Review: A RAISIN IN THE SUN, Lyric Hammersmith Theatre
Photo credit: Ikin Yum
A powerful revival: A Raisin in the Sun explores the enduring struggles for dreams and dignity under systemic racism.
Lorraine Hansberry’s A Raisin in the Sun might be one of the most important plays of the 20th century. As the first Broadway show written by a Black woman in 1959, the play carries significant historical weight that remains relevant today. For its 50th anniversary, Headlong has chosen this revival for its Autumn tour, in co-production with Leeds Playhouse, Nottingham Playhouse and Lyric Hammersmith, celebrating its impact over the years.
A Raisin in the Sun is a modern classic that delves into the struggles of the Younger family as they pursue their dreams in 1950s Chicago. Battling poverty, systemic racism, and clashing ambitions, each family member faces their own version of the American Dream. Walter (Solomon Israel) is hungry for financial success, Beneatha (Joséphine-Fransilja Brookman) searches for her identity, and Lena (Doreene Blackstock) dreams of a better home. Meanwhile, Ruth (Cash Holland), Walter's wife, quietly contends with exhaustion, poverty, and an unexpected pregnancy, all while striving to hold the family together amidst their turmoil. At its core, the play captures the resilience needed to confront racial inequality and the burden of dreams put on hold.
In this revival, director Tinuke Craig keeps the original setting in the cramped living space of the Younger family, heightening the tension between the characters and emphasising the emotional and financial pressures they face. The story remains groundbreaking in its exploration of the intersection of race, class, and gender in a Black family dynamic at the time, giving voice to experiences rarely depicted on stage even now. From the struggles of internal family dynamics to the larger aspirations of homeownership and self-determination against systemic racism, Craig navigates each character's journey with delicacy and empathy.
Cécile Trémolières’s set design is more than eye-catching. It brings a contemporary twist to the play with the translucent rooms on either sides of the stage that gives the audience a chance to peek into the characters’ inner worlds. Working with Joshua Pharo’s powerful lighting design, creating a cohesive narrative of its own, as if the stage itself comes alive, interacting with the performers. Maybelle Laye’s costumes tie the colour scheme together, grounding the production with the historical context while complementing its modern take. Max Pappenheim’s sound design adds a dreamlike surrealism touch to the jazzy music that brings us back to the 1950s.
The performances are detailed and alive. Throughout the play, the actors bounce off each other with a euphonious rhythm, like a tennis ball flying back and forth, not one second does the ball drop. The cast members have surely developed a wonderful chemistry among themselves. Blackstock’s grounding performance anchors the show. Brookman brings comedy relief with her charming presence. Israel’s performance elicits empathy for Walter's struggles with ego. Holland’s naturalistic portrayal drives the story forward. As the narrative intensifies, some emotional outbursts feel slightly abrupt, and with a bit more buildup or smoother transitions, these moments could have even greater impact. Though every single performer on stage is enjoyable to watch, some characters veer toward the functional side. George (Gilbert Kyem Jnr) and Joseph (Kenneth Omole) serve for Beneatha to find herself and Karl (Jonah Russell) serves as the villain of the story. Perhaps this is a choice, a metaphor reflecting the systemic issues they face. Perhaps we do need an ultimate villain to reflect the issues our society still faces today. But it feels as if it’s at the cost of losing complexity. A missed opportunity to explore difficulties under a bigger societal scope.
Throughout the play, the audience is completely absorbed by every line delivered on stage. The vocal reactions from the crowd show how the struggles of the Younger family resonate deeply and remain relevant today. This revival of A Raisin in the Sun not only honours Hansberry's legacy but also invites contemporary audiences to reflect on the ongoing issues of race, class, and aspiration. With its poignant storytelling and powerful performances, it serves as a reminder that while the dreams of the past may be deferred, the fight for equality continues.
**** Four stars
Reviewed by: Diana Feng
A Raisin in the Sun plays at the Lyric Hammersmith Theatre until 2 November, with further info here.