Oxford Playhouse associate partner Headlong returns to the city for August Wilson’s
Fences, playing from Wed 30 Sep – Sat 3 Oct. Set in the 1950s, it is a timeless and deeply
human portrait of grief, love and what it means to be a family in post-war Black America.
This landmark production stars Madeline Appiah (In the Long Run – Sky, The Winter’s Tale –
RSC, Tina Turner The Musical – West End) as Rose.
https://www.oxfordplayhouse.com/events/august-wilsons-fences
What drew you to August Wilson’s Fences and this particular production?
August Wilson is an incredible playwright – I first became aware of his work when I was
studying LIPA. Fences is one of my favourite plays and Rose is a character I have always
found so intriguing. Now to step into her shoes under the guidance of Daniel Bailey is a huge
dream come true. He is one of the most important directors of our time and to now have
worked with him on Fences, he is one of the actual best!
How have you approached the play’s themes of family, ambition and generational
conflict?
I approached this first by starting with the play. August gives us so much information in the
detail he tells us about each character and the play itself. There are so many rich resources
for the era of 1957 America. So, lots of reading and documentaries; one that really struck me
this time was The Warmth of Other Suns, a documentation of the migration of African
Americans from Southern states to Northern states. Then, the themes of family ambition and
conflict are universal themes that most people can relate to. It is what makes this play so
special – its family dynamics and drama unfolding page to page.
What has surprised you most about the rehearsal process so far?
I found great strength in being the only female character. I have managed to carve a way
that Rose exists in this male world. Not only exists but has a voice, despite the restraints of
being a woman in 1957. This was mainly achievable by the team Daniel has created, in his
care, but also in his choice to have so many female collaborators in the team. Headlong
have been super supportive too. And my beautiful cast who have been supportive and gave
space for whatever I may have needed on this process. The laughter has also been so
needed on this project and it seems to have found its way to the stage too.
How are you bringing the atmosphere, rhythms and humour of 1950s Pittsburgh to life
on stage?
Again, the work is all there in August Wilson’s play. He has done all the hard work for us.
From the vivid text to very specific sentence structures each character has. Lily Arnold (Set
& Costume Designer) has superbly created a set that takes you straight to heart of 1950s
Pittsburgh through the detail in every prop, set piece and costume. Khalil Madovi (Composer
& Sound Designer) has a music landscape that says 1957 jazz blues without saying oneword. And Shelley Maxwell (Movement Director) has worked with us on movement and body
expression, trying to ring true to the era.
Which aspect of this production do you think audiences might see differently from
previous versions of Fences?
We have really leaned into the song each character sings, which has opened up some
revelations about the characters. We also have been really examining the faults, as well as
the redeeming aspects, of each character.
What do you hope audiences take away from the play when they leave the theatre?
I hope audiences go on this journey of discovery with us. We get to ask ourselves how we
see and judge our parents and as parents, the same of our children. How unforgiveness can
be a poison we eat alone and a silent slow killer. We have work to do on ourselves so we
can go on and love others the best we can, but the real work has to begin with love and
caring for ourselves. As much as we sow and care for others, we must also tend to our own
garden.