A Raisin In The Sun
By Keith Boykin, in theater
Monday, April 5 2004, 1:19PM
The problem with contemporary black theatre is that it's only allowed two forms of expression. We either get Tyler Perry's "Mama Done Burned the Cornbread" stories or some variation of the black man's angst in a modern-day imitation of "A Raisin In The Sun." Perry presents black people's idea of black theatre, while August Wilson, Suzan Lori-Parks and others seem to present white people's idea of black theatre. Hence the volatile mix of audiences at the new Broadway revival of "A Raisin In The Sun," featuring the ubiquitous Sean Combs.
A Raisin In the Sun tells the story of three generations of a black family living together on the South Side of Chicago in the 1950s. Despite its classic status in the pantheon of black theatre, Lorraine Hansberry's signature piece would not likely draw a black audience to a $100, 3-hour Broadway play. Broadway shows, even the so-called black ones, tend to be filed with mostly white audiences.
But this is no ordinary Broadway show. The star of the show, Sean Combs, is an internationally recognized hip hop artist. He can rap, he can dance, he can run a business, he can design clothes, he can produce a tv show, and he can even run a marathon. Yes, but can he act? That's the question the audiences are dying to answer.
Putting Puffy aside for a moment, it's hard to lose money with the formula chosen by the producers. Take a legendary black play, insert several well-known actors in key roles, and add a leading rap artist for contemporary relevance and star value. And Presto! You have a hit.
Although originally produced with Walter Lee Younger (Sidney Poitier) as the star of the show in 1959, Phylicia Rashad (The Cosby Show) steals the current show with her presence and performance as Lena Younger (the first mama on the couch). Audra McDonald (Ragtime) who play's Walter's husband Ruth and Sanaa Lathan (Love & Basketball) who plays Walter's younger sister Beneatha, reinforce the strength of the cast. Bill Nunn (Radio Raheem from Spike Lee's "Do The Right Thing") makes a surprise appearance that excites the audience as well.
That leaves us with Sean Combs, who plays the lead role of the mercurial Walter Lee Younger, expressing the angst of the black man. In some ways, this role is perfect for Combs. Puffy, like the character Walter Lee, is a young go-getter motivated by money and a desire to move up in the world. Perhaps Combs has felt trapped in a world that doesn't understand and appreciate him in much the same way that Walter Lee feels in the play.
When Walter Lee wants to use his father's life insurance money to open a liquor store, his mother rejects the idea. "Oh?So now it?s life. Money is life. Once upon a time freedom used to be life?now it?s money. I guess the world really do change," she says. Walter shoots back: "No?it was always money, Mama. We just didn?t know about it." That message is emblematic of the culture clash between the modern-day bling blingers of the hip hop era and the old-school civil rights era blacks. And who better than Combs to illustrate that point?
But that's where the similarities end. Combs, despite his many talents, is not a great actor, and his weaknesses show up painfully on stage alongside the cast of seasoned actors and stars. It's hard not to sit on the edge of your seat hoping he won't screw up a line (he rarely does) or wanting to direct him from the audience. Like many Broadway neophytes, Combs overacts dramatically.
His arms flail about needlessly, distracting the viewer's attention from his words. He paces back and forth, gesticulating his hands around his head, to demonstrate confusion. And no matter how much period clothing they style him in, Combs still looks and sounds like, well, like Sean Combs.
But here is the true virtue of Hansberry's original genius. So strong is the play itself that it doesn't lose its impact simply because of the weak lead actor. When Hansberry's play debuted on Broadway in 1959, it became an instant success. At 29, she was the youngest American playwright and the first African American to win the New York Drama Critics Circle Award for Best Play of the Year.
Although its rarely said, it's worth noting that Hansberry was also the first black lesbian to win such recognition. In a modern day culture that ignores the contributions of black lesbian, gay, bisexual and transgendered people, Hansberry was among the first black women to break down America's racial barriers.
