Fences, Sydney Theatre Company, 25 Mar-6 May

 August Wilson's 1987 drama is one of those pivotal American plays that have never previously been performed in Australia - much like last year's "Raisin in the Sun", largely because the cast is entirely African American. It's a continuation of the project director Shari Sebbens began when she launched that show - to open up Australian audiences to a broader range of work, again using Zhara Newman and Bert LaBonte as the central couple in a large-cast story dwelling on the social trends that built American history. 

In this case, it's a personal story focussing on LaBonte's Troy Maxon, a Pittsburgh garbage man who comes into conflict with those around him largely due to what we'd now call inherited trauma - applying his history of struggle and barriers to his son and curtailing his opportunities while pushing his own desires further. until he finds himself isolated in his own little backyard kingdom. It's a personal tragedy driven by responses to the American dream - just as Arthur Miller's Willy Loman was driven to push outside the house for success, so Troy is driven into himself more by expectations of oppression. It's an engrossing character study giving us a full understanding of how a personality can be created and how it can damage those around it.

Shari Sebbens gives the production a strong realist focus  - the strongly detailed set by Jeremy Allen gives our character's time and place reality that is reflected in the performances. LaBonte takes Troy's grand arias of self-justification into the stratosphere, making him a compelling figure even as we know he's lying to himself about his motivations. Zahra Newman matches him when Troy goes outside her bounds but spends much of act one gently trying to work Troy back to reason before he crosses a line too far. Darius Williams as their son Cory gets the brunt of Troy's restrictions but pushes back masterfully. Dorian Nkono has a role that could fall into cliche as Troy's damaged brother but remains a figure of sweet innocence and hope. Damon Manns as Troy's older estranged son has a slightly underwritten role but brings a sense of a wider life outside the backyard, and Markus Hamilton as Troy's friend Jim banters effectively with him until a final squabble brings them estranged.

This is a modern classic given a stylish, skillful production, presenting these performers at their best in a thought-provoking play that takes the audience on an emotional journey. It's compelling and skillful and makes you hope for more in the continuing project to bring a richer variety of modern classics to the local stage.