In all conscience, we may have slightly
patronised Lenny Henry on his previous dramatic stage appearances. He
did a solid job as Othello, but one wanted to be encouraging, welcome
him into the fold and all that; in
The
Comedy Of Errors, he was more at ease, perhaps because closer to
his more usual comic territory. But this… this is indubitably the
business.
As fiftysomething refuse collector Troy Maxson, Henry at first uses his
natural comic warmth – facial expressions or just darts of the eyes, at
times even exaggerated voices – but he does so not as a shtick but to
establish the warmer side of Troy. (He is aided in that much of this
banter is performed to Colin McFarlane, whose record is as a comic
performer in the likes of
The Fast
Show no less than as a serious actor and who proves an
expectedly excellent foil.) But as the tensions in Troy’s life become
first apparent and then inescapable, Henry gradually discards these
mannerisms; more and more we see him rumbling or outright raging, and
he does so powerfully. At more or less the same age as Troy, his face
is beginning to show gravitas: at some moments he reminded me of Clarke
Peters in his more grinding moments in
The Wire, at others of sufferer
reggae singer Bunny Wailer. His portrayal of Troy’s rage at his
domestic disintegration made me begin to look forward to seeing him in
a few years’ time essay King Lear.
Fences, the 1950s episode in
August Wilson’s project to write a play set in Pittsburgh during each
decade of the 20th century, garnered a Pulitzer and a Tony on its 1987
première. One can see why it is regarded as one of the strongest parts
of Wilson’s cycle. It is at times overwritten; however, this is
principally in a final, Troy-posthumous scene which is too determined
to round everything off. Elsewhere he strikes a far better balance
between writerly concerns and human interaction; that banter I talked
about is not imposed on Wilson’s script, it springs naturally from it
in Paulette Randall’s agile production. And Henry is a beloved figure
in Britain, but on this occasion we do not need to
want to admire him.
Written for the Financial
Times.