The AndyGram

Monday, Oct 23rd

You are here: Home Theatre Reviews & Features 2013-14 Reviews Broadway Broadway Review: A RAISIN IN THE SUN
Tuesday, 08 April 2014 04:19

Broadway Review: A RAISIN IN THE SUN

Written by
David Cromer, Bryce Clyde Jenkins, LaTanya Richardson Jackson, Anika Noni Rose, Denzel Washington and Sophie Okonedo David Cromer, Bryce Clyde Jenkins, LaTanya Richardson Jackson, Anika Noni Rose, Denzel Washington and Sophie Okonedo Photo: Brigitte Lacombe

While it might be Denzel Washington's name which graces the billboards and marquis for the new Broadway revival of A Raisin in the Sun at the Ethel Barrymore Theatre, the spotlight is unchallenged in its focus on the revival's star, Lorraine Hansberry. There is a leaflet in the playbill on Hansberry by James Baldwin entitled "Sweet Lorraine." In addition to this touching ode, an interview with Hansberry is played for the audience in which she discusses the fight to find truth in American mainstream performance in regards to race. With these articulated artistic shortcomings still pervading American culture over half a century following the first Broadway production, it was the egoless intention of the performers to search for this truth and deliver it to a spectacularly game audience.

The play presents the Youngers, a poor 1950s African-American family living in Chicago. Lena, the family matriarch, receives her late husband's insurance check which she hopes to use to finance a home for her family outside of their impoverished south-side neighborhood. Her daughter, Beneatha, is an intelligent student studying to become a doctor. Her son, Walter, hopes to invest in a liquor store so he can be an entrepreneur and support his wife, Ruth and son Travis. The family's fights for dignity, integrity and stability serve as the backdrop for one of the truest presentations of family life I've seen on stage, and stood as a reminder to the true possibilities of the greatness of classic American theatre.

The performers did more than hold their own throughout this challengingly didactic classic; they brought it to life with both social intention and character humanity working in absolute harmony. As can be expected, the audience rang to applause upon the entrance of the production's stars but spectacularly they also applauded the moving and intelligent discussions on race from relatively minor characters. It was clear that in this performance it was never just the actor attaining the audience's admiring applause; it was the performer with this revival's chosen star, Lorraine Hansberry.

Many will certainly attend this revival to see Denzel Washington live on stage, but his blockbuster status and his accolades aren't to be taken for granted as a gimmick, he dissolves into the character, subjecting himself to Lorraine Hansbery's characterization, as only a master of the art form can do. He is matched entirely in this quality of performance by the rest of the cast, especially the performances of Ms. Hansberry's nuanced female characters which include Sophie Okonedo as his wife Ruth, an immensely layered performance by Anika Noni Rose as Beneatha Younger in a role that could have been far too flatly placed as the "voice of reason," and the family's moral rock, Lena Younger, as performed by Latanya Richardson Jackson. Even the photorealistic set by Mark Thompson and costume design by Ann Roth create a sense of reality that verges on voyeurism through its perfect harmony of societal space and intimate characterization.

I think "preachy" is a judgment that audiences and critics alike dole out too often as a universal negative. A good preacher can be inspiring, can be soul edifying and can be challenging. Preachy is only vice when it's obvious that those who are preaching aren't intelligent enough or don't have the conviction to preach their beliefs. All involved in this revival of A Raisin in the Sun, from the performers, directors and designers to Lorraine Hansberry have the genius, articulation and dedication to inspire with what they are preaching. Their sermon is delved out of humanity and is a call for change in American society, a call which was inherited through the generations of the Younger family and a call which is still heard through them today.

Additional Info

  • Theatre: Ethel Barrymore Theatre
  • Theatre Address: 243 West 47th St. New York, NY 10036
  • Show Style: Play
  • Previews:: March 8, 2014
  • Opening Night: April 3, 2014
  • Closing: Open Ended
Last modified on Thursday, 16 July 2015 02:16