A Raisin in the Sun portrays a few weeks in the life of the Youngers, an African-American family living on the South Side of Chicago in the 1950s. When the play opens, the Youngers are about to receive an insurance check for $10,000. This money comes from the deceased Mr. Younger’s life insurance policy. Each of the adult members of the family has an idea as to what he or she would like to do with this money. The matriarch of the family, Mama, wants to buy a house to fulfill a dream she shared with her husband. Mama’s son, Walter Lee, would rather use the money to invest in a liquor store with his friends. He believes that the investment will solve the family’s financial problems forever. Walter’s wife, Ruth, agrees with Mama, however, and hopes that she and Walter can provide more space and opportunity for their son, Travis. Finally, Beneatha, Walter’s sister and Mama’s daughter, wants to use the money for her medical school tuition. She also wishes that her family members were not so interested in joining the white world. Beneatha instead tries to find her identity by looking back to the past and to Africa.
As the play progresses, the Youngers clash over their competing dreams. Ruth discovers that she is pregnant but fears that if she has the child, she will put more financial pressure on her family members. When Walter says nothing to Ruth’s admission that she is considering abortion, Mama puts a down payment on a house for the whole family. She believes that a bigger, brighter dwelling will help them all. This house is in Clybourne Park, an entirely white neighborhood. When the Youngers’ future neighbors find out that the Youngers are moving in, they send Mr. Lindner, from the Clybourne Park Improvement Association, to offer the Youngers money in return for staying away. The Youngers refuse the deal, even after Walter loses the rest of the money ($6,500) to his friend Willy Harris, who persuades Walter to invest in the liquor store and then runs off with his cash.
In the meantime, Beneatha rejects her suitor, George Murchison, whom she believes to be shallow and blind to the problems of race. Subsequently, she receives a marriage proposal from her Nigerian boyfriend, Joseph Asagai, who wants Beneatha to get a medical degree and move to Africa with him (Beneatha does not make her choice before the end of the play). The Youngers eventually move out of the apartment, fulfilling the family’s long-held dream. Their future seems uncertain and slightly dangerous, but they are optimistic and determined to live a better life. They believe that they can succeed if they stick together as a family and resolve to defer their dreams no longer.
Playwright and activist Lorraine Hansberry wrote 'A Raisin in the Sun' and was the first Black playwright and the youngest American to win a New York Critics’ Circle award.
Who Was Lorraine Hansberry?
Lorraine Hansberry wrote A Raisin in the Sun, a play about a struggling Black family, which opened on Broadway to great success. Hansberry was the first Black playwright and the youngest American to win a New York Critics’ Circle award. Throughout her life she was heavily involved in civil rights. She died at 34 of pancreatic cancer.
The granddaughter of a freed enslaved person, and the youngest by seven years of four children, Lorraine Vivian Hansberry 3rd was born on May 19, 1930, in Chicago, Illinois. Hansberry’s father was a successful real estate broker, and her mother was a schoolteacher. Her parents contributed large sums of money to the NAACP and the Urban League. In 1938, Hansberry's family moved to a white neighborhood and was violently attacked by neighbors. They refused to move until a court ordered them to do so, and the case made it to the Supreme Court as Hansberry v. Lee, ruling restrictive covenants illegal.
Hansberry broke her family’s tradition of enrolling in Southern Black colleges and instead attended the University of Wisconsin in Madison. While at school, she changed her major from painting to writing, and after two years decided to drop out and move to New York City.
In New York, Hansberry attended the New School for Social Research and then worked for Paul Robeson’s progressive Black newspaper, Freedom, as a writer and associate editor from 1950 to 1953. She also worked part-time as a waitress and cashier, and wrote in her spare time. By 1956, Hansberry quit her jobs and committed her time to writing. In 1957, she joined the Daughters of Bilitis and contributed letters to their magazine, The Ladder, about feminism and homophobia. Her lesbian identity was exposed in the articles, but she wrote under her initials, L.H., for fear of discrimination.
'A Raisin in the Sun'
Hansberry wrote The Crystal Stair, a play about a struggling Black family in Chicago, which was later renamed A Raisin in the Sun, a line from a Langston Hughes poem. The play opened at the Ethel Barrymore Theatre on March 11, 1959, and was a great success, having a run of 530 performances. It was the first play produced on Broadway by an African American woman, and Hansberry was the first Black playwright and at 29, the youngest American to win a New York Critics’ Circle award. The film version of A Raisin in the Sun was completed in 1961, starring Sidney Poitier, and received an award at the Cannes Film Festival.
