Rousing revival of Lorraine Hansberry’s pioneering play about a Black family navigating prejudice and poverty in the late 1950s
In 1959, the debut production of Lorraine Hansberry’s searing, sharply observed family drama broke new ground as the first play written by a Black woman and helmed by a Black director to open on Broadway. Against the backdrop of the civil rights struggle, its story of a poor Black family, the Youngers, preparing to move into a predominately white neighbourhood must have felt incendiary.
This engaging production for touring company Headlong, directed by Tinuke Craig, retains the play’s power to shock and challenge – and it bursts, too, with surprising warmth and optimism. Craig gives the piece a lively, busy staging, often playing scenes for laughs, blunting some of its sharpest edges, yet ensuring that the tone remains overwhelmingly uplifting.
Cécile Trémolières’ set depicts the Youngers’ sparse apartment in detail – a cramped space, housing a few scant sticks of cheap, well-cared-for furniture. The stained yellow walls are subtly transparent, giving us an impression of the larger building beyond. A frosted window lets in just a little tepid grey light, but Joshua Pharo’s unobtrusive lighting design grows more symbolic as the drama heats up, with vivid magenta and lime-green tones bleeding in from the wings to underline the characters’ heightened emotions.
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Heading the cast, Doreene Blackstock is a forceful, steadying presence as formidable grandmother Lena, holding the family together with pride, religious faith and a knack for reading her children’s innermost feelings. Blackstock brings just the right balance of toughness and tenderness to the part.
Solomon Israel plays her adult son Walter Lee, furious at the limited opportunities available to him and frantically pursuing a big break, which leads him to a disastrous financial miscalculation. In early scenes, Israel nails the character’s swagger and seething resentment; when his mistake is revealed, he explodes, finding dignity in his devastating loss.
Cash Holland gives a quietly shattering performance as his wife Ruth, utterly exhausted by her domestic obligations and finding herself constantly filling the role of family mediator. Her elation and relief when she learns that they may be able to move to a nicer neighbourhood is transformative. And Kenneth Omole is strong as idealistic Joseph, a Nigerian studying in America with the ultimate intention of improving conditions in his home country. Omole taps into the humour in the writing, without ever tarnishing the sincerity of Joseph’s goal.
The characters’ clashing personalities and conflicting dreams open up the deep wounds created by the legacies of slavery and colonialism. Yet Craig’s production also seeks out moments of joy and hope. Despite the setbacks that the Youngers face, their deep commitment to each other carries them forward, while society continues its slow progress towards a more just world.
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