Her genius was not simply in her literary skill but also in her ability to raise timeless issues that still resonate 45 years later. The play deals with or touches on issues of race, gender, class, colorism, internalized prejudice, colonialism and homophobia. And all that in 1959.
Lorraine Hansberry was far ahead of her time. The world has changed dramatically since "A Raisin In The Sun" first appeared on Broadway, but unfortunately the black theater world has not grown as quickly. Often imitated but never duplicated, "A Raisin In The Sun," for better or worse, is still the standard by which all other black dramas are measured.
A Raisin In The Sun is playing at the Royale Theater, 242 West 45th Street, in New York.
Comments conceal
slacky
April 5 2004, 2:05PM
"Raisin In the Sun" was a briliant story. The film version with Sidney Poitier and Ruby Dee was so good. It was like watching your family's past on the screen. I was horrified to hear that Sean Combs was to play the part. Sorry, his public persona comes off way too obnoxious for me to even attempt to watch him "perform" on the theatre stage. It will definitely draw a crowd. Everything today is entertainment, art is dying fast. Just my opinion. As for Sean Combs, "A man that exalts himself shall be abased and a man that humbles himself shall be exalted."
Anyone have tickets??? Just Kidding :0
Troy
April 5 2004, 2:31PM
The real theme seems to be: Making A Way Out of No Way. All the children of color in the spotlight seem to have had that in the front of their minds and thank god they did because as you know, the man of color and his people are dead last on the list if not shut out or shut down completely. Yeah bash P. Diddy say what you will but he's jumping hurdles and putting it down while others complain and want it all ssoo perfect. I really take off my hat to those kids struggling out there with basically nothing to work with except raw talent and savvy and yes, brains tossed into the mix. Yes, steal it, grab it go after it, but don't you dare let no one and no sideline action stop you in your chase!
These kids today aint perfect, never will be they're just doing what everyone before them did and making a way out of no way and no chances given at all.
By the way, Lorraine Hansberry was not homophobic but she was no Lesbian; she was a dynamic woman of color who wasn't about waiting around for someone or something to give her her props; she took it, made it and her work breathes through to today. Her bio alone is worth a broadway in and of itself.
That theatre and that ticket price (200.00 and up) needs to be really analyzed somebodys getting a whole lotta paper off this project and it certainly aint the P. Diddy....
Wonder what Sidney Poitier) thinks of today's production; boy the tales and lessons HE could tell!
chris
April 5 2004, 3:29PM
I have nothing but love for Puffy. He won me over when he ran the NYC Marathon for charity and posted "Diddy runs the City" over every borough. He definitely is a man of action.
He is indeed obnoxious, but most people who are as successful as he is are a bit obnoxious and overexposed.
I'm glad that there is finally something in which he doesn't excel.
Kola Boof
April 5 2004, 4:05PM
I loved the Danny Glover, Esther Rolle PBS version of "A Raisin In the Sun".
Excellent.
David
April 5 2004, 6:32PM
Nothing annoys me more than reading one of Troy's comments. He always seems to take this condescending and myopic stance that just gets on my nerves. What on earth does he know about my generation to make this sweeping generalization: "These kids today aint perfect, never will be they're just doing what everyone before them did and making a way out of no way"? Of course black people are victims, but this victimization theory just doesn't cut it anymore. I think my generation has completely sold out whatever values (hardwork, perserverance etc) our parents passed down to us for bling bling.
Sean Combs has done a lot but no matter how accomodating I try to be, he just doesn't command my respect. I think he is just lucky enough to have successfully raped hip-hop of all artistry and potency. He's given his clothing line street credibility with his somewhat unimaginative music career the whole world thinks he has reinvented blackness. Don't get me wrong, Combs is a financial success, but he just doesn't inspire me, or any smart person I know. Now he's ruining an otherwise brilliant play with a pompous mediocrity that slaps all true black artists in the face and I am supposed to be giddy with excitement. God forbid!
