Does a Dream Dry Up?

A Raisin in the Sun

Take a look at the first line of Langston Hughes’ epic poem about the African-American experience, which he entitled Harlem. In the first line he raises the question, “What happens to a dream deferred?” He goes on to answer this question with more questions, including “Does it dry up like a raisin in the sun?” Lorraine Hansberry was inspired by Hughes’ picturesque poetry and borrowed the line for the title of her play about an African-American family’s struggle for their right to a dream.

A true classic, A RAISIN IN THE SUN not only depicts Chicago’s Southside during the 1950’s (where playwright Lorraine Hansberry lived), but it has become a beloved American and international theatrical favorite, as well. The first Broadway play to be written by an African-American woman and staged by an African-American director, Hansberry’s masterpiece was nominated for four Tony Awards, including Best Play, and won the NY Drama Critics’ Circle Award. Prior to Broadway, the play toured the country playing at, among other locales, Chicago’s Blackstone Theatre.

Now making its Court Theatre debut, close to the area of Chicago where the play is set, it’s finely Directed with spirit and compassion by Senior Artistic Producer, Gabrielle Randle-Bent. Loosely based upon the playwright’s own life, Hansberry tells the moving story of the Youngers, an extended family of five, living together in a crowded, roach-infested two-bedroom apartment on Chicago’s South Side. The story revolves around their dreams: Lena, the family’s matriarch, wishes to move into a house with more room for her family, with at least a tiny plot of land for a garden; her grown son Walter Lee has aspirations for wealth and to become his own boss; his sister Beneatha’s goal is to become a doctor so she can cure people in need; and Walter Lee’s wife Ruth dreams of a better life for herself, her 10-year-old son Travis and their baby that’s on the way. 

The family’s hopes are tied to the expected $10,000 check Lena’s expecting as payment from her deceased husband’s insurance policy. Many of the complications that this black family experiences during the 1950’s unfortunately still exist today, reinforcing the Court Theatre’s goal to “reimagine classic theatre to illuminate our current times. In so many ways, this story about the American dream is universal and could be about any family anywhere, but is particularly meaningful to minority populations.

Andrew Boyce’s Scenic Design handsomely transforms the Court Theatre into the Younger’s tiny apartment, creating just enough space amongst their modest furnishings to play out this heartbreaking story. The darkness of intercity living is magnified through Maximo Grano De Oro’s excellent Lighting. And the noise and voices of the city become auditory canvas for Willow James’ authentic Sound Design. And both Raquel Adorno and Jeanette Rodriguez have designed a closet of period Costumes that help extend the persona of each character.

Gabrielle Randle-Brent’s cast is simply exceptional; there isn’t a false note among this talented ensemble. Shanesia Davis returns to the Court Theatre after appearing in NATIVE SON. She is absolutely magnificent as Lena, the spiritual center of this play. As Mama, she keeps her family firmly grounded with her loving affection and abiding faith. Ms. Davis rises as the heartbeat of this play, the strong mother we all might desire leading our family. Recently seen in the Milwaukee Rep’s production of August Wilson’s SEVEN GUITARS, lovely Kierra Bunch is strong, patient and heartbreaking as Ruth, Lena’s hardworking daughter-in-law. With ease, she draws the audience in to share in her pain and joy, her love and aspirations. Brian Keys, from Chicago’s South Side Englewood neighborhood, really knows his character of Walter Lee. The handsome and talented actor plays the character as if Walter Lee’s actually inhabiting his body. Mr. Keys bottles up so much of his anger and passion until it finally bursts forth. Overcome with anguish, Walter Lee has nowhere to go in order to escape his shame, but to storm out of the apartment.

So memorable in Raven Theatre’s production of HOODOO LOVE, Martasia Jones knocks it out of the park as Beneatha, Lena’s youngest child. A medical student, the young woman has a distaste for her fellow African-Americans who deny their own heritage and try to be like their white neighbors. Beneatha hungers to return to her African roots (as personified by Eliott Johnson’s wonderfully nuanced Joseph Asagai), Ms. Jones is the voice of the black woman who wants more from life than to be a struggling wife and mother. And young Jeremias Darville is effective as Travis Younger, Lena’s grandson for whom she desperately wants much more.

Supporting roles are ably portrayed by a clutch of equally talented actors. J. Nicole Brooks is hilarious as Mrs. Johnson, the Younger family’s opinionated neighbor. Charles Andrew Gardner is excellent as George Murchison, the educated, affluent and pompous African-American love interest for Beneatha. However, George isn’t quite what Beneatha’s looking for in a life partner and she lets him know that. As previously noted, Eliott Johnson, making his auspicious Court Theatre debut, is wise and quietly refined as Nigerian student, Joseph Asagai. Beneatha prefers Asagai’s patience while sharing his world views with her. 

Julian Parker is incredibly realistic in the cameo role of Walter Lee’s buddy, Bobo. A lesser-talented actor might see playing that role as just a throwaway moment, but his presence is very important. Recently seen in the Court’s production of ANTIGONE, Mr. Parker is an actor who, despite the size of his role, digs deep beneath the surface and makes his character absolutely real. And as the token White Man in the play, Vincent Teninty debuts at the Court Theatre in the challenging role of Karl Lindner. As the head of a neighborhood committee from Clybourn Park, where the Youngers hope to soon relocate, he typifies racist America in his not-so-subtle attempt to thwart Lena and her family from moving to his community. 

This thought-provoking, absolutely riveting play by a talented young Chicagoan writer (who sadly died at the young age of 34) has finally been mounted at the Court Theatre. This is a production that would, I’m sure, have made Lorraine Hansberry proud. Sadly, Chicago hasn’t enjoyed a professional production of this classic for several years and, while still very pertinent, 2025 might be the best time and Chicago the best place for this welcomed production of a great play. So, in answer to the question, “Does a dream dry up?” As we see in through this incredible play, the answer is a resounding “No! Never!!!”   

Highly Recommended

Reviewed by Colin Douglas

Presented January 3-March 9 by the Court Theatre, 5535 S. Ellis Ave., Chicago.

Tickets are available in person at the theatre box office, by calling 773-753-4472 or by going to www.CourtTheatre.org.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.