August Wilson’s study of a larger-than-life but fatally flawed black, working-class American man in the 1950s stands comparison with Othello and Death of a Salesman in the richness of its characterisation.
In Daniel Bailey’s fine revival, Ray Fearon’s sturdy, fiery Troy Maxson is a loving husband and a showmanlike embroiderer of his own myth: but also a harsh father and a man whose sense of grievance gets the better of his wish to live “a clean, hard, useful life”.