David
April 5 2004, 6:35PM
Nothing annoys me more than reading one of Troy's comments. He always seems to take this condescending and myopic stance that just gets on my nerves. What on earth does he know about my generation to make this sweeping generalization: "These kids today aint perfect, never will be they're just doing what everyone before them did and making a way out of no way"? Of course black people are victims, but this victimization theory just doesn't cut it anymore. I think my generation has completely sold out whatever values (hardwork, perserverance etc) our parents passed down to us for bling bling. Sean Combs, the bling bling master himself, has done a lot but no matter how accomodating I try to be, he just doesn't command my respect. I think he is just lucky enough to have successfully raped hip-hop of all artistry and potency. He's given his clothing line street credibility with his music career and the whole world thinks he has reinvented blackness. Don't get me wrong, Combs is a financial success, but he just doesn't inspire me, or any smart person I know. Now he's ruining an otherwise brilliant play with a pompous mediocrity that slaps all true black artists in the face and I am supposed to be giddy with excitement. No!
jaymillionaire
April 6 2004, 2:24AM
Blacks love Donald Trump.
Blacks hate Sean Combs.
Black self loathing at its finest.
Troy
April 6 2004, 9:00AM
We as people of color are as varied in taste and desires as the sea, there is no victim role to play. There is only the truth of the matter that if you live here in these United States of America there is Them and there is an Us. Understanding what has happened and is still happening makes one the more wiser. Nope Combs is not God, never will be, but I won't sit silent on the few if little thought of progress he has made. His moves alone inspire other young people to go that much higher and beyond and the ones that came before him inspired him. Lose the sacred cow mentality and see things for what they are, the truth shall set you free!~We are not all alike and Donald Trump isn't on my list favorites; I, a black man who has worked for television, media and a lifetime member of the NAACP.
Troy
April 6 2004, 9:53AM
"The most disastrous aspect of colonization which you are the most relunctant to release from your mind is their colonization of the image of God". - Dr. Frances Cress-Welsing
My fellow black brother and sister YOU are that God.
Larrry
April 6 2004, 10:00AM
People who cannot sing should win grammys.
People who cannot act do not belong on broadway.
My heart goes out to true artists who have already suffered enough from having artistic fakes and frauds run the commercial entertainment sector and make all the money, but now (touche!) they have the nerve to come and HEADLINE no doubt in genres that have always been the last places where people with actual talents, gifts, and training could give their art to the public.
Its a sad shame.
Let the real actors take on serious prodcutions. Monkeys need to stay at the zoo.
Larrry
April 6 2004, 10:01AM
error above........"people who cannot sing should NOT win grammys"...
slacky
April 6 2004, 1:59PM
I had to post again. Who/what's popular is not always what's good. Art has nothing to do with money, although money is the easiest way for us to validate most things in life. It's sad that unknown actors who study, live and breathe their craft have been bumped asside by popular celebs. Morris Chestnut or Derek Luke could have brought more to that character, in my opinion. We are not hating blackness (ourselves) by evaluating and critiquing our conduct. "Blacks love Donald Trump?" I haven't met one yet. He's as warm as a silver dollar. You lead by example. Sean Combs tends to come of with this superiority attitude. He works hard like MOST of us but I guess his wealth gives him bragging rights- right? (Bling-Bling). I don't blame him for having the part in R.I.T.S, I just question the reason why he was chosen of all the black talent in America.
Marlon
April 6 2004, 8:00PM
First, big applause to Pulitzer Prize winner Edward P Jones for his novel The Known World. Kudos bruh!
Kola
Yes—that’s a great version!
Keith, unfortunately, you’re correct, our attendance is minimal unless it’s ,"Mama Done Burned the Cornbread." Man—I love that title—I’m still laughing!
Kudos to Puffy--maybe he’ll finance a chain of community theaters in urban areas.
