POST-SHOW DISCUSSION
QUESTIONS AND ACTIVITIES
WITH ALIGHNMENTS TO THE COMMON CORE CURRUICULUM STANDARDS
Created by McCarter Theatre Education and Engagement. 2014.
POST-SHOW MATERIALS
ALIGNMENT TO THE COM
COMMON
MON CORE CURRICULUM AND CORE CURRICULUM
CONTENT STANDARDS
Our production of Fences and the activities outlined in this guide are designed to enrich your students’ postshow educational experience by addressing many Reading, Writing, and Speaking and Listening Common
Core anchor standards as well as specific New Jersey Core Curriculum Content Standards for Visual and
Performing Arts. (Click on the titles below to be linked to the activities.)
FENCES: PERFORMANCE REFLECTION AND DISCUSSION.
CCSS.ELA-Literacy.CCRA.SL.1: Prepare for and participate effectively in a range of conversations and
collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively.
CCSS.ELA-Literacy.CCRA.SL.2: Integrate and evaluate information presented in diverse media and formats,
including visually, quantitatively, and orally.
VP.1.4 (Aesthetic Responses & Critique Methodologies): All students will demonstrate and apply an
understanding of arts philosophies, judgment, and analysis to works of art in dance, music, theatre, and visual art.
DISCUSSION OR INDIVIDUAL REFLECTION: FENCES AS A “PROFOUND ARTICULATION OF
THE BLACK TRADITION” AND A WORK OF THEATER THAT “SPEAK[S] FOR ALL MEN.”
If questions are used for writing prompts:
CCSS.ELA-Literacy.CCRA.W.1: Write arguments to support claims in an analysis of substantive topics or texts
using valid reasoning and relevant and sufficient evidence.
CCSS.ELA-Literacy.CCRA.W.4: Produce clear and coherent writing in which the development, organization,
and style are appropriate to task, purpose, and audience.
VP.1.4 (Aesthetic Responses & Critique Methodologies): All students will demonstrate and apply an
understanding of arts philosophies, judgment, and analysis to works of art in dance, music, theatre, and visual art.
CCSS.ELA-Literacy.CCRA.W.10: Write routinely over extended time frames (time for research, reflection, and
revision) and shorter time frames (a single sitting or a day or two) for a range of tasks, purposes, and audiences.
If questions are used for classroom discussion:
CCSS.ELA-Literacy.CCRA.SL.1: Prepare for and participate effectively in a range of conversations and
collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively.
CCSS.ELA-Literacy.CCRA.SL.2: Integrate and evaluate information presented in diverse media and formats,
including visually, quantitatively, and orally.
VP.1.4 (Aesthetic Responses & Critique Methodologies): All students will demonstrate and apply an
understanding of arts philosophies, judgment, and analysis to works of art in dance, music, theatre, and visual art.
A EULOGY FOR TROY MAXSON.
CCSS.ELA-Literacy.CCRA.SL.1: Prepare for and participate effectively in a range of conversations and
collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively.
CCSS.ELA-Literacy.CCRA.W.3: Write narratives to develop real or imagined experiences or events using
effective technique, well-chosen details, and well-structured event sequences.
CCSS.ELA-Literacy.CCRA.W.4: Produce clear and coherent writing in which the development, organization,
and style are appropriate to task, purpose, and audience.
CCSS.ELA-Literacy.CCRA.W.5: Develop and strengthen writing as needed by planning, revising, editing,
rewriting, or trying a new approach.
CCSS.ELA-Literacy.CCRA.W.9: Draw evidence from literary or informational texts to support analysis,
reflection, and research.
CCSS.ELA-Literacy.CCRA.W.10: Write routinely over extended time frames (time for research, reflection, and
revision) and shorter time frames (a single sitting or a day or two) for a range of tasks, purposes, and audiences.
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Created by the McCarter Theatre, 2014.
POST-SHOW MATERIALS
ARE WE OUR PARENTS’ CHILDREN?: A DISCUSSION AND JOURNAL EXPLORATION.
For Public Discussion
CCSS.ELA-Literacy.CCRA.SL.1: Prepare for and participate effectively in a range of conversations and
collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively.
CCSS.ELA-Literacy.CCRA.SL.2: Integrate and evaluate information presented in diverse media and formats,
including visually, quantitatively, and orally.
VP.1.4 (Aesthetic Responses & Critique Methodologies): All students will demonstrate and apply an
understanding of arts philosophies, judgment, and analysis to works of art in dance, music, theatre, and visual art.
For Private Journal Exploration
CCSS.ELA-Literacy.CCRA.W.3: Write narratives to develop real or imagined experiences or events using
effective technique, well-chosen details, and well-structured event sequences.
CCSS.ELA-Literacy.CCRA.W.10: Write routinely over extended time frames (time for research, reflection, and
revision) and shorter time frames (a single sitting or a day or two) for a range of tasks, purposes, and audiences.
FENCES: WRITING THE REVIEW.
CCSS.ELA-Literacy.CCRA.W.1: Write arguments to support claims in an analysis of substantive topics or texts
using valid reasoning and relevant and sufficient evidence.
CCSS.ELA-Literacy.CCRA.W.4: Produce clear and coherent writing in which the development, organization,
and style are appropriate to task, purpose, and audience.
CCSS.ELA-Literacy.CCRA.W.9: Draw evidence from literary or informational texts to support analysis,
reflection, and research.
CCSS.ELA-Literacy.CCRA.W.10: Write routinely over extended time frames (time for research, reflection, and
revision) and shorter time frames (a single sitting or a day or two) for a range of tasks, purposes, and audiences.
VP.1.4 Aesthetic Responses & Critique Methodologies: All students will demonstrate and apply an
understanding of arts philosophies, judgment, and analysis to works of art in dance, music, theatre, and visual art.
3
Created by the McCarter Theatre, 2014.
POST-SHOW MATERIALS
POST-SHOW DISCUSSION QUESTIONS AND ACTIVITIES
Use the following questions and activities as a means for students to evaluate their experience of the performance of Fences, as well as to encourage their own imaginative and artistic response. Consider also that some
of the pre-show activities might enhance your students’ appreciation of both the play and its playwright postperformance.
FENCES IN PERFORMANCE: INITIAL REACTIONS.
On the bus returning from the theatre, have the students write down 5 words to describe the feelings and thoughts
they have about the production they just saw.
For homework, ask students to elaborate on two of their chosen words either as a journaling assignment, a schoolbased online forum, or via social media, using #thinkFENCESMcCarter.
FENCES : PERFORMANCE REFLECTION AND DISCUSSION.
In the next class meeting following their attendance at the performance of Fences, ask your students to reflect
on the questions below. You might choose to have them answer each individually or you may divide students
into groups for round-table discussions. Have them consider each question, record their answers, and then
share their responses with the rest of the class.
Questions to Ask Your Students about the Play in Production

