Review: A RAISIN IN THE SUN at Actors Theatre Of Little Rock

If you are looking for an emotionally charged drama that will have you amongst the Younger family’s hopes and heartaches as if you were sitting in their very living room, A Raisin in the Sun is that play. Running now through Saturday, Sept. 20 at Quapaw Quarter UMC, The Actors Theatre of Little Rock has staged this classic with such raw emotion and intensity that you can feel the weight of every scene as they wrestle with dreams deferred and choices that could make or break a family’s future. Written by Lorraine Hansberry (the first African-American woman to have a play produced on Broadway) this work still pulses with urgency and truth, and under the direction of Caelon Colbert, one of my favorite directors, it becomes not just a play, but an experience. 

Set in 1950s Chicago, A Raisin in the Sun tells the story of the Younger family, who receive a $10,000 life insurance check after the death of the patriarch. Each family member dreams of a better life: Lena wants to buy a home and secure stability, Walter yearns to invest in a business to lift them out of poverty, and Beneatha seeks education to become a doctor. As the family struggles with internal disagreements and the crushing weight of systemic racism, their unity is tested at every turn. The play builds to an emotionally charged decision that forces them to choose between giving up or standing together with pride. For those of us who didn’t read the book, we were holding our breaths in hopes that things turned out well for them. 

This production thrives on its emotional intensity, thanks in no small part to the powerhouse cast.  

Willie Lucius is the beating heart of the play as Walter Lee Younger. His performance aches with frustration and pulses with ambition for a better tomorrow. He carries the character’s highs and lows with such truth that you can’t help but lean in, rooting for him even when he makes mistakes.  

Valerie Benton grounds the show as the strong and steady Lena “Mama” Younger. As a mama myself, I was excited that Lena finally had the money to take care of her family, and I almost verbally told her no when she said she was letting Walter handle the money business. I knew that was a bad idea! 

Miki Gaynor is one of my favorites and always transforms herself into her characters so much so that I believe her every single time. This time as Ruth Younger, she carries the quiet strength of a woman holding her family together while silently bearing her own heartache, delivering a performance that is tender and achingly real. My heart cried when we all found out she was pregnant and was considering getting rid of the baby. Her struggles were real when it came to her husband. 

Now, Amaya Hardin is simply fun to watch as Beneatha. She radiates energy in every scene, and her facial expressions do the talking for her before she even utters a word. The love triangle with Gabe Williams as Joseph Asagai from Africa and Xander Udochi as the arrogant socialite George Murchison highlights her internal struggle between heritage and assimilation, pride and privilege. Williams brings a warmth and sincerity to Asagai that makes his vision for Beneatha’s future compelling, while Udochi perfectly embodies George’s swagger and elitist airs, making it easy to understand Beneatha’s conflict. 

Tristan Kemp shines with youthful charm as young Travis, while on alternating days the role is played by Adrien Boles. Unfortunately, I didn’t get to see Adrien’s performance, but I’m certain he brings his own light to the character. 

I don’t know why Ben Barham always plays such great bad guys (especially since he’s quite the opposite in real life), but I loved to hate him as Karl Lindner. In fact, he did such a great job morphing into Karl that I didn’t even recognize him. His transformations get me every time!  

The ensemble, even though their scenes were short, added to the character of the play. Nick Farr brings heartbreaking loyalty as Bobo, Kristin “KV” Knox makes a memorable appearance as Mrs. Johnson, and Taylor Leron adds a haunting layer as the Ghost of their father. The scenes with Leron were particularly poetic in nature and a pleasant surprise.  

What made this staging even more powerful was the intimacy of the space. The audience sat so close to the stage that every flicker of emotion was visible. It felt at times as though we weren’t just watching the Younger family, we were part of the drama. That closeness created a rare theatrical bond, blurring the line between actor and audience. 

The design elements with Verda Davenport-Booher’s costumes, Dariane LyJoi Mull’s scenic work, and Dena Kimberling’s lighting, layers in both authenticity and atmosphere, transporting us directly into the Youngers’ cramped apartment and the weight of their world. Every actor delivers with honesty so well that you leave realizing that the pursuit of dreams, though fragile, is worth the fight. 

You don’t want to miss this classic. You have until Saturday, Sept. 20, so grab your tickets at actorstheatrelr.org.  

Arkansas Awards - Live Stats

Best Musical - Top 3

1. THE WIZARD OF OZ (Arts One Presents)

12.6% of votes

2. CINDERELLA: THE BROADWAY VERSION (Arkansas State University Theatre)

12.3% of votes

3. TUCK EVERLASTING (Harding University Theatre)

10.9% of votes

Vote Now!