In 1963, Hansberry became active in the civil rights movement. Along with other influential people, including Harry Belafonte, Lena Horne and James Baldwin, Hansberry met with then-attorney general Robert Kennedy to test his position on civil rights. In 1963, her second play, The Sign in Sidney Brustein’s Window, opened on Broadway to unenthusiastic reception.
Personal Life and Death
Hansberry met Robert Nemiroff, a Jewish songwriter, on a picket line, and the two were married in 1953. Hansberry and Nemiroff divorced in 1962, though they continued to work together. In 1964, the same year The Sign in Sidney Brustein’s Window opened, Hansberry was diagnosed with pancreatic cancer. She died on January 12, 1965. After her death, Nemiroff adapted a collection of her writing and interviews in To Be Young, Gifted and Black, which opened off-Broadway at the Cherry Lane Theatre and ran for eight months.
A Raisin in the Sun is considered one of the hallmarks of the American stage and has continued to find new audiences throughout the decades, including Emmy-nominated television productions from both 1989 and 2008. The play has earned accolades from Broadway as well, winning Tony Awards in 2004 and 2014, including Best Revival of a Play.
As with last week, I am giving you the articles I have, but encouraging you to research this play, playwright, and subject material on your own. Refer to past blogs for resources and of course always, Wikipedia is a great place to "mine" for other more research! If you find anything you feel like sharing, feel free to email me.
As we start each discussion on Mondays, I read this aloud, something I found at Bag & Baggage Productions in Hillsboro, OR, a theatre company in predominantly white suburbia outside of Portland, OR. Bag & Baggage holds "Brave Space" events during each production to invite speakers and hold discussions around issues that are difficult to understand and talk about.
Ritual, meditation, and group agreement are all wonderful practices to balance our chaotic lives. Reading this each week helps center each of us into...
A sharing space.
An open space.
A listening space.
A hearing space.
An empathetic space.
A brave space.
An Invitation To Brave Space
Together we will create brave space.
Because there is no such thing as a “safe space” --
We exist in the real world.
We all carry scars and we have all caused wounds.
In this space
We seek to turn down the volume of the outside world,
We amplify voices that fight to be heard elsewhere,
We call each other to more truth and love.
We have the right to start somewhere and continue to grow.
We have the responsibility to examine what we think we know.
We will not be perfect.
This space will not be perfect.
It will not always be what we wish it to be.
It will be our brave space together,
We will work on it side by side.
by Micky ScottBey Jones
About Micky ScottBey Jones
Micky ScottBey Jones – the Justice Doula – accompanies people as they birth more love, justice and shalom into our world. As a womanist, faith rooted, contemplative activist, healer, movement chaplain and nonviolence practitioner, Micky supports students, clergy, activists and everyday leaders in a variety of roles – speaker, writer, facilitator, pilgrimage guide, consultant and teacher. She is the Director of Resilience and Healing Initiatives with the Faith Matters Network and is a core team member with The People’s Supper who has gathered more than 10,000 people around tables since the 2016 U.S. election for bridging and healing conversations. A lifelong learner, Micky has a B.S. in Consumer and Family Sciences, a M.A. in Intercultural Studies from NAIITS/Portland Seminary and is currently pursuing advanced studies in the Enneagram. A believer in the power of stories and empathy, she is also a facilitator and Master Practitioner Candidate with Narrative 4. She is the author of Keep the Fires Burning: Conquering Stress and Burnout as a Mother Baby Professional (Hale Publishing, 2011). You can enjoy her recent writing in two multi-authored books – Becoming Like Creoles: Living and Leading at the Intersections of Injustice, Culture and Religion and Keep Watch With Me: An Advent Reader for Peacemakers releasing in 2019 and articles all over the internet.
Named one of the Black Christian leaders changing the world in Huffington Post, Micky travels the world exploring peacemaking and justice movements in different contexts, spreading revolutionary love, storytelling, engaging in authentic conversations, co-creating transformative experiences – and most importantly – she never passes up a dance floor.
She has been a contributor at Evangelicals For Social Action, The Porch Magazine, Sojourners, and Red Letter Christians. You can interact with her work and collaborations at Faithmattersnetwork.org and Mickyscottbeyjones.com and catch her social media on Facebook: facebook.com/MSJSpeaks/ and Twitter: @iammickyjones.
Tiffany Gilly (she/her) is doing what she can to be an advocate and ally to Black Artists and People of Color through her art. She is an actor who seeks to support theatre and stories by BIPOC Playwrights. She started this play-reading group in the summer of 2020 in response to the killing of George Floyd and Breonna Taylor and the Black Lives Matter Movement to increase the knowledge of plays by non-White Playwrights as a starting point or a stepping stone for other artists.