Allow me to share a funny theater story. Many moons ago, I participated in my local community theater (its only black production for the season) production of William Brown & Charlie Smalls musical: The Wiz, but Pre ticket sales were so miniscule that the producer offered ½ off all tickets and a free soul food buffet; therefore, it became dinner theater. Well, each evening, too many folks purchased tickets at the door leaving us no recourse but to ration the food. Lawd—folks complained before dinner, during the show, and while exiting the building. This white director learned an invaluable lesson: go cheap on production--Not food! Vocals and choreography could suck, but the food best be plentiful, hot and no burnt cornbread.
Troy
The quote by Dr. Frances Cress-Welsing is most appropriate—my sentiments Exactly!
Mr.me
April 7 2004, 4:24AM
Well I am a big fan of the original movie. I am also a fan of Sean Combs. Thanks for the review.
femmegrrrl99
April 7 2004, 9:56AM
I'm not here to cast my hat into the ring re. Raisin in the Sun, since I'm not likely to be on Broadway any time soon. My comment is surrounding Keith's quote:
We either get Tyler Perry's "Mama Done Burned the Cornbread" stories or some variation of the black man's angst in a modern-day imitation of "A Raisin In The Sun."
For a while now I"ve really wanted to delve into this topic -- the modern day minstrels if you will. I can't quite put my finger on it ( and thus writing an article on it has eluded me) but something about those "Put down the catfish mama, I wanna sing" type plays really bothers me and I think on some level, is giving a very disturbing message both about black portrayals but also about black "arts". Is anybody with me on that?
chris
April 7 2004, 10:05AM
I, too, love the title "Mama Done Burned the Cornbread". I laughed until I cried. On my long commute home yesterday from White Plains to Flatbush, I kept speaking that title out and I continued to crack up myself. Mama Done Burned the Cornbread. Try it you'll see.
I agree with the sister about the minstrel nature of black art. It's just plain sad, but it seems like that's all we are willing to support as a community.
Troy
April 7 2004, 11:09AM
2 factors at play; We only support the things that are at the minute right in our face, non-thinking, non-issue type things or events or projects and MAINSTREAM MEDIA'S support.
We and Them.
When I worked at BET Television we had many long night and day discussions on the shuck and jive factor of programming and how to solve it or turn it around. When solid serious programming and projects such as Emerge magazine and so forth were put across no one supported it and the very few that did were not enough to keep them going, ultimately they sank and died.
But back to the we and them factor which no one really wants to seriously deal with because it's not Barbershop part 400 or Cornbread Done Me Wrong the Untold Story. Sad to say we as people of color just do not have the money or means to support worthwhile serious projects when trying to keep basic food on the table and roof over their heads. Yeah we've come a long way but we got a long way to go on a very serious and known front; knowing and loving and appreciating OURSELVES.
femmegrrrl99
April 7 2004, 2:22PM
In response to Troy, I think we have to face the facts: we have a disproportionately large number of impoverished, uneducated blacks in our community and they are the ones driving entertainment alot of the time. The result is movies that cover very basic topics (fear, disappointment, failure, humor) rather than delve into some of the deeper topics that more educated blacks (who all live in cave somewhere) would like to see. It's all about money at the end of the day.
I just wish these plays would stop. The movies I can deal with, but no more "Mama take that catfish offen the stove so I can tap dance". Why are we supporting this? It's not po folk in those theatres, it's middle class blacks.
FYI: My fave title: Kelly Price in "Why did I get married". LMAO.
Laura
April 7 2004, 5:59PM
Of course, "Raisin in the Sun" is NOT mama/cornbread/tapdance, etc. I'm usually not a silver-lining sort of person at all, but perhaps Puffy's involvement with such a classic as RITS will at least put it on the map with people who might not usually pay any attention to it.
But I'm totally with Larry on the Black talent angle. Why him? Just for name recognition? That's it??
Troy
April 7 2004, 8:10PM
Money and the q factor; he brings both to the play that no other black male actor could or would bring. Name the names; only when PDiddy or someone not so expected to be there would there be this much hoopla over nothing.
