Review: 'A Raisin in the Sun' takes a look at the American dream

October 12, 12:13 PMDenver Theater ExaminerDeb Flomberg

Previous Next

1 comment Print Email RSS Subscribe

Subscribe

Get alerts when there is a new article from the Denver Theater Examiner. Read Examiner.com's terms of use.

Email Address   Include other special offers from Examiner.com Terms of Use

Russell Hornsby & Marlene Warfield in  A Raisin in the
Sun.  Photo by Terry Shapiro

It was the first play written by an African American woman to be produced on Broadway. It was also the first play with an African American director to be produced on Broadway, and it starred a certain actor by the name of Sidney Poitier, whom you may have heard of. Lorraine Hansberry’s A Raisin in the Sun is a heart-aching look at one African American family’s quest for the American dream and the trials and tribulations that go along with life on the Southside of Chicago in the 1950’s.

The Denver Center Theatre Company’s production of A Raisin in the Sun opened last week to a very eager audience. Directed by Israel Hicks, this production is a welcome addition to the DCTC’s already stellar reputation of strong work. The story of A Raisin in the Sun revolves around the Younger family. The patriarch of the family has passed away and left a $10,000 life insurance settlement that has inspired three generations of Younger’s to dream of different ways to spend the money. Ruth, the mother, dreams of life in a house while her husband Walter wants to invest in a liquor store with his friends. Beneatha, Walter’s sister, has dreams of becoming a doctor, and Lena, the grandmother and matriarch of the household, is trying to keep the peace and decide where this money will go. As the new man of the household, Walter struggles with his dreams and his own feeling of entitlement all the while trying to provide for his wife and son, as well as support his sister and mother. All the while, his mother watches – at times begging for Walter to stand up and be the man he is capable of being, and imparting her own experiences and wisdom on this warm and very real family.
 

Kim Staunton & Russell Hornsby in A Raisin in the Sun
Photo by Terry Shapiro

Within the first thirty minutes of the play, the script has dealt with issues such as racism, religion, violence, education, abortion, assimilation, and more – all without becoming preachy or difficult to understand. The exposition is so exquisitely crafted by Hansberry, that the audience is able to jump right into the story and get immediately wrapped up in the struggles of the Younger family. One of the classic struggles of any playwright is the difficult task of setting up the story without simply dumping a ton of exposition and plot on the audience all at one time. Hansberry deftly handles this with a simplicity and elegance to her story telling. She truly gave the world a masterpiece of a script with A Raisin in the Sun.

Directed by Israel Hicks, the actors all had clear and honest portrayals of their characters. Russell Hornsby as Walter Younger brings an emotional tenderness to the often rough and brutal character. Hornsby was frustrating, angering, and terrifying all while maintaining a sympathetic and tender side to the role that kept the audience from disliking him or his character. No matter how much of a drunk he was, no matter how angry he became – he was easy to sympathize with and he became a character that everyone was rooting for. Kim Staunton brought the same tenderness and raw emotion to her role as Ruth Younger, Walter’s wife.  Staunton’s portrayal of Ruth was so warm and engaging that the audience cried with her, laughed with her, and took the full ride of emotions along with her elegant and honest portrayal.
 

Marlene Warfield & Russell Hornsby in A Raisin in the
Sun. Photo by Terry Shapiro

Marlene Warfield had the challenging task of playing Lena Younger, Walter’s mother and the matriarch of the household. As the voice of wisdom, Warfield had the audience wrapped around her little finger. From the moment she took the stage, the audience took the ride with her. The joy she felt when she first opened the envelope containing the $10,000 check to the anguish and heartache when the money was taken. There is an image of Warfield that is burnt into my brain, after having seen this show – Lena is in mid breakdown, screaming to the heavens as her daughter tries to calm her down, her heart broken and her money gone as lights fade to black. Warfield truly was captivating and elegant every step of the way.

Lighting design is something that, if done well, is difficult to notice – but this is one example of truly excellent lighting. Lighting designer Charles R. MacLeod used the lights to carefully punctuate the most emotional and raw moments of the play – and it was brilliantly done. Set design (Michael Ganio) transported everyone to the small, claustrophobic apartment on the Southside of Chicago and costume design (David Kay Mickelsen) kept us there. The entire design crew is to be commended on a job very well done.

There are times when plays of this type can be difficult to watch – the drama can be so thick that it can feel smothering. However, Hansberry incorporates just the right amount of humor and just the right amount of realism to keep this story engaging from the start. The solid directing and talented cast take it from there, and they take the audience on a emotion-filled ride that is never preachy or overwhelming in its message. It is simple and classic – warm and elegant – and a show not to be missed.