By Larry Taylor/Garden Grove Journal
South Coast Repertory presents a riveting revival of August Wilson’s prize-winning “Fences,” containing a lead performance of shattering depth.
Wilson’s 1978 play, winner of a Pulitzer Prize and a Tony, deals with life in 1957 in Pittsburgh’s black community. At that time, a few years before the Civil Rights Movement, feelings of repression were building.
The play centers around the subjugated Troy Maxson and his family. Troy was a star in the Negro baseball league, in the era before Jackie Robinson broke the color line in the majors. He is embittered because he couldn’t go on to greater heights in the majors. “If you can play, they should let you okay” he declaims.
Too old to be signed, he now feels bogged down in his job as a garbage collector. He strongly feels that he is mired by de facto segregation with little hope for the future.
Charlie Robinson’s powerful performance as Troy brings out all the conflicted feelings inside this complicated man. A primary target for his rage is his son who won’t obey him and get a job after school which would make him forego his promising high school football career and a chance for college. However, with all Troy’s bitterness, he prides himself on being responsible and always taking care of his family. With all, he has a warm side. This is shown as he affectionately flirts with his wife.
As Troy’s wife, Juanita Jennings is formidable. Although always loyal to her husband, she is not afraid to confront him over his harsh treatment of his son. Her fidelity, furthermore, is challenged later in the play’s climactic scene. .
Always driving himself, Troy only seems to relax during the backyard visits of his old friend Bono (an excellent Gregg Daniels). Here the two tell tales of the old days in the South, and sing and dance the traditional blues.
As the rebellious son Cory, Larry Bates gives a spirited performance. Trying to please his father and gain a football scholarship is an impossible task. He is the one who bears the brunt of his father’s bitterness against the racially-rigged system. Troy insists that college is not important, that Cory must train for a trade which he sees as providing a better future for his son. Their differences reflect the universal struggle between father and son over conflicting values.
Almost stealing the show is Baron Kelly as Gabe, Troy’s brother, who received brain damage in the war. Now he is prone to hallucinatory visions of heaven and hell which he vividly describes. Later, he figures prominently in the searing final scene.
A lot happens in the play – Troy has a job crisis, son Cory breaks with his father, Gabe gets arrested and Troy’s actions bring on a crisis in the marriage. With all this, director Seret Scott moves the complicated plot along at a brisk pace.
Effectively designed by Shaun Motley, the Maxson’s shabby, grass-less backyard dominates the set. The fence Troy is building (always nagging his son to help) is the focal point.
In the end, it represents the way Troy has blocked out his family with his behavior, as well a symbolizing how he has finally sealed himself in..
“Fences” can be seen through Feb. 21 on Segerstrom Stage in Costa Mesa.
