New York is supposed to be the pinnacle of great theater and Princeton isn't too far away; now, we may have to go ahead and add the McCarter Theater to that list.  Their production of "Fences" under the masterful direction of Phylicia Rashad is extraordinary: it's so pleasant to witness actors on stage actually listening to one another.  This production is filled to the brim with vitality; its team of artists are so richly invested in their craft and share the late August Wilson's story with sheer perfection.

"Fences" is the sixth play in the ten-part Pittsburgh Cycle, set in the 1950s in the backyard of the Maxson family. Troy Maxson (Esau Pritchett) comes home from work Friday afternoon with his co-worker and long-time friend Jim Bono (Phil McGlaston) in good cheer.  Greeted by his perfect wife Rose (Portia), the two seem to be a wonderfully matched pair; they have a son, Cory, 18, who wants to pursue football.  Lyons (Jared McNeil), 34, an older son from a previous relationship, seems to come around only when he needs something from his pops.  Troy's slow-minded brother Gabriel (G. Alverez Reid), now with a metal plate in his head from an injury in the war, rounds out this family; and Act 2 welcomes little Raynell (Taylor Dior), a daughter conceived in secret.  Troy, a former baseball player, may have once seen the world as his field of glory but now his home is all he has to show for the life he's lived -- and that's not saying much, as if it weren't for his brother being injured in the war, he wouldn't even have that.  What will this father do to find bring back his joy when set with the task to build a fence around his world?

This was not my first time seeing "Fences", but I wish it had been, because Phylicia Rashad accurately brings Wilson's lessons about life to light.  She lets each scene simmer, knowing they all cook to perfection in a way that feeds the soul.  She seems to have fed the actors exactly what they needed to breathe and embody all the wants and needs of these characters.  Wilson's work is rich with rhythm and a specific cadence not easily mastered, but each actor triumphantly brought forth the musicality infused in the text.   Esau Pritchett is outstanding as Troy, blessed with the gift of gab; you feel like you're watching your favorite hero turn villain before his demise.  His struggles become your struggles, his temptations take him over, and disaster meets him right on his back porch.  McNeil as Lyons knows how to get great laughs from the audience, as when he predictably asks for money from his entirely unsurprised father.  However, he adds to this distinct character by using his voice, layering a sultry raspiness and bringing his love for music and jazz onto the stage with him.  Christopher Myers as Cory, full of youth, drive, and vulnerability, had you on his side from his first appearance. The connection between father and son in their discourse, similarities, and unspoken love permeates the stage, touching every heart in the audience.

Sound Designer John Gromada does a fantastic job setting a beautiful tone before the top of show and during intermission and scene transitions.  The set created by John Iacovelli is storybook perfect, and Lightning Designer Xavier Pierce adds to the magic.  Together this team builds the play's titular fence in a remarkable way.  Calleri Casting gets some shine in this review, too, for helping to bring this great ensemble together.

This production deserves a place in New York: during intermission, the audience rushed back to their seats in anticipation of the second act.  I knew Wilson's work was amazing, and it's been proven before that Rashad can act; it's a pleasure to be witness to her scintillating direction of this play. I don't want ever to see another production of "Fences" unless it's at the caliber of hers.

Performances of "Fences" continue through February 16th.  For more information, click here.