What was your overall reaction to August Wilson’s Fences? Did you find the production compelling? Stimulating? Intriguing? Challenging? Memorable? Confusing? Evocative? Bizarre? Unique? Delightful? Meaningful? Explain your reactions.

What themes of the play especially stood out in production? [Themes might include: racial
discrimination and oppression and their influence on black individuals, families, communities,
and society; tension and conflicts between fathers and sons; the duty/responsibility of a father
to his family, as well as husband to wife, child to parent, sibling to sibling; personal destiny vs.
responsibility to family, et al.; infidelity and the sting of betrayal; the importance of hopes and
dreams, and their frailty in the face of oppression and obstacle; and the inevitability of human
mortality.] What themes were made even more apparent or especially provocative in production/performance? Explain your responses.

Is there a moment in the play that specifically resonated with you either intellectually or emotionally? Which moment was it and why do you think it affected you?

Describe the pace and tempo of the production (e.g., slow, fast, varied). Did it feel like the
pace of the production matched the inherent tempo of the story and/or was suited to the style
of the play? Why or why not?
Questions to Ask Your Students about the Characters
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
Did you personally identify with any of the characters in Fences? Who? Why? If no, why not?

What character did you find most interesting or engaging? Why were you intrigued or attracted
to this particular character?

What qualities were revealed by the actions/objectives, speech, and physicalization of the
characters?

Did any characters develop or undergo a transformation during the course of the play? Who?
How? Why?

In what ways did the characters reveal the themes of the play? Explain your responses.
Created by the McCarter Theatre, 2014.
POST-SHOW MATERIALS
Questions to Ask Your Students about the Style and Design of the Production

Was there a moment in Fences that was so compelling, intriguing, or engaging that it remains
with you in your mind’s eye? Write a vivid description of that moment. As you write your
description, pretend that you are writing about the moment for someone who was unable to
experience the performance.

How did the overall production style and design suit the story, inform the characters, and
reflect the central themes of Fences? Explain your response.

How did the style and design elements of the production (e.g., sets, costumes, lighting,
sound, original music), unified under the directorial vision of Phylicia Rashad, enhance the
performance? Did anything specifically stand out to you? Explain your reactions.

What did you notice about John Iacovelli’s scenic design? Did it provide an appropriate and/
or evocative setting for the story of Fences? How and why, or why not?

What mood, atmosphere, or impact did Xavier Pierce’s lighting design establish and/or
achieve? Explain your experience of the lighting of the play.

What did you notice about the costumes, designed by ESOSA, worn by the actors? What do
you think were the artistic and practical decisions that went into the conception of the
costumes?