Speaking of nothing; how about the deafening silence or stupor this country seems to be in on the war on Iraq while the soldiers there are dying left and right and for what reason? A 22 year old black male soldier I knew was killed among the recent 24 or so killed so far. Nobody saying or doing nothing! I guess the $10,000.00 insurance money is so badly needed the family dare utter a word. The worst time to be in is one in which no one cares or gives a damn unless we're talking about Janets breast or Whitney and her man or the game. Oops let me shut up and be a good little no voice, non-driven negro and just get my party and freak on. Sorry, I uh, interrupted.
cmoney
April 8 2004, 11:45PM
I saw a great play today. It was called "Condoleeza Live". It involved this scary woman who lied, shucked and jived and sold her soul to support a Forrest Gump like benefactor named George, Jr. George, Jr. and Condoleeza go way back. She always knew she was smarter than he, but because she was not privileged to have grown up as the son of a white millionaire, she had to hang with him to get ahead (so she thought). She just made the best of her life by selling out to maintain her position above the rest of the black women she knew. As smart as she was, she never seemed to realize that integrity matters. George, Jr. one day became president of the US of A and brought his "brain in a handbag" with him to D.C. George turned out to ba disastrous president, but as long as Condoleeza could keep her lips moving and keep the target off George's back, her work was done. The play had drama and intrigue. It culminated in her testimony before Congress to explain why her dumb boss allowed thousands of Americans to be killed while he vacationed endlessly in Texas. The play ended with George, Jr. being impeached and Condoleeza down and out and living in the hood, strung out on drugs and cheap booze. A cheap shell of a woman. An embarassment to her parents who raised her to become a college professor. Rejected by her own kind and the white elite who no longer had any use for her. Our shameless heroine never seemed to learn the moral of the play--that integrity matters. The play ended as she took another swill from the bottle of Alize', dragged on a Newport and fell asleep in a Washington DC alley, her once immovable hair a nasty nest of fleas and naps. The curtain closes. I dry my eyes. :-)
slacky
April 9 2004, 12:13AM
That was great CMONEY. The best play for April 2004.
yeneerfad
April 9 2004, 9:44AM
Troy,
I don't agree that blacks don't have the money to support good arts, including theater. Def Jam on B'way had tix as cheap as $25 and it was possible to get even student discounts. The problem is what Femme stated -- we have too many undereducated folks, black, white and Latino, who support what's trendy, and unfortunately unsophisticated. When I was a kid, the kids who liked to read and were involved in music were nerds. Reading and music appreciation (complete with the listening of Mozart) was corny, and so were you, if you were into it.
Last night, I had the dubious pleasure of attending a benefit for the KISS Cares Foundation featuring Dwele (talented cat, needs a little more stage presence), Heather Headley (who SO needs to rescue Aida, 'cuz nobody does that role like her), and hosted by KISS personality Michael Baisden. Although I'm only familiar w/his show through word of mouth, I guessed he talked a lot about relationships because when we arrived, the audience chose to share their opinions on 3 things:
1. Sex
2. How to improve sex
3. How to keep your mate happy via sex
...which winds me back to Femme's postings on the quality of black entertainment. I hate to generalize, but I offer as a theory that 3 communities exert, and need to exert further their influence on better entertainment (above the My Granmama burnt up the chicken 'cuz she was prayin I would find a good man ilk). Good pop culture is influenced by:
-Gay men
-Blacks
-Gay & lesbian blacks
I'll even throw in a bonus group: educated black women, followed by educated black men (and I don't include black MBA's -- no offense meant).
Thoughts? Sorry for the long winded post.
Troy
April 9 2004, 10:16AM
Well...you are very correct on the aspect of the major influences and I do agree with 99.9% of what you wrote, however I do have to mention economics and social ills, if it were; we just are not there. Everyone lionizes this pseudo middle to upper class black man and woman but they are really the ones that can project the image and are really living off credit cards and fear; fear of real exposure.
