Raisin in the Sun, reviewed by Aoife Hughes

BOSTON, Mass – “It’s 7:30, you gotta wake up!” “Wake up it’s getting past 7:30!” rang through the Younger household, just like it does in millions of homes every morning. However it wasn’t morning, it was evening, in the Huntington Theatre in Boston. Nevertheless, it did feel like you were right there, in the Younger’s all in one kitchen/dining/bed/living room on the south side of Chicago, all the way back in 1959. A revolving four room set slowly spun introducing the audience to all the dimensions of the Younger household. The characters periodically woke up and made their way to the living room space. The audience immediately felt comfortable as they understood time, place and character.

The New York times summarized the show in their October 2012 review saying “Ms. Hansberry’s play is a spectacular work about a hard-working, complicated black family in mid-20th-century Chicago, with a $10,000 life insurance check to invest, and more needs than resources. At the time, that amount could cover a down payment on a house and provide the money for an ambitious daughter’s medical school tuition, with some left over to contribute to a business venture championed by a son who is ambitious in different, riskier ways.” The conflict in the show immediately sparks conversations about an ideal that wealth leads directly to happiness, and the place of a young woman in late 20th century lower class America, especially an African American woman.

Every actor in the show held their own on the stage. From the talented sixth grade Bostonian Zaire White who portrayed Travis Younger with a perfect balance of innocence and mature understanding of his situation, to Jason Bowen (Best Actor, Boston Magazine, 2012) in his role of Nigerian Joseph Asagi, all artists in the show gave strong performances.

The production team and their deliberate addition of Grandfather Younger was an interesting decision that seems to have paid off quite well. Although the grandfather never speaks, as his character is dead, and simply a presence on the stage for the audience to interpret, his role is interesting influencial on a viewing experience. The rare movement from him made his actions magnified, and left the audience contemplating what those minimal movements signified. Interestingly, the actor, who rarely moved, never spoke, and spent long periods of time holding an uncomfortable position with incredible self discipline, is not credited anywhere on the website or in the Playbill. Another interesting choice on behalf of the production team.

Over all, A Raisin In The Sun tugged heart strings, made you laugh, and did just about everything a good show could’ve done. Walking out of beautiful Huntington Theatre, the audience is left with questions to answer, not just about the show, but also their own lives and principles, just as any great expression of art should.