Theatre, West End
 (© Nobby Clark)
© Nobby ClarkLenny Henry (Troy) and Tanya Moodie (Rose)
 (© Nobby Clark)
© Nobby ClarkLenny Henry (Troy)
 (© Nobby Clark)
© Nobby ClarkLenny Henry (Troy) and Tanya Moodie (Rose)
 (© Nobby Clark)
© Nobby ClarkPeter Bankole and Lenny Henry
 (© Nobby Clark)
© Nobby ClarkPeter Bankole, Colin McFarlane and Lenny Henry
 (Nobby Clark)
Nobby ClarkLenny Henry and Ashley Zhangazha
 (© Nobby Clark)
© Nobby ClarkLenny Henry and Colin McFarlane
 (© Nobby Clark)
© Nobby ClarkLennyt Henry (Troy) and Tanya Moodie (Rose)

Lenny Henry’s transition from a likeable TV comic of little substance to a stage actor of undeniable gravitas is complete.

He first trod the boards in 2009, as Shakespeare’s Othello – theatre’s most famous black hero, but not actually the most demanding role of the play (Othello’s nemesis Iago has more lines).

However, Troy Maxson, the bitter, lyrical protagonist of August Wilson’s great American tragedy ‘Fences’ is something else entirely. A mercurial monolith with the lion’s share of the script, Troy is an embittered ex-baseball player who sourly turns his back on his family’s love, yet occasionally blindsides us with the poetic outpourings of his soul.

Henry rises to the challenge admirably – but not, for me, quite enough to transcend Paulette Randell’s slightly leaden-footed production. He is entrancing as the damaged-but-soulful Troy, who sings about his dead dog Blue, spins fantastic yarns around his encounters with death and the devil, and banters easily with best friend Jim.

But I’m not sure he nails the other Troy, his darker side. Henry is more morose than threatening, and while that’s a legitimate enough interpretation of the character, his glum delivery occasionally feels like it does a disservice to the play’s soaring language.

Nonetheless, it’s one of the truly titanic stage roles, and Henry indubitably pulls it off, which pretty much suggests he can now handle anything the theatre throws at him. And a terrific ensemble supports him, with Tanya Moodie particularly wonderful as Troy’s wife Rose, a woman whose radiant decency shines a light into Troy’s deep flaws.

A little staid and a little down at heel, this is a fairly modest revival of a great play. But on those terms, it’s a success.

By Andrzej Lukowski


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Event website: http://www.nimaxtheatres.com

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Oh yes, it's good fun to see a witty play, or emerge from the theatre humming the notes and tapping your feet. This play is no one night stand but a full blown relationship and I was blown away. Lenny's sun is shining and I am bathing in his sunlight. This is a play to keep you awake at night as you watch the replay in your head. In his youth Troy Maxson played brilliant baseball for the Negro League but in the late 1950's segregation in America was still firmly in situ and Troy never achieved the Major League. Bitterness sows its seeds to lasting effect throughout Troy's life. The cast is tight and strong, particularly Rose (Tanya Moodie) as Troy's deceived wife, who radiates goodness and love. Her family are reunited following Troy's death and when the play closes we at last see Rose's fence completed. A rewarding and thought provoking play.

Brilliant performances, powerful, mesmerising writing. Yes, Lenny Henry's 'Troy' commands attention and thought but the entire cast is strong, especially Rose. We fall off a precipice with her when Troy's deception is revealed. Dark, dense fare, but ultimately deeply rewarding as we witness the cast plumb human despair, with a moment of redemption towards the close.

I just couldn't connect with it. As the reviwer said there was something missing in Henry's performance. The younger son was stiff and wooden. The end scence was far too over acted and dragged on and on. Shame.