A Raisin in the Sun

Lorraine Hansberry's 1959 play about the conflicting dreams of an impoverished 1950s African-American family in Chicago's Washington Park area continues to resonate profoundly, thanks to its relevant themes. The values of familial bonds, cultural pride, and human dignity are the primary concerns of this powerfully moving story about members of the economically challenged three-generation Younger household, struggling to agree on the wisest way to spend a life insurance policy following the death of the family patriarch. Director Phylicia Rashad's restaging of her Ebony Repertory Theatre production affords her a fresh opportunity to mine the classic material for its myriad dramatic riches. Her invigorating, uplifting rendition is graced with warm humor and poignancy.

The focal role of the formidable yet gentle Younger matriarch, Lena (for which Rashad won a 2004 Tony Award as best actress in a play), has been recast, and Kim Staunton offers a beautifully modulated portrayal. She takes a subdued approach to conveying Lena's take-charge style of parenting, which allows Lena's second-act emotional outburst following some foolish actions by her son, Walter (Kevin T. Carroll), to pack a knockout punch. As Walter, an impossible dreamer desperate to assert his leadership responsibilities as the adult male in the household, Carroll projects a potent mix of impetuousness and good intentions. Carroll's multifaceted performance—funny and endearing at times, insensitive and bullheaded at others—fully earns our empathy.

The other family members are also portrayed with intelligence and passionate conviction. As Walter's sister, Beneatha, who yearns for a career in medicine, Kenya Alexander eloquently captures the character's admirable quality of leavening stressful family encounters with infectious humor, then becomes a powerhouse when Beneatha speaks up to protest wrongs. Child actor Brandon David Brown is utterly charming, showing a range beyond his years as Travis, the sensitive son of Walter and his wife, Ruth. Deidrie Henry's Ruth is likewise a finely shaded and strongly affecting characterization.

Jason Dirden and Amad Jackson excel as Beneatha's vastly different suitors. Scott Mosenson expertly conveys the thinly veiled bigotry of the hypocritical Mr. Linder, a representative for a very unwelcoming welcome organization, who hopes to dissuade the Youngers from moving into a white neighborhood. Ellis E. Williams masterfully interprets the brief role of Walter's distraught investment associate, Bobo, who bears disastrous news.

Scenic designer Michael Ganio and lighting designer Elizabeth Harper perfectly capture the oppressive nature of the cramped Younger home. Ruth E. Carter's costumes enhance the crisp period authenticity.

In an era in which home ownership and a chance for a comfortable lifestyle have become increasingly remote possibilities for underprivileged and oppressed citizens, Rashad's shimmering revival brings renewed urgency to a treasured American drama.

Presented by Center Theatre Group at the Kirk Douglas Theatre, 9820 Washington Blvd., Culver City. Jan. 22–Feb. 19. Tue.–Fri., 8 p.m.; Sat., 2 and 8 p.m.; Sun., 1 and 6:30 p.m. (No performances Tue., Jan. 31 and Feb. 7, and Wed., Feb. 1 and 8.) (213) 628-2772 or www.centertheatregroup.org.