PicksInSix Review: A Raisin in the Sun - Court Theatre

What Happens To A Dream Deferred?
PicksInSix® Review | Ed Tracy

Lorraine Hansberry’s arresting triumph “A Raisin in the Sun” is playing now in a brilliant production at Court Theatre. Directed by Senior Artistic Producer Gabrielle Randle-Bent, the 1957 play—penned by the 27-year-old Hansberry and largely based on her own experiences growing up on the South Side of Chicago—has been lauded since for its defining influence on American theatre, the sheer poetry of the text and its stirring depiction of an urban Black family and their individual dreams for a better life.

Randle-Bent has amassed a powerhouse company, led by the remarkable performances of Shanésia Davis as Lena ‘Mama’ Younger, the matriarch of the family; her impulsive son Walter Lee, played on an emotional edge by Brian Keys; a moving and truly sentient turn by Kierra Bunch as Walter’s pregnant wife, Ruth; Martasia Jones as the progressive daughter Beneatha; and, Jeremias Darville (who alternates with Di'Aire Wilson) as Travis, the youngest son and hope for the next generation in the family.

Set in a cramped South Side tenement in the late 1950s amid the segregation and racially restrictive covenants of the era that fueled the redlining of neighborhoods, Mama and the Younger family are expecting a $10,000 death benefit payment, the legacy of her late husband’s lifetime of service and sacrifice for the family. There is debate about how the money should be spent, but not about who is the decision maker.

On one side, Walter pleads with Ruth to join him in convincing Mama to invest the sum in a liquor store that he hopes will both raise his stature from the service job he has been trapped in and provide a better life for everyone. Ruth and Beneatha, who is studying to be a doctor, both agree that it is Mama’s decision, leaving Walter to make a direct appeal that Mama rejects in favor of her own dream: a home of their own. Once that decision sinks in, Walter embarks on a three-day bender that threatens his employment and alienates everyone in the family. In a true act of trust and love, Mama makes a concession that leads to trouble ahead for the Younger family.

Along the way, we watch Beneatha evolve from a bobby socks college student to free-spirit, influenced by the scholarly atmosphere she inhabits during the day and the attention of George Murchison (Charles Andrew Gardner), a relationship she is far less attracted to than the new ideals of Joseph Asagai (Eliott Johnson), a charming Nigerian suitor who introduces her to a culture that awakens a passion within her. Julian Parker (Bobo), Vincent Teninty (Karl Lindner) and J. Nicole Brooks (Mrs. Johnson) round out the superb cast.

Andrew Boyce’s robust scenic design—an elevated, angular stage framed in a series of large-scale urban-themed panels behind the detailed close quarters of the Younger’s meager row house flat—provides multiple obscure and semi-obstructed interior views while serving as a fascinating template for cast movement in, out and within the space. Maximo Grano De Oro evocative lighting, Willow James’s subtle sound design and superb costumes by Raquel Adorno with Jeanette Rodriguez elevate Court Theatre’s production of “A Raisin in the Sun” to a new artistic standard for this enduring American classic and the show to see now in Chicago.

PHOTO | Michael Brosilow

Court Theatre
presents
A Raisin in the Sun
5535 S Ellis Ave.
Chicago, IL 60637

Extended through March 23, 2025

WEBSITE

TICKETS
(773) 753-4472

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PicksInSix Review: Twelfth Night - Chicago Shakespeare Theater

“Twelfth Night” — Free-Spirited, Comic Gem!
PicksInSix® Review | Ed Tracy

Without a doubt, the astounding quality and resulting popularity of productions of Shakespeare’s work at Chicago Shakespeare Theater rests firmly on the theater’s decades-long artistic commitment to presenting work with universal clarity and understanding, multi-talented casts and purely whimsical staging. A large part of this artistic ethos has to do with the diversity of the massive audiences drawn to Navy Pier, a top Midwest destination attraction that offers a once-in-a-lifetime experience for visitors to Chicago and an endless stream of students whose trip to the magnificent Courtyard Theatre is often their introduction to both theater and Shakespeare.

So, it is no surprise that the opening of “Twelfth Night”—a free-spirited, comic gem directed by Tyrone Phillips—was enthusiastically received on Thursday night. Shakespeare’s celebration of the many facets of love, and its impact on who we are, takes on new meaning in Phillips adaptation which is at the same time true to the comic roots of the original and cleverly awash with 21st century references that fit together seamlessly. With Shakespeare’s robust characters bursting forth with purpose, passion and promise, Chicago Shakespeare’s “Twelfth Night” is clever, smart and a joy to watch from beginning to end.

Set in the Caribbean, the story revolves around the separation of shipwrecked twins Viola (Jaeda LaVonne) and Sebastin (Justen Ross) on the island of Illyria. In order to deal with the grief and abandonment that she is feeling with the supposed loss of her brother at sea, Viola disguises herself as a young man named Cesario and takes a position as page to Duke Orsino(Yao Dogbe). The Duke implores Viola(as Cesario) to become the intermediary for his love interest, the Countess Olivia(Christiana Clark) who is in mourning herself about the recent passing of her brother. While Viola finds herself falling hard for the Duke, Olivia, determined to shun the Duke, begins to woo Viola(as Cesario).

Olivia lives with her uncle Sir Toby Belch(Ronald L. Conner) who spends most of his time in drunken—and hilarious—merrymaking with his companion Sir Andrew Aguecheek(Alex Goodrich) along with Olivia’s gentlewoman Maria(Danielle Davis), Fabian(Shelby Lynn Bias) and the jester Feste(Israel Erron Ford).  The group’s brand of roguish behavior riles Olivia’s cynical steward Malvolio(Paul Oakley Stovall) into such a fit that the group conspires to deceive him into believing that Olivia is enamored with him. One comic situation follows another with love eventually conquering all.

The show is infused with a universal blend of contemporary hip-hop and reggae music by music director Robert Reddrick and movement director Sadira Muhammad that befits the storytelling. Philips and his creative team, led by scenic designer Sydney Lynne with costume designer Christine Pascua, have conceived a striking seaside atmosphere that transitions effortlessly from scene to scene. With extraordinary precision, the crystal blue Caribbean skies turn to a thunderous rainstorm in the blink of an eye and a nod to the evocative lighting design of Xavier Pierce, stunning projections by Mike Tutaj and an intricately charged sound design by Willow James.

It all feels like an expertly-crafted ensemble piece. LaVonne’s earnest and engaging Viola/Cesario is a delight. Sir Toby Belch and Aguecheek, two of Shakespeare’s most beloved comic foils, are played here by Conner and Goodrich with reckless comic abandon. Davis, whose sustained laughter is infectious, and the sublime vocals of Ford, round out the band of hooligans at the center of the comic subplot to upend Stovall’s staunchly priggish servant turned infatuated manic lover Malvolio—the brilliant and commanding performance of the night—all make “Twelfth Night” a show to see and enjoy!  

PHOTO|Liz Lauren

Chicago Shakespeare Theater
presents
TWELFTH NIGHT
Courtyard Theater
Navy Pier
through November 26

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