By Craig Mustoe and Jennifer Mustoe
A Raisin in the Sun by Lorraine Hansberry, first produced on Broadway in 1959, is Lyric Repertory Company‘s first show of the 2019 season and opens June 14 in Logan at the charming Caine Lyric Theatre on Center Street. During the almost three-hour drive to Logan, we listened to music of that era (Etta James‘ album, At Last, and a song from the show: “This Bitter Earth” by Dina Washington) and discussed what we thought we might see onstage. Craig taught A Raisin in the Sun as a high school English teacher for years and had never seen it performed live. Anticipation was high. Spoiler alert–we were gob smacked with delight and emotion with the performance.
A Raisin in the Sun presents three prongs of the American Dream from the Blacks’ perspective, pre-Civil Rights movement. Nonetheless, the themes are relevant today. Dream One: Any American can own their own home. This is Ruth’s and Lena’s Dream. Dream Two: Any American can own their own business. This is Walter Lee’s Dream. Dream Three: Anyone can get an education. This is Beneatha’s Dream. The common thread is money.
The play’s title comes from Langston Hughes‘ poem, “Harlem”. In the first line it asks the question, what happens to a dream deferred, followed by several options. The first option supplies: does it shrivel up like a raisin in the sun? Interestingly, Lena and Ruth mention the need for light in their dank, dark apartment. What they think will give them a better life is also, according to Hughes, can destroy that dream. Raisin in the Sun touches on many different social issues of the day: family planning/abortion, women’s rights, traditional gender roles, racism, fair housing, poverty, and others. Reading this list, one would think those topics are still prevalent–because they are.
The Younger Family lives in a rundown old apartment that has all occupants squashed into a small space and a bathroom down the hall, shared with other tenants. Lena Younger, “Mama”, played forcefully and lovingly by Kim Bey, is the matriarch of the family who claims she “isn’t meddling”, but wields her power by bossing everyone (in a sometimes fun or kind way, sometimes not), using guilt as a manipulative tool, and has The Money. Her late husband, Big Walter, has left her $10,000 in a life insurance policy and Lena and her two grown children have separate plans for that money. (For perspective, this amount today would be nearly $100,000.) Bey never misses a step and is completely believable as a fierce mother and grandmother who hopes to bring her children and grandchildren far from her five generations of slaves and sharecroppers. She has worked as a maid and day laborer her whole life and she wants nothing more than a house she can share with her family and a little plot of land to plant some flowers and vegetables. There is something about Bey that made me able to see those hands covered with dirt and a huge smile on her face. Strong, sure, and confident, Bey shows Mama’s sweet, innocent, simple side beautifully.
Her son, 35-year-old Walter Lee (Jeremy Keith Hunter), wants the money to go in on a liquor store with two buddies. It’s all he talks about. He wants to be his own man and not someone else’s chauffeur (or “boy”, Craig interjects). Hunter shows Walter Lee’s frustration and growing discontent and demoralization so well, it hurts. Walter Lee is harassed by every woman in his life, his mother, his wife, his sister, even his boss’s wife. He feels harassed by the ever-present racism in a palpable, painful way. He is lost in his own life, either unsure or unable to make a move–because as we discussed on the drive home–when has he ever had a chance to make even one authentic, important decision? All of this Hunter shows with his dynamic physicality, the highs and lows of each scene–his story is one that Hunter tells and sells.
Mama’s firecracker daughter, Beneatha, played by Jamaican native Amanda Morris, is so reminiscent of today’s young people it made me laugh. She made the whole audience laugh–many times. Morris is so comfortable in Benny’s skin, it’s astounding. She is effectively the poster woman for Go Big or Go Home. Sharp tongued, filled with passion and causes a-plenty, Beneatha represents the dream of moving forward in a way that Mama can’t even imagine. I interviewed Morris after the show and she is a delightful individual who was so able to identify with her character, Beneatha glows. And the opposite of Walter Lee, college student Beneatha makes all kinds of decisions, from her amazing apparel choices (kudos to the wonderful costumes Moyenda Kulemeka created for all the characters–they are amazing), to her many college classes she takes, from guitar lessons to horseback riding. Note: Beneatha wants to be a doctor. Not a nurse, as is more common for women in that day. So one must ask, what does guitar have to do with being a doctor? Answer: it shows that Benny has freedom Walter Lee never did and may never have.
The show has a strong ensemble cast, each bringing a great message as well as great performances.
Raisin in the Sun is rife with important themes, some of which I discussed with director Eric Ruffin, a delightful man whose passion for this project is heart-warming and life affirming. Several of the themes that Craig and I have discussed are how Mama has emasculated Walter Lee and when she won’t give him the money, she looks like a bully. But Walter Lee’s dream, a liquor store, is actually a rather seedy, unhealthy choice. Beneatha gets all the breaks, as the baby of the family, and yet, she is by far the meanest to Walter Lee. Craig posits that the overarching theme is Injustice and I agree. My head spins with it all, and how Ruffin was able to fill this production with all this nuance, I don’t know, but he does. Hours of character development discussions maybe. But the end result is a show that is so powerful, you’ll be talking about it for days.
The theater is a lovely old building with the original chairs that seem like were built for shorter people, (tall people–get front row seats!) and a towering balcony that gives this period piece even more layers. Above were videos of authentic advertising of the day–all of white people enjoying the American Dream life. Those same videos played during scene changes as well, with voice over from commercials of that time, as well. The set, designed by Jon Savage, is marvelous, with many layers. The entire play takes place in the Younger living room, but Savage has created a room that feels oppressive and lovely in its own way at the same time. I especially loved the kitchen on upstage left. Lighting Design by Steven R Piechocki is wonderful, and gives the piece so much emotion and depth. Sound Design by Bryan Z Richards is wonderful, especially the commercial voice over for scene changes.
Raisin in the Sun is a life-changing show with as much relevance now as ever. In a wonderful scheduling choice, Lyric Repertory Company has scheduled Clybourne Park to open two weeks from this weekend. It is my suggestion, my recommendation, and pretty much my demand that you see both of these shows. Clybourne Park picks up where Raisin in the Sun leaves off and this is such a wonderful opportunity to see both of these important works in one summer season. Each show has not many performances, so get your tickets now. Though Raisin in the Sun has nothing too inappropriate for kids, it is a little long and has a rather heavy tone at times. But bring your theater-loving tweens and up. The story and the wonderful audience will give your loved ones some life lessons in a beautiful and impacting way.
Lyric Repertory Company present A Raisin in the Sun, by Lorraine Hansberry.
Caine Lyric Theatre, 28 W Center St, Logan, UT 84321
June 14-15, 20, July 10, 13, 20, 26, August 3, 2019 7:30 PM
Tickets can be purchased online here.
Contact: 435-797-8022
Lyric Repertory Company Facebook Page
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