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."
"I think it is about time that equipped women began to take on some of the ethical questions which a male-dominated culture has produced and dissect and analyze them quite to pieces in a serious fashion."
"Like [Charles White], I came to adolescence in a community where the steel veil of oppression which sealed our ghetto encased within it a multitude of Black folk…"
"I sit at this desk for hours and hours and sharpen pencils and smoke cigarettes and switch from play to play—Sidney, Touissant, Les Blancs and—nothing happens."
"And as of today, if I am asked abroad if I am a free citizen of the United States of America, I must only say what is true…"
"We’ve been trying very hard. . .in America to pretend that this greatest conflict didn’t even have at its base the only thing it has at its base. . .Person after person will write a book today and insist that slavery was not the issue."
“…All art is ultimately social; that which agitates and that which prepares the mind for slumber. The writer is deceived who thinks that he has some other choice."
"Sidney: I care! I care about it all. It takes too much energy not to care! Yesterday I counted 26 gray hairs on the top of my head—all from trying not to care.”
". . .It grows out of a thought of mine, as I study history, that virtually all of us are what circumstances allow us to be and that it really doesn’t matter whether you are talking about the oppressed or the oppressor."