We had the opportunity to experience August Wilson’s FENCES, under the direction of Delicia Turner Sonnenberg—and let’s just say, the entire cast knocks it out of the park.
From the moment we walked into the Donald and Darlene Shiley Stage at The Old Globe and took our seats, we were immediately captivated. The set design by Lawrence E. Moten III is striking and immersive, thoughtfully crafted to reflect Wilson’s Century Cycle. Set in the 1950s Hill District of Pittsburgh—Wilson’s birthplace—the production captures a time rich in Black culture yet marked by displacement and change.
Everything about this production works.
The setting, the costumes, the performances—each element is executed with precision and care.
At the center of it all is Troy Maxson, a deeply complex 53-year-old patriarch, played brilliantly by Dorian Missick. Missick, known for his work across television and film, delivers a performance here that truly hits different. He commands the stage with a presence that is impossible to ignore. Whether you find yourself loving or resenting Troy, you will undoubtedly leave the theater talking about him.
Troy is a hardworking sanitation worker and former baseball player who carries deep resentment. He believes his chance at professional baseball was stolen from him due to racism, and that bitterness spills into his relationships—particularly with his youngest son, Cory, played by Omari K. Chancellor. Cory is a promising high school athlete being recruited by colleges, mirroring the dreams Troy once had. Their relationship is layered and open to interpretation: is Troy trying to protect his son from the pain he endured, or is he projecting his own unresolved anger?
Chancellor delivers a powerful performance, especially in the emotionally charged confrontations with Missick. Their scenes are gripping, leaving the audience audibly gasping.
Troy’s complicated nature extends to his older son Lyons, played by Mister Fitzgerald, a musician who often finds himself asking his father for financial help. His strained relationship with his own father also looms large—another hardworking yet embittered man whose life experiences echo through Troy’s own.
Grounding the story is Rose, Troy’s wife of 18 years, portrayed with strength and grace by De’Adre Aziza. Rose is the emotional backbone of the family—a source of love, stability, and quiet resilience. She extends that care not only to Troy and his sons but also to his brother Gabriel, played by Donathan Walters, a disabled war veteran who brings both heart and depth to the story.
In Act II, Rose steps fully into her power after Troy delivers a life-altering revelation. The audience was firmly “Team Rose”—not just because of what happens, but because of the raw, commanding performance Aziza brings to the moment.
The one steady relationship in Troy’s life is his friendship with Bono, played by Rondrell McCormick, who serves as the voice of reason throughout the play.
As the story unfolds, we hear about Alberta—a character we never meet but whose presence adds further complication to Troy’s life. That thread ultimately introduces Raynell, played by young Justus Alexander, who brings warmth and innocence to the stage. In a touching closing moment, Raynell and Cory share a song about a dog “Old Blue,” offering a glimpse into Troy’s softer side and leaving the audience with a sense of reflection.
As director Sonnenberg shared in an interview, “FENCES has always been my favorite. The storytelling is so tight. It’s about a family—and we all have families. That’s why it endures.”
And she’s absolutely right.
August Wilson’s FENCES at The Old Globe is a must-see. Whether it’s your first time experiencing it or you’re revisiting a classic, this production is powerful, moving, and unforgettable.
Edee Johnson and Gwen Pierce contributed to writing this review.