Limited engagement.

Cort Theatre, (4/26/2010 - 7/11/2010)

First Preview: Apr 14, 2010
Opening Date: Apr 26, 2010
Closing Date: Jul 11, 2010
Total Previews: 13
Total Performances: 88

Category: Play, Drama, Revival, Broadway
Setting: Pittsburgh, 1957

Opening Night Production Staff

Theatre Owned / Operated by The Shubert Organization (Philip J. Smith: Chairman; Robert E. Wankel: President)

Produced by Carole Shorenstein Hays and Scott Rudin; Associate Producer: Constanza Romero

Written by August Wilson; Original Music by Branford Marsalis

Directed by Kenny Leon; Associate Director: Todd Kreidler

Scenic Design by Santo Loquasto; Costume Design by Constanza Romero; Lighting Design by Brian MacDevitt; Sound Design by Acme Sound Partners and Nevin Steinberg; Wig Design by Charles LaPointe; Associate Scenic Design: Jenny B. Sawyers; Associate Costume Design: Katie Irish; Associate Lighting Design: Jennifer Schriever; Associate Sound Design: Nick Borisjuk; Assistant Scenic Design: Antje Ellermann and Yoki Lai; Assistant Lighting Design: Aaron Parsekian

General Manager: Stuart Thompson Productions and David Turner; Company Manager: Chris Morey

Production Manager: Aurora Productions; Production Stage Manager: Narda E. Alcorn; Stage Manager: Michael P. Zaleski

Casting: MelCap Casting; General Press Representative: Boneau / Bryan-Brown; Fight direction by Rick Sordelet; Fight Captain: Chris Chalk; Advertising: SPOTCo, Inc.; Marketing: Walk Tall Girl Productions; Photographer: Joan Marcus

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Opening Night Cast

Denzel WashingtonTroy Maxson
Viola DavisRose
Troy's wife
Chris ChalkCorey
Troy and Rose's son
SaCha Stewart-ColemanRaynell
Troy's daughter
Eden Duncan-SmithRaynell
Troy's daughter
Stephen McKinley HendersonJim Bono
Troy's friend
Russell HornsbyLyons
Troy's oldest son by a previous marriage
Mykelti WilliamsonGabriel
Troy's brother

Standby: Jason Dirden (Corey, Lyons), Michael Genet (Gabriel, Jim Bono), Roslyn Ruff (Rose) and Keith Randolph Smith (Troy Maxson)

Awards and Nominations

Tony Award®

 2010 Best Original Score Written for the Theatre [nominee] 

Featuring songs by Branford Marsalis

winner 2010 Best Revival of a Play [winner] 

Produced by Carole Shorenstein Hays and Scott Rudin

winner 2010 Best Actor in a Play [winner] 

Denzel Washington

winner 2010 Best Actress in a Play [winner] 

Viola Davis

 2010 Best Featured Actor in a Play [nominee] 

Stephen McKinley Henderson

 2010 Best Direction of a Play [nominee] 

Kenny Leon

 2010 Best Scenic Design of a Play [nominee] 

Santo Loquasto

 2010 Best Costume Design of a Play [nominee] 

Constanza Romero

 2010 Best Lighting Design of a Play [nominee] 

Brian MacDevitt

 2010 Best Sound Design of a Play [nominee] 

Sound Design by Acme Sound Partners

Drama Desk Award

winner 2010 Outstanding Revival of a Play [winner] 

Produced by Carole Shorenstein Hays and Scott Rudin

 2010 Outstanding Featured Actor in a Play [nominee] 

Chris Chalk

winner 2010 Outstanding Featured Actress in a Play [winner] 

Viola Davis

winner 2010 Outstanding Music in a Play [winner] 

Featuring songs by Branford Marsalis

Theatre World

winner 2010 Award [recipient] 

Chris Chalk


AP: "Denzel Washington stars in 'Fences' on Broadway"

Family, particularly fathers and sons. Can there be a more inexhaustible topic for great playwrights?

From Shakespeare (think all those “Henry” history plays) to Arthur Miller (consider “All My Sons” and “Death of a Salesman”), the subject has been potent dramatic fodder. And in “Fences,” August Wilson made his own unmistakable, powerful contribution to the genre in what is perhaps his most personal play.

First seen in New York in 1987 with James Earl Jones, “Fences” has now returned with an equally starry actor, Denzel Washington in the lead. Washington, last on Broadway in 2005 with a production of “Julius Caesar,” acquits himself well in this blistering revival, directed with a sure, steady hand by Wilson veteran Kenny Leon. It’s a big, bold performance in a big, bold play, rife with emotion-drenched soliloquies for its star about life, love, death and the devil.

The production opened Monday at Broadway’s Cort Theatre for limited engagement through July 11.

Washington portrays Troy Maxson, a 53-year old black sanitation worker who once had dreams of professional baseball glory. The time is the late 1950s, when black baseball players were beginning to make names for themselves in the major white leagues. Troy came along too soon, and his aspirations died hard but his anger never cooled.

Instead, he channeled his life into his family: wife Rosa (Viola Davis) and teenage son (Chris Chalk). The key word here is responsibility, a word Troy reverse above all else. That responsibility runs headlong into his son’s desire to play football and win a possible college scholarship.

A clash is inevitable, and the tension builds slowly as Troy reveals details about his past life- his volatile dealings with his own father, his time in prison (a stint that cost him his first wife) and the chance to be around his oldest son (Russell Hornsby).

But the most moving part of “Fences” deals with Troy’s complex relationship with his wife. The two have a natural, easy rapport, often sparked by Troy’s sexual banter. And his bluster is soothed by Rose’s deceptively calm demeanor.

Davis gives an incandescent performance as Rosa, a wife who has sacrificed all for her family. Husband and child anchor her. And when that bond is broken, Rosa makes some surprising choices, decisions that Davis conveys with devastating truthfulness.

The play’s one problematic, obvious character is Gabriel, Troy’s brain-damaged brother, whose otherworldly insight courses throughout “Fences.” Spiritually clairvoyant characters are staples of Wilson’s plays, and, Gabriel, complete with trumpet and played with childlike simplicity by Mykelti Williamson, is no exception.

And there is some major truth-telling by other supporting characters as well.

“Some people build fences to keep people out … and other people build fences to keep people in,” says Troy’s good pal, Bono, portrayed by the indispensable Stephen McKinley Henderson, another Wilson pro.

In its previous New York incarnation, “Fences,” was one of Wilson’s 10 decade-by-decade works chronicling the black experience in 20th century America, proved to be his most commercially successful Broadway production. You can see why in this revival. The people he created are so gloriously, recognizably human.


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