This production of Lorraine Hansberry's play is a gutsy, powerful piece of theatre that provides an intimate insight into the lives of a black family living in Chicago's Southside in 1959. Five members of the Younger family live under the same roof. At the head of the family stands stoical, God-fearing grandmother, Lena. Her son Walter Lee is married to Ruth. They have a ten-year old boy, Travis. Also living in the house is Beneatha, Walter Lee's 20-year old younger sister.

It's a cramped apartment for any combination of people but when taking into consideration the economic strains, dashed dreams and generational clashes that the Youngers suffer in a predominantly prejudicial society, the mix is volatile. The boy, Travis, is forced to sleep on the couch, packing away his bedclothes every morning and make up his bed at night, a fact which pains his proud father. Beneatha is an aspiring intellectual who longs to escape the grip of poverty and study to be a doctor. Ruth's days are consumed by domestic chores. Walter despises the servility of his job as a chauffeur and spends all his spare time drinking beer and hatching schemes to become a moneyed success one day. Matriarch Lena lavishes attention on her grandson and struggles to understand her children's ambitions.

The recent death of Lena's husband results in a life insurance policy paying out a life-altering sum of $10,000. Ruth wants a new home, Beneatha wants to study, Walter wants to invest in a liquor store and Lena wants to do the best by her family.

For the most part, the core cast do a fine job. Jenny Jules's Ruth is excellent- playful and physically expressive, at times wide-eyed with girlish glee and at others still and strong. Tracy Ifeachor captures the self-consciousness of Beneatha and negotiates the balance between aspiring adult and awkward child. Starletta DuPois is a magnificent Lena (when she doesn't break the spell with a fumbled line or an early interjection) bringing a dignity and righteousness to her role. Ray Fearon is volcanic as self-destructive Walter, punctuating his rabid roars with stamps, leg-slaps and chest-beating; showering the stage with saliva in his more vociferous moments. But - as physically powerful as his performance may be in the more charged moments - the persistent emotional high-pitch unfortunately makes much of the action monotonous. This is perhaps one of the only aspects which seems to have escaped the attention of director Michael Buffong, whose direction is otherwise detailed, coherent and seamless.

There is a strong supporting cast. Damola Adelaja plays Joseph Asagai, Beneatha's Nigerian love-interest, with optimistic charm. Simon Coombs infuses George Murchison with just the right amount of smug self-satisfaction to make his character dislikeable but human. Lyndon Rhoden plays ten-year-old Travis with precocious ease. Tom Hodgkins plays the small but vital role of Karl Lindner - the one-man welcoming committee - with the sort of assurance which suggests a detailed life behind a nominal number of spoken lines.

Ellen Cairns's naturalistic set is magnificent in its ambition and attention to detail. An actual metal stairwell stands outside a window, and laundry hangs from suspended lines around the stage. Every item of furniture, every magazine, paper and carton of milk from the fridge feels faithful to the period and provides a fascinating authenticity to the setting. Overall it is a great ensemble piece which suffers only from occasional moments of emotional monotony.

Cast Credits: (alpha order): Damola Adelaja – Joseph Asagai. Ray Emmet Brown – Bobo / Moving Man. Simon Coombs – George Murchison / Moving Man. Starletta DuPois – Lena Younger. Ray Fearon – Walter Lee Younger. Tom Hodgkins – Karl Lindner. Tracy Ifeachor – Beneatha Younger. Jenny Jules – Ruth Younger. Lyndon Rhoden – Travis Younger.

Company Credits: Writer – Lorraine Hansberry (1930 – 1965). Director – Michael Buffong. Designer – Ellen Cairns. Lighting Designer – Johanna Town. Sound Designer – Steve Brown. Technical Operator - uncredited. Fight Director – Kate Waters. Children's Director – Cheryl Martin. Producer - uncredited. Website - www.royalexchangetheatre.org.uk.

END

(c) Jonny Lodge 2010

reviewed on Monday 8 February 2010 / Royal Exchange Theatre, London UK

Fringe Report (c) Fringe Report 2002-2012

www.fringereport.com