What did you notice about John Gromada’s sound design? Can you remember what you
heard and describe it in words? How did Gromada’s work serve in creating or enhancing the
world of the play?
DISCUSSION OR INDIVIDUAL REFLECTION: FENCES AS A “PROFOUND ARTICULATION OF
THE BLACK TRADITION” AND A WORK OF THEATER THAT “SPEAK[S] FOR ALL MEN.”
I think it is important that we understand who we are and what our history has been, and
what our relationship to society is, so that we can find ways to alter that relationship and,
more importantly, to alter the shared expectations of ourselves as a people. The
suffering is only a part of black history. What I want to do is place the culture of black
America on stage, to demonstrate that is has the ability to offer sustenance, so that when
you leave your parents’ house, you are not in the world alone. You have something that
is yours, you have a ground to stand on, and you have a viewpoint, and you have a way
of proceeding in the world that has been developed by your ancestors. It was James
Baldwin who called for a “profound articulation of the black tradition,” which he defined as
that field of manners and rituals which sustains a man once he has left his father’s house.
And I said,” Ah-hahh! I am going to answer that call. I am going to show that this culture
exists and that it is capable of offering sustenance. Now, if in the process of doing that,
you have to explore the sufferings of black America, then that is also a part of who we
are. And I don’t think you can ignore that because our culture was fired in the kiln of
slavery and survival.
* * *
I think my plays are a testament to the resiliency of the human spirit. And that no matter what,
we are still here, the culture is still alive, it is vital, and it is as vibrant and zestful as ever.
* * *
Theater asserts that all of human life is universal. Love, Honor, Duty, Betrayal belong and
pertain to every culture or race. The way they are acted out on the playing field may be
different, but betrayal is betrayal whether you are a South Sea Islander, Mississippi
farmer, or an English Baron. All of human life is universal, and it is theater that illuminates
and confers upon the universal the ability to speak for all men.
—August Wilson
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Created by the McCarter Theatre, 2014.
POST-SHOW MATERIALS
Share with your students the above remarks by August Wilson and then use his thoughts as a
springboard for either a discussion or written reflection about their experience of Fences in performance
in relation to the playwright’s artistic agenda. Questions for discussion and/or reflection might include:

What “sufferings of black America” do you think August Wilson effectively places on stage and
explores in the course of Fences?

What aspects of the play in performance struck you as most able to “offer sustenance” to its black
American audience?

What aspects of the story of the play, its characters and their relationships, its themes, or its
incidents, if any, struck you as particularly profound (i.e., penetrating; offering deep insight or
understanding; of deep meaning; pervasive or intense) in terms of their articulation of the black
tradition/experience? Why did you find them to be profound?

Define resiliency/resilient? In what ways might the story of Fences be viewed as a testament to
the resiliency of the human spirit? Are there any characters in the play that you see as
particularly resilient? From where do you think his or her resiliency comes? Are there any
characters in Fences that are seemingly non-resilient?

Where in Fences did you notice the vitality, vibrancy, or zestfulness which Wilson strives to depict
in his playwriting?

Define what the word universal means or implies. What do you think Wilson means when he
says “it is theater that illuminates and confers upon the universal the ability to speak for all men?”
Can you express his overall meaning in your own words? Do you agree with his assertion?

What aspects of Fences—its characters, their relationships, its themes, or its incidents—struck
you as particularly universal?

Ask your students toconsider other experience they have had with works of art—i.e., plays,
books, visual art, music, etc.—like Fences that prove to be both a profound articulation of a
particular culture or tradition and a universal expression of human life or the human condition.
Then ask them to account for this seemingly contradictory phenomenon.
A EULOGY FOR TROY MAXSON
Use the prompts below as the basis for either a comprehensive class discussion or individualized written
reflection about the central tragic figure of Fences, Troy Maxson. Then ask each student to employ the
information generated as the basis for a eulogy for Troy that they will write from the perspective of one of
the other characters in the play.
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
Begin by asking students to generate as comprehensive a list of biographical information on
Troy Maxson as possible. [Biographical details might include age, upbringing, education,
class, occupation/job, home life, major life events, responsibilities, ambitions,
disappointments, regrets, complexes (bothers or concerns), etc.]

Then ask students to make both a list of Troy Maxson’s strengths and admirable qualities,
and a list of his weaknesses and flaws.

Next engage students in a discussion about eulogy as a genre of writing and a form of public
speaking. Ask students who have had written/delivered or witnessed one or more to
describe their experience of eulogy.
Created by the McCarter Theatre, 2014.
POST-SHOW MATERIALS

And finally, ask students to chose a character from Fences and assume his or her persona for the
purpose of writing a eulogy for Troy Maxson.