The other major thing which seems to be so hurtful and so allowed and condoned is this cloak and dagger shit of seek and hiding of any good or worthwhile event for people of color. How many times I wished I knew or wished the word was out on countless events from kids' worthy projects to adult venues that never get the light of day until long after they are done and over with?! Then we all sit around and say Damn, how did I miss that? In short I do agree with you but the inside real picture needs huge fixing; I'm there, wrench in hand, but I sure as hell wish I wasn't the only one:)...As usual, Keith, the commentors and this site, make my day, everyday!
Troy
April 9 2004, 10:33AM
Michael Baisden is a novelist whos' work caters to females of color, of which buy books and read them in great numbers, they are part of the wave going strong right now since Terry McMillan, Waiting to Exhale days of woman escaping to books as real life becomes harder and harder to swallow and deal with; E Lynn Harris banked on the trend and caught it early on, others followed. Syrupy sugary cornbread burners in all shapes and sizes exist today, contact the beacon theatre or the nearest black bookstore. It's good yarns but mainstream society yawns big time at this and only notices when its a Morrison or somebody unthreatening to the world at large. Advertising and media sucks but that's where we (gay & Lesbian & bi folks of color are if not the computer side of things are) working it out for the man and still no real rights recognized. It's interesting, our day will come, you'll see.
Evram
April 9 2004, 11:43AM
I actually like the play "Mama I got naps" a whole lot better than the other ones.
Troy
April 9 2004, 3:15PM
oops, wrong Michael Baisden, the one I mentioned seems a bit different from the one you mentioned veneerfad.
Education is key! But who is willing to take the long way home these days?
The Saviour in all of us is about due any second now, stay tuned!
On another note; imagine having to spend a weekend with George Bush and your the only one there that isn't the maid or the cook or the groundskeeper?
UGHHHHH
jaymillionaire
April 9 2004, 4:15PM
Black fine artistic productions are influenced by demand of the black community. It would be an error to suggest that African-Americans as a group are clamoring for thought provoking entertainment. We are the group that made "MAKING OF DA BAND" the number one show on MTV. The black middle-class is the group which should carry the burden of pushing the envelope of expression--instead of being the torch carriers of blacksploitation.
The African-American middle-aged, middle-class have sold-out in mass. The lessons taught by their mothers and fathers have been roundly ignored. The blacks with money and power refuse to take a stand against exploitation, racism, and the most oppressive--bigoted establishment of them all---the CHURCH. We are all responsible for the images we put forth--boofonery or otherwise; we must swallow our pride and join the conservatives (yes, conservatives)to stop the genocidal images which saturate the airwaves.
Laura
April 9 2004, 5:48PM
Must disagree with a lot of what has been written here about Black entertainment. First, I don't agree that we are driving demand for blacksploitation - historically that has always been white people with expendable income (yet, when this is revealed, everyone always acts so suprised). MTV and the rise of gangsta rap are no exceptions.
Troy said, "Everyone lionizes this pseudo middle to upper class black man and woman but they are really the ones that can project the image and are really living off credit cards and fear; fear of real exposure."
Sounds a lot like the middle class in general, especially the white ones who grew up working class or poor. There is a lot of demonization of the black middle class, as we see in this thread.
Jaymillionaire said, "we must swallow our pride and join the conservatives (yes, conservatives)to stop the genocidal images which saturate the airwaves."
ROTFL! Hell if I'm going to join with social forces who do not have my best interest in mind and would just as soon shoot me as look at me for being BOTH Black and queer. Hell if I'm going to stand sholder to sholder with moralistic, anti-gay, anti-Black, money-obsessed, forked-tongue hypocrite conservatives, who are really the ones who stand to benefit from these genocidal images, and more importantly the destruction of our communities. Screw that.
