A dream deferred is one of those classic theater tropes. Countless protagonists have either descended into madness or railed at the heavens - or both - because life hasn't exactly turned out the way they expected. And there's a reason it's used so frequently: it makes for great drama, a situation we can all sympathize with in one way or another. But few deferred dreamers are drawn as fully or written as brilliantly as Troy Maxson, the central figure in "Fences," the 1950's chapter in August Wilson's Century Cycle. Geva Theatre's current staging of the play does this icon of American theater justice in one of the most engaging productions I've seen on the Geva stage.

Pittsburgh's Hill District in 1957 provides the setting for the story, and designer Shaun Motley provides the scenery, an immersive set made up of large-scale archival photos that act as a backdrop to the Maxsons' towering, three-dimensional house. "Fences" is all about metaphors - the fences of the title, the baseball themes that pepper the script the most obvious of them - and the set is one itself. On the one side of the stage stands a tree with a baseball tied to it, a ball that clearly saw a lot of use in its day, but which pointedly gets little action during the play. On the other side of the set three posts stick up, waiting for the fence that will be a long time coming. It's carefree dreams vs. work-a-day realities, and for Troy Maxson, the latter have become too stifling.

Troy has a lot to feel trapped by. He was part of the Great Migration, when Southern blacks moved north in the early part of the 20th Century to find new job opportunities. But some of those opportunities came with restrictions. Troy, for example, found work as a trash collector, but as the play opens he fumes about how all of the truck drivers are white, leaving the others to do the dirty work. It's not the first time in his life that his skin color has deprived him of a chance to succeed: years before, he was an exceptional baseball player in the Negro League, but he came along too early to cross the color line to the majors. Now his son, Cory, has been recruited by a college football team, and Troy's reaction - a potent mixture of well-meaning concern and jealousy - sets off the action of the play.

It's not really accurate to refer to Troy as a character. Everything about him - his situation, his reaction to it, his dialogue - is incredibly real. There's very little about him that feels manufactured, and that's a tribute to the natural but powerful performance by Tony Todd. Todd is best known for his work as the titular spook in the 1990's horror film "Candyman," but he's a recognizable actor who has appeared in a variety of films and TV series. Todd is an ideal actor to play Troy. His deep, guttural voice - almost a growl, really - underscores his intimidating physical presence, but he is also capable of conveying Troy's deep frustration and vulnerability. Troy's behavior in the play is often inexcusable, but Todd manages to make his choices at least relatable. He surrenders himself fully to the role, building up to rages so powerful he literally spits as he paces the stage.

He is backed up by an especially talented supporting cast, led by Nora Cole as Troy's wife, Rose. Cole presents an even-keeled foil to Troy's wild emotional swings. Her Rose is charming, wise, and even quite funny on occasion. But, a quibble: Cole was remarkably restrained in the major dramatic scene between her and her husband. It may have been a directorial choice, but given the betrayal Rose suffers at Troy's hands, I questioned her lack of anger (although she had the indignation down pat).

The other standout in a standout cast is Brian D. Coats in the role of Gabriel, Troy's mentally challenged brother. It's easy to overact characters with disabilities, but Coats keeps the role grounded even in its more outrageous moments. His sweetness is especially appreciated in the play's darker passages.

"Fences" is arguably one of Wilson's stronger plays, and Mark Cuddy's direction makes the most of it. The dialogue sparkles, the action moves briskly, and the scenes build to a beautiful, natural dramatic crescendo. It's a strong way to send out Geva's 2008-09 season, and leaves us half-way through Geva's commitment to staging Wilson's entire Century Cycle. Note that Wilson's 1940's entry, "Seven Guitars," will receive a staged reading at Geva on Friday, June 12.

Fences

Through June 21

Geva Theatre Center, 75 Woodbury Blvd.

$20-$57 | 232-4382, gevatheatre.org