American playwright August Wilson’s play Fences has been resurrected by Headlong in conjunction with Leeds Playhouse, who are collaborating with Lyric Hammersmith Theatre, and HOME in Manchester, also returning to their Associate partners Oxford Playhouse on this tour. Written in 1985 by Wilson, the play first opened on Broadway and earned him a Pulitzer Prize and Tony Award, this follows on from a previous successful production of Wilson’s Jitney.
Set in 1950’s Pittsburgh, Fences chronicles the experiences of the Maxson family, as they navigate life as an African Americans faced with second class treatment by white Americans as they try to raise their children. Troy Maxson (Ray Fearon) is not happy with his lot, he is married to Rose (Madeline Appiah), and they have a younger son Cory (Simon Anthony-Roden) and Troy has a son Lyons (Josh Tedeku). Troy and his long-time friend Jim Bono (Everal A Walsh) work together sorting and disposing of rubbish – Troy complains that the white men are always the drivers, and the black men get their hands dirty sorting the rubbish. To the outside world the Maxsons appear to be a happy family, but there is a dangerous streak of anger and regret running through the blood of Troy, that gradually eats away at his goodwill and temperament. We hear about his difficult childhood and his lost dreams, but his inability to shake this off, means that his long-suffering wife Rose, must be the backbone of the family.
Wilson’s play lulls us into a false sense of security in the early scenes, as we see Fearon inhabiting Troy’s character with playful banter with his friend Bono, and with affection for Rose. At first glance, even though they struggle financially they appear happy, they own their own home, they have food on the table but there is an undercurrent of dissatisfaction that Troy cannot contain, and it is his family that must suffer the consequences. Fearon has a strong presence on stage. He plays Troy with an antagonistic attitude that invites people to challenge him, barely holding himself in-check, his friend Bono knows the darker side to Troy and credits Rose with being the good woman who has saved him. Appiah as Rose plays the game at first, keeping the peace and the home, making sure that everyone is welcomed and well fed. But when she is challenged, we see that she is no pushover and may be the stronger character of the two.
The backdrop of 1950’s Pittsburgh plays into the feeling of oppression, people who have ambition and promise which is denied due to the colour of their skin. This filters down the generations as the poor treatment of the parents impacts the way that they parent, and their grudges lead to resentment, and a simmering need for justice. Both of the children, Lyons and Cory have ambitions, but their father believes that he is protecting them by pouring cold water on their dreams, but this only drives a wedge into his relationship with them.
Wilson himself was raised by his mother with an absent father, and this experience can be seen in his writing. The play is lengthy, but it gives time for the characters to gradually show themselves, it does not feel rushed. Wilson has given the actors some wonderful material to work with, which allows Fearon who already commands the stage with his stature, to revel in the twists and turns of his character’s life. Bono’s character adds another layer to Troy’s history as they have known each other from their teenage years, and his poor brother Gabriel who was injured in the war has given him money from his war injury payment to give them a roof over their head – this feeling of having been given a handout eats away at him.
The writing from Wilson is compelling, the performances from the whole cast absorbing, the set by Lily Arnold is the perfect backdrop, and director Daniel Bailey has squeezed everything that he can from this wonderful script. It is hard to understand why it has taken over a decade for this play to be revived, but well done to Headlong for taking a chance – it has well and truly paid off!
The play will stay at HOME in Manchester until the 7th November, and then it moves on to Nottingham Playhouse from the 10th-14th November 2026. Make sure you catch this play as there is only a small window of opportunity left.
To book tickets go to – https://www.headlong.co.uk/productions/fences
Reviewer: Caroline Worswick
Reviewed: 3rd November 2026
Theatre Muse UK Rating: *****