Before writing their eulogies, encourage students to first reflect on the biographical
portrait of their chosen character and his or her own strengths/admirable qualities and
weaknesses/flaws.
Once completed, eulogies can be shared as simple readings in small groups or before the larger
class. It might be interesting to discuss chart any commonalities among eulogies written from the
perspectives of the same character (e.g., all of the Cory eulogies) and differences among
disparate characters (e.g., Rose eulogies vs. Bono eulogies).
ARE WE OUR PARENTS’ CHILDREN?: A DISCUSSION AND JOURNAL EXPLORATION.
Cory asks Troy, “Hey, Pop, why don’t you buy a TV?” And Troy tells him that the roof needs tarring. He’s
teaching him a lesson about priorities. “If you don’t fix the roof, the water’s going to run all over your brand
-new TV. So if you had twenty dollars, what would you do?
* * *
First of all, we’re all like our parents. The things we are taught early in life, how to respond to the world,
our sense of morality—everything we get from them. Now you can take that legacy and do with it anything
you want to do. It’s in your hands. Cory is Troy’s son. How can he be Troy’s son without sharing Troy’s
values? I was trying to get at why Troy made the choices he made, how they have influenced his values
and how he attempts to pass those along to his son. Each generation gives the succeeding generation
what they think they need.
* * *
One of the questions [in Fences] was “Are we our fathers’ sons?” And if in fact we are our fathers’ sons,
must we become our fathers? Are the tools that they have given us to participate in the world...are they
sufficient for our survival and progress?
—August Wilson
For Public Discussion
Share with your students the above remarks by August Wilson and then use his thoughts as a springboard
for both a specific discussion about Troy’s and Cory’s complex and conflict-filled relationship in Fences
and for a more general and perhaps more personal discussion about the conflicts that arise between
parents and their maturing children. Questions for discussion may include:
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
What words would you use to describe Troy Maxson as a father? What words would you use to
describe Cory as a son?

What are the points of conflict or contention that develop between Cory and Troy in the course of
the story of the play?

In what ways do you think Troy been a different parent to Cory than he has been to Lyons? How
might each son separately describe growing up as the son of Troy Maxson? Are there any ways
that Cory and/or Lyons are like Troy?

What are the things that you think Troy values most in life? What are some of the lessons about
priorities or otherwise that Troy tries to teach his sons in the course of the action of the play?
Recount some of the positive behaviors/traits/values that Troy models as father. Recount some
of the more negative behaviors/traits/values Troy models as father.

Do see Cory as his father’s son? What about Lyons? In what ways do you think either has or will
grow up to be like Troy?
Created by the McCarter Theatre, 2014.
POST-SHOW MATERIALS
For Private Journal Exploration
Ask students to reflect on the following questions in terms of their own personal experience:

What words would you use to describe your parent or guardian as a parent or guardian and why?
What words would you use to describe yourself as a “child” (i.e., daughter, son, ward, grandchild)
to your parent or guardian and why?

What points of conflict or contention have developed at one time or another between you and your
parent/guardian in the course of your growing up?

What are the things that you think your parent/guardian values most in life and how do you feel
about those values? Do you value the same things? Why or why not?

What are some of the lessons about priorities or otherwise that your parent/guardian has tried to
teach you?

Recount some of the positive behaviors/traits/values that your parent/guardian has modeled for
you. Are there any behaviors/traits/values that have been modeled for you that you view as
negative or detrimental toward your development?

Do you see yourself as your parent’s/guardian’s child? In what ways do you hope to grow up like
your parent or guardian? In what ways do you hope not to?

What values and lessons about priorities or otherwise do you hope to teach your own children if
and when you become a parent? What do you think these values and lessons are important?
FENCES: WRITING THE REVIEW.
Have your students take on the role of theater critic by writing a review of the McCarter Theatre production of
Fences. A theater critic or reviewer is essentially a “professional audience member,” whose job is to provide
reportage of a play’s production and performance through active and descriptive language for a target
audience of readers (e.g., their peers, their community, or those interested in the arts). Critics/reviewers
analyze the theatrical event to provide a clearer understanding of the artistic ambitions and intentions of a play
and its production; reviewers often ask themselves, “What is the playwright and this production attempting to
do?” Finally, the critic offers personal judgment as to whether the artistic intentions of a production were
achieved, effective and worthwhile. Things to consider before writing:
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
Student reviewers may want to use words generated from the “Initial Reactions” exercise.

Theater critics/reviewers always back up their opinions with reasons, evidence and details.

The elements of production that can be discussed in a theatrical review are the play text or script (and
its themes, plot, characters, etc.), scenic elements, costumes, lighting, sound, music, acting and
direction (i.e., how all of these elements are put together). [See Theater Reviewer’s Checklist.]

Educators may want to provide their students with sample theater reviews—of productions other than
Fences—from a variety of newspapers.

Encourage your students to submit their reviews to the school newspaper for publication. And ask
them to email them to us at palekson@mccarter.org.
Created by the McCarter Theatre, 2014.