Laura
April 9 2004, 6:10PM
"As smart as she was, she never seemed to realize that integrity matters."
As Emeril says...BAM!
On the money, cmoney.
Ray
April 11 2004, 6:53PM
This is extremely funny just to watch the comments that have been made. If he was not good in the role, he simply was not good in the role. Yes, he has done a lot of positive things and I commend Sean "Puffy, P-Diddy" Combs. However, there are countless people who could done the role that have been trained. To get him for the role was like getting an untrained Surgeon and saying I guide you through the surgery. I also find it a fault on behalf of the Directors. Those inticacies that the ajudicator spoke of were things tha directors deal with in rehearsing for productions. Also, trained actors are taught not to do these things. That is the problem with many African-American we can not accept and do not want to hear the truth.
Regan DuCasse
April 12 2004, 1:29PM
It's not hard to see that Sean Combs believes he can do anything and no one is telling him he can't.
Nobody is telling Donald Trump that is comb over is ugly and beneath a man of his wealth and power.
I have a friend who is a beautiful brotha with a church trained baritone to kill for. He's struggling to get a CD together. It's full of quality songs that he's tenderly written and sung.
Just when I thought mediocrity as genius couldn't get worse...along comes Hung-can't sing, can't dance, rabbit toothed Chinese American Idol reject who is making the scene with his CD (who put up the money?!) and he's getting limo rides and halftime concerts including dancing girls.
This shit ain't funny.
This shit REALLY ain't funny.
Indeed, I wanna slap somebody.
Lenn
April 13 2004, 11:57AM
It's unfair & unrealistic to compare Sean Combs to the legendary Sydney Poitier--there's no comparison to be made.
As I sat from my 3rd row center orchestra seat, I caught up close every hyperbolized facial expression and gesture that Sean offered. It was obvious that he isnt a seasoned stage actor. The cast carried him, however, he was adequate. He and Phlicia Raashad drew the only applause when the came on stage, although I was delighted to see Audra McDonald, whom I love.
At intermission I noticed the diversity in the audience: to my left were brothers in throw back jerseys (not appropriate for theater, but keepin it real!),
and a younger, urban audience sitting next next to white tourists, and "downtown" artsy types....i loved that!
Ron Lee
April 17 2004, 3:23AM
P.Diddy is a nerd that has done well in the rap game.He's a great rap producer;however,he's all wrong for "Raisin In The Sun" this kid don't have a clue about being a Real Black Man.This kid is conservative one minute,gangsta d'next,wearing a fur & rings the next.Shows up at preimers alone and rarely has a BLACK WOMAN ON HIS ARM.THIS KID IS MORE FLAKE THEN RAISIN.
jp
May 5 2004, 7:25AM
Oh how I envy you Yorkers! If justice is done "Raisin in the Sun" will come to he Lorraine
Hansberry theater here in San Fran. Thank you Keith for reminding us of this towering and heroic figure. Best known for "Raisin" she was also a prolific writer of essays, a serious student of literature at University of Wisconsin at Madison I believe (a fine school with magnificent campus laid in a pastoral countryside).
'Raisin' takes place in Chicago, (her and my home town) on the South Side near in Hyde Park near where I grew up and around the same time ... when the Negroes ( for those not old enough to have lived it that's what such folks were called back then -- not so ancient history .. in my lifetime. This was the time of 'white flight' when the "so-called Negroes" were moving farther south out of the ghettoes and into the white enclaves. It was a hateful and horrific time in Chicago history. The first wave came after the civil war, WWI brought a second wave (with the white men off to war there were plenty of jobs for Negroes and with so many white women entering the work force because their husbands were off to war and black women could find domestic jobs. When the war ended the Negro men could not find jobs because the whit men wanted their back again. It was a hotbed of hate. A financially advantageous time for Negroes in some ways and they were more and more able to move out of the ghettos and projects. That meant moving father south and southwest — into the white working class neighborhoods first and then into the more upper class enclaves of the South Shore and Hyde Park. The University of Chicago played a questionable role in this urban exodus and disaster and contributed to a nasty housing crisis that some fairly argue fueled the racial unrest. I believe Hansberry's father was in the real estate business. "Raisin in the Sun" is essentially about that time, that place, and that social dynamic. These were powerful, ugly, frustrating times. Hard work in hard times, frugality and sacrifice, had produced a new possibilities but the frontier was closed. The ghettoes were bursting open. Decent hard working Negroes wanted decent lives and decent homes. But no one wanted their money.
