From Past to Present: Director Delicia Turner Sonnenberg on the Enduring Power of August Wilson’s FENCES

“Fences has always been my favorite. It’s about a family, and we all have families. That’s why it endures.” – Delicia Turner Sonnenberg

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In San Diego, director Delicia Turner Sonnenberg has carved out an artistic home grounded in storytelling, community, and legacy. Originally from Atlanta, Sonnenberg’s journey as a director has been deeply intertwined with her own experiences of family, culture, and the passage of time. Now, she returns to August Wilson’s FENCES—a play she first directed in 2008—with renewed perspective and a fresh cast, exploring the rhythms and responsibilities of family through the lens of 1957, a pivotal year for both the nation and its characters.

“FENCES has always been my favorite,” Sonnenberg says. “The storytelling is so tight. It’s about a family, and we all have families. That’s why it endures.” The play’s intimate narrative, set against a period of social upheaval, feels urgent now as it did then. “1957 was a time when Black Americans were coming out of a dark, violent past with hopes of a better future. That resonates today because we still need change.”

One of the hallmarks of August Wilson’s Century Cycle is its capacity to grow with the artists who perform it. Sonnenberg notes that actors may start by playing younger roles like Cory or Lyons, and eventually move to Troy as they age. “The first time I directed FENCES, I was Lyons’ age—in my 30s. Now I’m Troy’s age, in my 50s. The play resonates differently depending on where you are in your family relationships. That’s what keeps it rich.”

Language and rhythm are central to Wilson’s work, and Sonnenberg emphasizes the importance of honoring both while allowing actors to bring their own authenticity. “A lot of it is in the magic of the writing. August Wilson was a poet, and the rhythm is inescapable. As a director, I make sure actors aren’t ‘playing each other’s notes.’ It’s really about letting them discover the rhythm.” She points to generational differences: her current Troy reflects her Generation X sensibilities, moving to hip-hop-influenced rhythms, whereas earlier productions reflected the cadence of Baby Boomers. “But the text supports both approaches. As August Wilson would say, ‘It’s all blues.’”

Each production brings new discoveries, and Sonnenberg approaches FENCES as if it were a brand-new play. “It’s evergreen,” she explains. “Because it’s a different cast, certain moments will resonate differently, even for people seeing it a second or third time. The actors bring their own artistry, and that’s what keeps it interesting—you’ve never seen these actors tell this story from their perspective.”

Themes of personal responsibility, generational conflict, and systemic barriers continue to resonate in her work. Sonnenberg is especially interested in how younger audiences will perceive Troy. “It’s important that they see him as human. He was a good father doing the best he could. He didn’t have the vocabulary we have now, but he loved his sons. It might look different from today, but it was real love.”

Troy’s experiences—being denied opportunities in baseball because of race, facing societal limits—still echo today. “Even now, when we talk about identity, gender, and access to opportunity, those barriers exist. That’s why the play continues to resonate.”

Collaboration is at the heart of Sonnenberg’s process. Working at the Old Globe Theatre, she has been inspired by the cast and creative team’s energy. “I love walking into a room where people are excited about the play—and everyone was. That’s incredibly rewarding. The set designer did a brilliant job grounding the play in its time and place while honoring the Hill District. You don’t just see a house—you feel the surrounding neighborhood.”

For Sonnenberg, directing is a balance between the overarching story and the individual actor’s creativity. “I try to stay responsive to both. That’s what I love about directing—holding the big picture while letting actors color it in their own way.”

Ultimately, she hopes audiences leave entertained, moved, and inspired to explore more of Wilson’s Century Cycle. “You don’t know where you are until you know where you’ve been,” she reflects. “August Wilson once said, before you go to Africa, start with your grandparents—know their stories. Knowing the stories of those who came before us helps us understand who we are now.”

With Sonnenberg at the helm, this production of FENCES promises not only to honor the legacy of August Wilson but also to invite audiences into the intimate, timeless complexities of family, responsibility, and identity—showing that even decades later, these stories still speak to the heart of who we are.

FENCES is playing now at the Old Globe Theatre in Balboa Park through May 3. Click HERE or on image for Tickets.

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