In September 2017, the first-ever feature documentary, Lorraine Hansberry: Sighted Eyes/Feeling Heart, screened at the Toronto Film Festival; in January 2018, the film makes its television debut as part of the American Masters PBS series. Throughout 2018, the film will be joined by a number of new print biographies.
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On Friday, January 19, the national broadcast premier of Lorraine Hansberry: Sighted Eyes/Feeling Heart, the first-ever feature documentary about Lorraine Hansberry, will be televised on PBS stations across the United States as part of their American Masters series (9pm EST on PBS; check local listings for more details).
Join the Schomburg Center for Research in Black Culture librarians and archivists as they unveil their latest pop-up exhibition featuring items from our coveted collection of archival materials. Be the first to get up close and personal with selected items and enjoy an audience Q&A with the collection's curators.
The Broadway revival of Lorraine Hansberry’s classic play picks up five Tony nominations.
Jesse Green of New York Magazine/Vulture applauds the Broadway revival of A Raisin in the Sun—with a star who knows what to do in the role.
Terry Teachout's review of the 2014 Broadway revival of A Raisin in the Sun for the Wall Street Journal says this is "a great production of a great play, a blazing tale of hurt and hope that will burn itself so deeply into your heart that you'll be feeling its heat for a long, long time to come."
In his review for The Wrap, Robert Hofler says: Denzel Washington shifts the balance of Lorraine Hansberry's classic play, and he shifts it in the right direction.
Darlene Ortega's review for the Portland Observer of the Oregon Shakespeare Festival production of Lorraine Hansberry's The Sign in SIdney Brustein's WIndow notes that, "The play is so far ahead of its time that I wonder if we are ready even now for the prophetic insight of Ms. Hansberry, so famously young, gifted, and black. But I'm grateful that the Oregon Shakespeare Festival has gone to the trouble to offer us this opportunity."
Marilyn Stasio says, “The performance is a personal triumph for Washington, who refrains from star-strutting to fold himself into a tight-knit ensemble of committed stage thesps who treat this revival like a labor of love.”
Ben Brantley of the New York Times notes that ". . .a drama often presented as something monumental, to be approached with awe and piety, becomes refreshingly accessible."