Review of ‘A Raisin In The Sun’: “A tale of black souls”

Lorraine Hansberry’s stage classic returns to the London scene in a brand new production playing at the Lyric Hammersmith until the end of the month. Guillermo Nazara shares his views on the show, to let us know if its stirring plot about social injustice is still able to join the race.

It’s only through the harshest struggles that we can find true greatness in ourselves. If there’s something to be appreciated about the mid-20th-century cultural revolution, that was its determination to tear down tradition in pursue for a better world. From the sexual liberation that led to the point-turning Stonewall riots (to many, the start of the LGBT+ rights movement) to the earlier campaigns advocating for the end of racial segregation and discrimination, those who lived and contributed to that era were both blessed and blessers in a time when, for better or worse, nothing would ever be the same. And no matter the decades that have gone by and the progress that we’ve made ever since, the resonance of those voices continues to echo and influence our paths even today.

Lorraine Hansberry could fairly be cataloged as someone that was both of and ahead of her time. She reflected, with the insightfulness that only somebody with her artistic sensitivity could, the trials and tribulations the black community was facing – where prejudice and disdain towards them were still the norm, and respect and integration the odd element in the equation. She exposed social injustice with that sort of class and universal proximity only those who are at the top of their game can write like. And she promoted an idea of rebellion that, far from instigating any feelings of division, called for mutual love and inclusion. At least, those are the impressions anyone coming to see London’s latest production of A Raisin In The Sun will get.

A working-class African-American family facing the roughness of the world in its many forms (even from within). There’s no need for details. Because as much as the story is terribly enticing, it’s the quality of its themes (as well as the dramatic prowess that pieces them altogether) that makes of this play a rotund triumph. Penned with impeccable flow, subtlety and intelligence, the script proves its astounding ability to move audiences while also presenting them with an extremely thought-provoking recount – exuding pathos and reasoning alike through a tale that, though didactic, doesn’t seem preachy at any times, but incredibly inspiring instead.

Packed with sharpness and acumen all throughout, every line is endowed with remarkable profundity – bringing out the sonority of its topics through the poignancy of its style, the kind that solely stems from the personal truth of someone who not only believes in something, but who is willing to do something about it. There are, in fact, some many lines that could in fact be extracted as literary quotes (and also, life lessons) that its stirring power just keeps augmenting as the performance carries on. It’s a piece of wisdom and verity. And no matter how distant we may see ourselves from the concreteness of its subjects, the abstract side of its philosophy genuinely applies to all of us.

Directed by Tinuke Craig, the montage features a visually striking set by Cecile Tremolieres, evenly supported by Joshua Pharo emotionally powerful lighting and Max Pappenheim’s discreet but anyhow compelling underscore. We do encounter some questionable choices in its blocking, though (primarily in its transitions), as well as use of some minor symbolism that appears slightly unnecessary. However, none of that compromises the effectiveness of the rendition, particularly thanks to what, all in all, is a exceptionally committed cast.

Oozing absolute rapport and galvanizing stamina in their portrayals, the first mention oes to Cash Holland in the lead role of Ruth, bringing so much charm, fragility and, eventually, realness to her interpretation, the bonding with the audience is almost immediate. On the other hand, Solomon Israel gives an incredibly heartfelt performance as the striving breadwinner Walter, endowing his personage with grace, charisma and redemption through his awfully difficult arc. Yet, the highest praise goes, in this case, to Kenneth Omole in the role of Joseph, projecting such great deal of allure, confidence and, at the same time, humbleness in his character, he becomes the utmost scene-stealer every time he puts his foot onstage.

There’s not much else to say about A Raisin In The Sun other than referring back to the title of this review. Because hardly ever do we find a show where such a short phrase can encompass so much about its essence from every possible meaning. It is, indeed, a tale of black souls. Those who are blemished with darkness inside, whether it originates from the somber tones of prejudice, or the result of a biased treatment. And those who carry another type of blackness on their shoulders and on their skin – with the pride that only time will give final validation to. Written over a century ago, it’s truly mesmerizing how the honest writing can keep itself alive regardless of whatever comes in its way. Quite unlike the image its name evokes, the play is far from drying out its force. Instead, its sageness will probably continue to stream on forever.

All pictures credit to Ikin Yum.

A Raisin In The Sun plays at London’s Lyric Hammersmith Theatre until 2 November. Tickets are available on the following link.

By Guillermo Nazara