “angelic” side and familiarity with Saint Peter and Pearly Gates.

Troy’s sons are played by Silk Johnson as Lyons, the older son, and Mike Daniel is broodingly contemplative as Cory, the younger son. The roll of Raynell Maxxon, the young daughter, is shared by Louise Coly and Malayah Charland on alternate nights.

However, it is Carter as Troy Maxxon who commands the stage in Act I, with not only a masterful grasp of Wilson's poetic words, but a physicality that makes the audience believe he is actually imbibing. Troy is the type of man who somehow always strikes out.  His past is one riddled with achievements and let-downs.   His relationship to his sons seems cold, but the behavior underscores the cultural dilemma of a Black man in the '50s.

Like many of Wilson’s plays, the first act is primarily exposition, setting up the action that is so satisfying in Act II.

When the audience learns what Troy has been doing to keep himself “entertained,” the compassion for the character undergoes a transformation.   Now, Troy seems less like our hero, and more like a heel, making him a very complex character.  So much happens in Act Two that the audience’s emotions are tugged in all directions. But despite the complications, Ofori keeps the attention clearly focused. The family undergoes pain, reconciliation, and complexity. This is a satisfying act that leaves the audience rooting for some characters, but still, concerned about all.

There have been some wonderful productions of “Fences” over the years, and the current show at the Majestic is just as powerful as any.