Race riots were a common occurrence. Chicago was a city of fenced in neighborhoods. Italians lived here, Poles lived there, Jews lived over there, and people stayed "where they belonged." Polish boys entering an Italian neighborhood were likely to get their asses kicked bad. Even the whites were fenced off amongst themselves and the nationalistic boundaries were just about as rigid as the ethnic ones. But the race-line was the most explosive (as it was in most of America). It didn't matter if you were, like Nat King Cole, a wealthy Negro loved all over the world and especially my a white audience; when he moved into one of those neighborhoods they burnt a cross on the man's front lawn. It was nasty, ugly, shameful history. Times have changed but the scars and the agony abide for many. "Raisin" pulls the scabs off wounds have not yet and may never heal. But it is also transcendent, heroic, and a testimony to the in dominance of manhood, family, and the human experience. It is not tragedy. It is victory. And it is awesome.
Hansberry was of that generation. Her father was connected with the NAACP and the Urban League and ran for Congress. Typical of the solid middle class African-American community of today's Chicagoan, Hansberry was well educated and, from an early age, well-primed in radical politics. She later moved to New York and became immersed in the political, cultural, and artist if life there. She was also known for her "tremendous emotional identity with the Jewish radical and intellectual tradition. She was taken from us far too young (of cancer in 1965).
Raisin is based on the world I knew, the neighborhoods I knew, and it nails me to the wall every time I've seen it -- and it nails everyone's feet to the floor. Truly one the great works of American theater, ranks right up there with Wilder's "Our Town" and with the same stark to the bones simplicity; but "Raisin" is far more passionate, as American as American Theater gets and that doesn't get much better than "Raisin in the Sun. No one should miss this long-awaited revival.
For those are interested Henry Louis Gates and Cornell West provide a fine brief biography of her in "African American Century" (The Harvard team did a great job on that book). But the most deeply moving account of Hansberry and "Raisin in the Sun" I've read is Sydney Poitiers memoir -- the later one, I think, called "The Measure of a Man." And what a man he is . He played the lead role in the original New York production. And she also played a role, as I recall in the movie with Poitier. The story Poitier he tells of the production of the play and the opening night is one of the most deeply moving accounts of love and inspiration I've ever read. I highly commend it. It is history writ at its finest, from the depths of a great man's soul.
Hansberry was a colossus as an artist and as an intellect. What's really amazing is that "Raisin" is a virtual masterpiece written by a very young woman at a very early age of development. We will never know what bigger treasures she would have left us with but she did not die with her song still in her.
Oh how I envy you Yorkers! This is certainly one of the greatest works for the stage. True poetry. What gifts the woman had! And what a magnificent contribution we are left with. I pray it comes to the theater of her namesake in San Fran. I'll hock my watch if I have to and know I got the better of the deal.
Copyright J.P. Mortimer
jp
May 5 2004, 7:49AM
Truly amazing! Keith has paid tribute to Lorraine Hansberry -- a truly heroic and towering figure in the American Arts and American culture. A colossal woman with amazing talent and one who left an astounding legacy. And it's tribute where tribute is certainly due. Thanks Keith! But in all the pages and pages of comments posted at the Heroes section I find not one single reference to Hansberry (aside from my own) and in the subsection on "Raisin in the Sun" I count only one reference (aside from my own) to the person being paid tribute to. This strikes me as rather peculiar. Could it mean something?