Between the often perfunctory educational experience of Black History Month and the scores of elected officials scrambling to score points eulogizing the death of Corretta Scott King, it is refreshing to witness a work as trenchant and genuine as Raisin in the Sun. This play is a stirring reminder of a time when freedom and equality were more than stale political buzzwords.
The Walsh Black Box Theater typically affords exceptional proximity to the drama, and the Black Theater Ensemble’s production is no exception. The play’s set, which consists of a living room almost entirely surrounded by the audience, provides an intimate viewing experience. The play follows the everyday struggles of the Youngers, an impoverished black family living in Chicago in the 1950’s. The playwright’s depictions of the Younger family, while not always flattering, are humane and realistic.
The plot centers around Walter Lee Younger, played by Javier Royal (COL ‘06), a chauffer struggling to be the man of the family following the death of his father. Unsatisfied with opening car doors for white men and making his son sleep on the couch, he worries constantly about money and, in its absence, drinks to temporarily quiet his desperation. He remains convinced, however, that money will solve all of his problems and is frustrated when his wife will not encourage his frequent, improbable business investment schemes.
His sister, Beneatha, played by Obehi Utobor (SFS ‘09), aspires to be a doctor. The character explores the complexities of maintaining racial identity in the face of economic progress and increased cultural acceptance. This theme is manifested through her two romantic interests. George Murchison, played by Joshua DeMinter (COL ‘08), is an affluent, preppy college boy whose snobbishness and willingness to assimilate with white culture repulses Beneatha. On the other extreme is Nigerian Joseph Asagai, played by Stephen Teague (COL ‘06), whose determination to return to Africa and work for elusive progress ultimately wins her heart at the end of the day.
The standout performance, however, is Minnie Quartley’s (GRD ‘06) portrayal of Walter’s mother, endearing matriarch Lena Younger. The character’s quiet strength, wisdom and love for her children are both convincing and immediately endearing. She receives a $10,000 check, a life insurance payout from the death of her husband, and decides to buy a new home in a more affluent area. It is an undeniably powerful symbol: after a life of backbreaking work as a laborer, in his death Walter Sr. is finally able to move his family out of the same crowded, cockroach-infested apartment the Youngers have inhabited since marriage and buy them a better life. Finally, the Youngers have hope.
The Youngers are immediately challenged when the bumbling Mr. Linder offers to buy back the house at a profit to keep the family from moving into their neighborhood and ‘threatening their way of life’, Walter demonstrates that he values pride and family above all else by turning down the offer.
The Black Theater Ensemble’s production, showing at 8 p.m. Wednesday through Saturday, more than does justice to Lorraine Hansberry’s revolutionary and award-winning work. Directed by alum and Adjunct Professor Isaiah Wooden, Raisin is brilliantly acted, thoroughly entertaining, and emotionally affective. As painfully Caucasian as you may be, you will not leave this performance with that all-too-familiar white guilt, but rather incredibly proud of the sacrifices made to achieve racial progress in America.
