On March 27, 2017, Georgetown University Laboratory for Global Performance and Politics presented Dreams Deferred: Crossing Continents and Cultures with ‘A Raisin in the Sun’ in celebration of World Theatre Day. The one-night event, moderated by Soyica Colbert, was in advance of the Arena Stage Mead Center for the American Theatre’s 2017 production of A Raisin in the Sun in Wahington, DC and productions in Sweden at the Riksteatern, directed by Josette Bushell-Mingo, OBE, and at the Market Theatre in Johannesburg, directed by James Ngcobo.
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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).
Salamishah Tillet's essay, "For Lorraine Hansberry, 'A Raisin in the Sun Was Just the Start," discusses the upcoming debut of the documentary, Lorraine Hansberry: Sighted Eyes/Feeling Heart, noting Hansberry's commitment to the ongoing project of social change.
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.
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."
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