By Charlotte K. Jarmy

Theater review

The audience stood, clapped and whistled at the end of “Fences,” August Wilson’s drama presented by TheatreWorks at Lucie Stern Theater in Palo Alto.

The distinguished playwright could be proud of this production so ably directed by Harry Elam.

The superb acting of Anthony J. Haney as Troy Maxon held the audience as he develops his role of the bitter former baseball star in the Negro League with power and eloquence, every movement, every facial expression building to a dramatic climax that is shattering.

Wilson wrote this Pulitzer Prize-winning drama pulling truth and meaning from a story of a black family trying to fulfill their conflicting dreams. Troy’s world encompasses the physically demanding job of a garbage collector struggling to keep his wife Rose (Gloria Weinstock) and his teen-aged son Cory (Cyril Jamal Cooper) provided with the basic needs of food on the table and a roof over their heads. Weinstock’s admirably played role showed Rose’s understanding that a woman can nurture and love her family, despite her husband’s bitterness against the white society that he blames for his fall from glory in his younger days.

Troy’s happiest hours come on payday when he and best friend Jim Bono (James Brooks) spend time at their favorite bar. Brooks presented a clear and decent contrast to Troy as he tries to keep his friend from his dalliance with a young waitress.

Haney was at his dramatic best when he regaled his family with exaggerated stories. Two of his stories told of his encounter with the devil and his battle with death. They represent metaphors with the conflicts he has throughout the play.

One major conflict is with son Cory, who dreams of using a football career to enter college and make something of himself. Troy refuses to give his permission; instead he demands that he receive respect, be called “sir” and be obeyed. Young Cooper was no match for Haney’s powerful presence, but his acting developed more strength as his character deepens into passionate rebellion.

Another major conflict is Troy’s own conscience that tells him he has used his mentally disturbed brother’s money to buy the home they live in. Colman Domingo gave a gripping performance as the brother Gabriel, an eccentric and pathetic man who dreams of playing his horn before the gates of heaven. Once again, Rose shone as the loving, maternal center of this turbulent family. In the 1950s, the time of the drama, a woman’s personal dreams are lost as she caters to the needs of her family. Wilson uses the literary concept of the tragic hero, a man whose own weakness leads to his doom. Troy cannot avoid his devil and his fiercest opponent, death.

The set, a simple old house sitting on a dirt-filled back yard, was realistically designed by Andrea Bechert and gave us a subtle idea of the family’s struggles within their yard. Lighting by Steven Mannshardt also helped to point out the dramatic changes occurring - particularly at the stirring conclusion.

In Wilson’s own playbill notes, the descendants of African slaves “lived in pursuit of their own dreams. That they could breathe free, finally, and stand to meet life with the force and dignity and whatever eloquence the heart could call upon.”

“Fences” runs through April 9. For tickets, call 903-6000.