Lorraine Hansberry’s A Raisin In The Sun is certainly a classic American play in the manner of say, Our Town. It is vital, it is focused, and it clearly positions us in a particular identifiable era in 20th Century America. Both plays examine the gender conflicts, generational conflicts, societal conflicts, and racial attitudes of their respective eras. Raisin is a more complex story as it contrasts the hope invested in the American Dream as opposed the actual experience of life in America for Black Americans.
I don’t think we need to say anything about spoiler alerts given the stature of this play. But here is a short synopsis. Before the play begins, the patriarch of the Younger family has passed away and his life insurance pay out will provide some economic relief and opportunities that the family has not had in the past. But there is the rub. Several different family members have dreams and aspirations that this money could help them reach but that often puts them in opposition to one another during the course of the play. The money literally belongs to Mama, Lena Younger, the deceased’s widow. And her children state that is true during the play but there always seems to be a ‘but’ implied in the statement. Walter Lee Younger is frustrated with his lot as a chauffeur and wants to invest in a liquor store while his sister wants to continue her college career and become a doctor. Mama has other ideas and supports Beneatha’s college plan but given her religious beliefs, finds Walter’s liquor store idea objectionable. Lena takes her own lead and puts down a deposit on a home with the intention of moving her entire family out of the cramped squalid apartment where they currently are living. There are some mishaps, interventions, arguments, and third party disruptions…that provide a decent amount of turmoil, an interesting, deeply moving drama, and eventually, a satisfying ending.
Dimonte Henning has developed into an intriguing and important member of the area theater scene both as a remarkable director and dramatic actor. So I was excited to see that he had signed on to play the very challenging role of Walter Lee Younger in the Chamber’s version of Raisin. Particularly when I realized that like many other presentations, director Kimille Howard was focusing on Walter as the lead character. This is not an easy role by any means and Henning realizes that and grabs it by the throat with both hands. Henning will make you feel Walter’s anger and frustration at his situation and you will recoil from the scenes of drunken behavior. And during one of Walter’s rages, Henning rails on about the lack of respect and understanding he feels he is getting from his family but he never exhibits a lick of empathy for their positions for a single moment. And I couldn’t quite discern the transition in his attitude when he comes into the room to find his sister dancing an ethnic folk dance…initially he is copying her moves to mock her but he seems to dissolve into an actual participant before too long. Just a bit of catharsis? Denning takes a surprising twist when he loses everything…and the expected rant and drinking…give way to the pain and a deadly quiet until he forges a new presence and new sense of manhood for Walter. And I have no idea how Henning maintains this level of intensity in the role for the entire two plus hours of the play.
It is remarkable how Paulina Lule maintains the composure called for in playing Walter’s wife, Ruth Younger. With any number of trials of her own, Lule presents us with one of the stable forces in the household despite having to mother a young son and an erratic husband and at times play peacekeeper between her in-laws. Lule has just the right resignation in their voice and actions to display Ruth’s own sadness even as Ruth feels the need to press on. As Lena, Olivia Dawson exerts her own sense of determination and makes some very dramatic decisions for her family. But she doesn’t always see eye to eye with her children and Dawson displays just the right amount of sadness and regret as Walter lets her down without losing her composure. Dawson conveys that outward calm of motherhood even when she is probably roiling inside. And Malaina Moore is just jubilant as Beneatha Younger, balancing beaus who couldn’t be more different to establishing her dream in everyone’s mind including hers. But Moore also effortlessly presents a young woman who is trying to find her own mind and set her own path for the future. Moore catches the in-between moments as well as the most apparent in her journey. And here too, Moore is amazingly calm as her brother confesses to losing her college nest egg too. Another under story in Hansberry’s grand scheme of things is the love of family will win out in adversity.
And two other featured characters around the Younger family? Kamani Graham plays a cocksure young man who is convinced of his own sophistication as George Murchison. And when George is listing the things that are important, Graham sells us on George’s knowing what he should do, what he has to do, and what he is doing but he has absolutely no idea why. Not sure who he thinks he is convincing, but he’s not getting to Beneatha. And Joseph Asagai is Beneatha’s other beau, a Nigerian student, he is self assured in an entirely different sense. Ethan Hightower’s Joseph is rooted in his own power and his dream for his people and the influence he hopes to bring home on the completion of his college sojourn in the US. The energy Hightower brings to the role certainly is attractive to Beneatha and the audience.
Then there is Karl Lindner. Lindner is played by Ken Miller and Miller brings just the right amount of trepidation to his character. He knows what he is doing isn’t right but societal pressure is putting him into this unfortunate and uncomfortable position. The role must be nearly as stressful for Miller to play as it would have been for a real life Lindner.
A quick shout out to Jordan Doidge for his portrayal of Travis Younger, the young son of Walter Lee and Ruth Younger. But I don’t think that sleepy act in the first act would have fooled my mother either. Nicely Done! Doidge alternates with Amari DeBerry as Travis. So if you are hoping to see Doidge or DeBerry, plan you visit to MCT carefully. The times and dates for their performances can be found in the links below.
This is a true classic American play and director Kimille Howard has voiced it in the proper classical perspective: a forceful performance that should be experienced on their live stage.
A Raisin In The Sun is playing at the Milwaukee Chamber Theatre from now through May 24, 2026. For those familiar with MCT, please note that they are presenting Raisin in the companion stage next door where the Skylight Music Theatre usually performs at 158 N. Broadway.
The play runs 2 hours and 45 minutes including one intermission.
Additional information HERE and Ticket information HERE.
