Review: A RAISIN IN THE SUN at Lee St. Theatre

THE LIMITED DEBUT OF “A RAISIN IN THE SUN”
AT LEE ST. THEATRE

A Raisin In the Sun, a timeless classic written by Lorraine Hansberry, the first African-American woman to produce a play on Broadway, was recently performed as a limited run, at Lee St. Theatre, in Salisbury, North Carolina.  The play is a depiction of the Younger family, a working-class African-American family in 1950s Chicago, striving for a better life after receiving a $10,000 life insurance settlement after the death of the family's patriarch. 

As an African-American woman whose childhood in the 1960s reflected many of the same societal realities showcased in A Raisin In The Sun, I can deeply relate to the message that my favorite female playwright, Lorraine Hansberry, so powerfully conveyed. My parents, like the Youngers, were committed to creating better opportunities for me despite the imposed limitations of segregation.

Although the weather outside was drab and cloudy, the atmosphere inside this intimate black box theatre was warm and inviting.  The assembled cast was definitely the right ones to deliver such a layered and meaningful exploration of racism, sexism, masculinity within the household structure, and generational expectations in parenting. 

The cast was phenomenal.  My favorite was the youngest member of the Younger family, Travis Younger (Thierry Agnant). This young actor was a joy to watch.  His upbeat persona lightened the atmosphere of the strict demeaner of the adults who each had their own set of issues.  He was so carefree, even though he was sleeping on the couch in the livingroom, without complaint.  He was fun to watch and I instinctively felt like he was generally having a great time. 

Equally compelling, was the matriarch of the family, Lena “Mama” Younger, portrayed by superbly talented Lillie Oden, whom I have previously seen in productions including: Steele Magnolias, Shakin The Mess Outta of Misery, and A Soldier’s Play.  She undeniably delivered the essence of Lena “Mama” Younger--wise, engaging, nurturing, strong; yet feminine at the same time.  Lillie’s character embodied the glue and backbone of a complex family unit—something many women will instantly recognize and appreciate.

Mason Livers completely embodied the role of Walter Lee Younger, a man burdened by societal limitations placed on African-American men during that era, particularly restricted employment opportunities such as working as a chauffeur. These limitations often served as “dream killers.” Walter Lee’s dream of owning a liquor store was admirable; however, his method of pursuing that dream proved unreliable and ultimately devastating to the family’s financial hopes. Still, Livers skillfully portrayed the personal, sociological, and psychological pressures faced by Black men striving to balance their roles as providers, husbands, sons, and fathers—pressures that remain relevant today. In the end, Walter Lee made the courageous decision to stand for his family’s dignity, that allowed them to move into the neighborhood Lena “Mama” Younger chose as the first African-American family in an All-White community—even though they were clearly unwelcome.

Beneatha Younger (Nikki Dunn) seemed to be confused and searching to find her identify through her ethnicity, career aspiration, and relationships.  It was hilarious when Beneatha broke out in a seemingly African dance adorned in a Kaftan that her Nigerian love interest, Joseph Asagai (Andrew Monroe) gave her as a gift.  She even changed her hairstyle from the flowing-down-the-back European hairdo to her natural, full-blown Afro.  Her emotional shift to anger and heartbreak when Walter Lee revealed he had failed to deposit her medical school tuition—entrusted to him by Lena “Mama” Younger — but instead had given it all to a scam artist. Beneatha’s journey reflect the struggles many women faced in the 1950s while resisting expectations that confined them solely to domestic roles instead of professional careers such as medicine.

Ruth Younger (Tameka Brown) is the only person who was not born into the Younger saga, but became a part of their plight through marriage. Her position was extremely hard because she was married to an egotistical man who did not consider her desires; only his own.  It was as if Walter Lee considered her a major part of the problem and never a part of the solution.  In an essence she was trapped in a situation that she didn’t create but blamed for it as if she did.  She displayed pure love for her husband…in spite of the struggles.  

Similarly, to playwright August Wilson, Lorraine Hansberry captured the African-American experience and struggles in a visual performance that is as relevant TODAY as it was in 1950s.  I learn something new each time I see this timeless masterpiece, and I have seen it a dozen times or more.

I want to thank Lee St. Theatre for promoting African American theatre at its finest.  Our stories must be told so that our children’s children will know the struggles we have overcome.  Thanks for a well-done performance.