A RAISIN IN THE SUN. To 30 April.
London/Tour
A RAISIN IN THE SUN
by Lorraine Hansberry
Hackney Empire To 7 May 2005
Tue-Sat 7.30pm Mat Thu 1.30pm Sat 2.30pm
Runs 3hr One interval
TICKETS: 020 8985 2424
Review: Timothy Ramsden 24 February at Lyric Hammersmith
A raisin left in the sun may dry up like a dream deferred. But this play of dreams deferred remains as rich as ever.Lorraine Hansberry was no child of the ghetto but born, in 1930, into a prosperous, educated Chicago family. In 1938 they moved to a smart new house. When a brick was thrown through their window because they were Black and the house in a designated Whites-only area, Mr Hansberry fought and won an anti-segregation case. Discriminated against they were; deprived she was not.
In Raisin, Lorraine's first play, a similar prospective move brings only the oily Karl Lindner to buy the Younger family off. It became an award-winning Broadway drama, freeing Black people from previous stage pigeonholes. The Younger family are fully-realised and, the racism aside, could transmute to any country.
Hansberry's only other play produced before she died aged 34 had a more mixed reception. Raisin lay largely forgotten. Then, five years ago, Manchester's Royal Exchange premiered Hansberry's Les Blancs an explosive piece ranging far more widely than personal family history, proving her first play was no autobiographically-enhanced one-off.
The Youngers are way down the social staircase from the Hansberrys, their move financed from a life assurance policy; even prosperity's founded in death. But they're never treated as passive victims. And the racist theme, entering the play quite late, is used to explore each family member's hopes and failings.
Ruth faces an abortion rather than another child, Beneatha's ambitions to be a doctor go with her youthful confidence over suitors, young Travis who starts the play rising from his bed on the floor - is childhood innocence awaiting full awareness of his world.
Motoring the action is Walter Lee's business plan, swallowing money, showing the Black community has its own birds of prey. On a second viewing, David Lan's Young Vic production still seems mannered only in the use of inter-scene projections. Its substance is gripping. Noma Dumezweni continues to impress as among the most forceful actors of her generation, finding the resource as well as struggle in Ruth. Nicole Charles' confident Beneatha and Lennie James' Walter Lee, banging the table in frustration, elated then crushed before his final dignified stand, are other major performances in a must-see revival.
Ruth Younger: Noma Dumezweni
Travis Younger: Matthew Hodge/Anton Rice/Aaron Shosanya
Walter Lee Younger: Lennie James
Beneatha Younger: Nicole Charles
Lena Younger: Novella Nelson
Joseph Asagai: Javone Prince
George Murchison/Bobo: Mark Theodore
Karl Lindner: Jim Dunk
Director: David Lan
Designer: Francis O'Connor
Lighting: Tim Mitchell
Sound: Crispin Covell
Music: Richard Hammerton
Choreography: Jeanefer Jean-Charles
Dialect coach: Jeannette Nelson
Associate director: Dawn Walton
Assistant director: Sara Powell
2005-02-27 12:33:36