Review: Fences (Lyric Hammersmith)

Review by Cat Wiltshire

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A fence can serve many purposes; it can protect what matters most, keep unwanted visitors out or create a barrier between people. But what happens when the walls we build to protect ourselves end up hurting those closest to us? August Wilson’s Pulitzer Prize-winning Fences explores family, love, racism and the lasting effects of a difficult past. Directed by Daniel Bailey, this powerful revival at the Lyric Hammersmith follows the Maxson family as they struggle with broken dreams, buried resentment, and relationships pushed to breaking point.

Set in 1950’s America, Fences follows the African American family led by Troy, a former convict who now works as a rubbish collector. Once a talented baseball player, Troy believes he was denied the chance to play professionally because of his skin colour. Having grown up surrounded by hardship and racism, he has become a bitter, angry man who is struggling to come to terms with the opportunities he was never given.

Troy’s disappointment with life damages his family, particularly his two sons; rather than encouraging them to follow their dreams, he lets his own experiences shape their futures, believing they will face the same struggles he did. His harsh attitude and refusal to accept that times are changing create tension within the family. For Troy, being a good father means putting food on the table and a roof over his family’s heads, not showing love or support. We see how this affects his two sons: Lyons, played by Michael Ahomka-Lindsay, a grown-up musician, and Cory, played by Josh Tedeku, a talented young footballer whose dreams of a college scholarship his father crushes. Troy’s wife, Rose, played by Madeline Appiah, also suffers from having to put aside her own hopes and dreams to care for her family.

August Wilson’s writing is the strongest part of Fences, bringing together powerful storytelling, comedy, and emotion, paired with dialogue that has a natural rhythm. Characters often tell stories about their past that reveal more about who they are and what they have been through than their current situations. The play includes plenty of long speeches, particularly from Troy, who has a habit of turning even the simplest conversation into a lengthy story. While those speeches give us a deeper understanding of the characters, they can feel drawn out at times and slow the play down. However, August Wilson has a real talent for making everyday conversations feel meaningful, using the struggles of one family to explore much bigger issues such as racism, identity, love and the effects of the past. His writing is rich in detail, and although it demands patience from the audience, the power of the story he tells is undeniable.

Daniel Bailey’s direction brings a fresh feel to August Wilson’s classic play while staying true to its powerful story; he lets the actors take centre stage, giving them room to explore their characters and the difficult family relationships. His use of music adds energy to the production, while clever staging helps bring out the tension, humour and heartbreak. He also makes good use of quieter moments, allowing the audience to see the emotions behind the characters' words. Daniel Bailey balances the harsh realities of Troy’s life with moments of warmth and hope, creating a thoughtful production.

Ray Fearon delivers a powerful performance as Troy, capturing both his strength and the pain beneath his tough exterior. Although it is easy to dislike Troy for how he treats his family and those closest to him, Fearon’s performance also makes it possible to understand how his past has shaped the man he's become. One memorable moment sees Troy standing alone, defiantly challenging Death and declaring that he will build a fence to keep it away from his family. Ray Fearon delivers this speech with a mixture of anger, pride, and desperation, revealing a man truly terrified of losing control of his life. Another powerful moment comes when Troy confronts his son Cory, and growing tensions eventually turn into a physical fight involving a baseball bat. Fearon makes Troy genuinely frightening in this scene, showing just how far his need for control has pushed him.

Madeline Appiah gives a truly heartbreaking performance as a woman whose loyalty and sacrifices are often taken for granted. Her portrayal of Rose as a warm, loving and patient woman counters Troy's larger-than-life personality with affection and quiet frustration. In the second act, she really shines in a heartbreaking confrontation where she delivers a speech with a powerful mix of hurt, anger, and heartbreak, showing a woman who has finally reached her breaking point. Even in her most emotional moments, Madeline Appiah never loses Rose’s dignity or compassion, making her a character audiences can't help but feel for. It is a standout performance that gives the play some of its most powerful and memorable moments.

Lily Arnold's impressive set design brings the Maxson family home to life with a realistic brick house, wooden porch and garden set against a dusky backdrop. A large tree stands to the side, and the unfinished fence that gives the play its name surrounds the property. Most of the action takes place outside the house, but at times the set rotates to reveal the inside. This clever use of the set gives us a glimpse behind the family's seemingly respectable home, showing that things are not quite as they appear. The fence is ever present, reflecting the barriers between the family members and the struggles they face. It is a simple but effective design that adds another layer to the story without taking away from the performances.

The lighting design also shapes the show, working alongside Lily Arnold's set to create the changing moods of Fences. Rather than drawing attention to itself, the lighting subtly reflects emotions on stage, from moments of warmth and happiness to those filled with anger, tension and heartbreak. Working closely with the director, lighting designer Jai Morjaria created a design that supports the story and its powerful themes.

Music plays an important role in this production of Fences, with Jazz and Blues helping to bring the story and its characters to life. During the 1950’s and 1960’s, Jazz was a huge part of Black American culture. Daniel Bailey uses this to explore the emotions and relationships within the Maxon family, with each character having their own connection to music, whether that's Troy singing the song passed down by his father, Rose singing about Jesus, Lyons playing jazz, or Gabe playing his trumpet. Music is more than just background sound in this production; it helps tell the story, showing the characters' personalities, their family history and the things they sometimes struggle to put into words.

The whole production is infused with Jazz and Blues music. Khali Madovi, composer and sound designer, has created a musical world that reflects both the joy and sadness of the play using different sounds and melodies to match the changing moods on stage. A recurring musical theme runs throughout the production, connecting the different moments and characters while also reflecting the passing of time and the play's spiritual side. The music adds warmth and emotion to the story, while reminding us of the important place it holds in the family's lives.

Fences is not a light-hearted play, and it offers audiences a lot to take in and think about. It tackles some difficult subjects, including racism, family relationships, marriage, parenthood, poverty, and the lasting effects of trauma passed down through generations. The story has many layers, and the characters are far from perfect, often leaving the audience questioning their actions and decisions. At times, the play can feel quite heavy, particularly as tensions within the family grow and painful truths come to light. However, moments of warmth and humour also offer welcome relief. Although the story is set in 1950s America, this striking new production makes many of its issues relevant today, giving audiences plenty to reflect on long after the curtain falls.

Fences plays at the Lyric Hammersmith until 31st October 2026. Tickets from https://allthatdazzles.londontheatredirect.com/play/august-wilson-fences-tickets

Photos by Tyler Fayose