Review of the Original 1959 Broadway production

By Brooks Atkinson
Originally published: March 12, 1959

In A Raisin in the Sun, which opened at the Ethel Barrymore last evening, Lorraine Hansberry touches on some serious problems. No doubt, her feelings about them are as strong as any one's.

But she has not tipped her play to prove one thing or another. The play is honest. She has told the inner as well as the outer truth about a Negro family in the south-side of Chicago at the present time. Since the performance is also honest and since Sidney Poitier is a candid actor, A Raisin in the Sun has vigor as well as veracity and is likely to destroy the complacency of any one who sees it.

The family consists of a firm-minded widow, her daughter, her restless son and his wife and son. The mother has brought up her family in a tenement that is small, battered but personable. All the mother wants is that her children adhere to the code of honor and self-respect that she inherited from her parents.

The son is dreaming of success in a business deal. And the daughter, who is race-conscious, wants to become a physician and heal the wounds of her people. After a long delay the widow receives $10,000 as the premium on her husband's life insurance. The money projects the family into a series of situations that test their individual characters.

What the situations are does not matter at the moment. For A Raisin in the Sun is a play about human beings who want, on the one hand, to preserve their family pride and, on the other hand, to break out of the poverty that seems to be their fate. Not having any axe to grind, Miss Hansberry has a wide range of topics to write about-some of them hilarious, some of them painful in the extreme.

You might, in fact, regard A Raisin in the Sun as a Negro The Cherry Orchard. Although the social scale of the characters is different, the knowledge of how character is controlled by environment is much the same, and the alternation of humor and pathos is similar.

If there are occasional crudities in the craftsmanship, they are redeemed by the honesty of the writing. And also by the rousing honesty of the stage work. For Lloyd Richards has selected an admirable cast and directed a bold and stirring performance.

Mr. Poitier is a remarkable actor with enormous power that is always under control. Cast as the restless son, he vividly communicates the tumult of a highstrung young man. He is as eloquent when he has nothing to say as when he has a pungent line to speak. He can convey devious processes of thought as graphically as he can clown and dance.

As the matriarch, Claudia McNeil gives a heroic performance. Although the character is simple, Miss McNeil gives it nobility of spirit. Diana Sands' amusing portrait of the overintellectualized daughter; Ivan Dixon's quiet, sagacious student from Nigeria; Ruby Dee's young wife burdened with problems; Louis Gossett's supercilious suitor; John Fiedler's timid white man, who speaks sanctimonious platitudes-bring variety and excitement to a first-rate performance.

All the crises and comic sequences take place inside Ralph Alswang's set, which depicts both the poverty and the taste of the family. Like the play, it is honest. That is Miss Hansberry's personal contribution to an explosive situation in which simple honesty is the most difficult thing in the world. And also the most illuminating.

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