Word: beneatha
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Celebrants ate a lunch of Tuscan wraps beneatha tent decorated with festive Radcliffe balloonsand banners while listening to performances by theRadcliffe Choral Society, the Kuumba Sisters, the'Cliffe Notes and the Radcliffe Pitches...
...play's plot follows the lives of a Black family living in Chicago's Southside ghetto. The family includes Mama Younger (Stephanie Wilford), her single daughter Beneatha Younger (Frettra Miller) and married son Walter Lee Younger (Kerrick Johnson) Living with the family are Walter's wife Ruth (Diane Cardwell) and son Travis (Dean Headley). They live in an apartment where Mama and her husband settled years ago, originally as a temporary abode for their small family. As the play opens, the family is waiting for insurance money coming from the death of Mama's husband. Tensions are high, because Walter...
...EVEN STRENGTH of the cast is remediable with each actor operating on the same level of stylization Frettra Miller is hilarious and convincing as Beneatha Younger, an idealistic high spirited, and insolent girl. She makes a wonderful foil for her brother, playing the role of the naive pretender with living accuracy. Diane Cardwell is solid as Ruth Younger, with the manners and look of a slightly worn but loving wife. Cardwell only has trouble with her role at two points late in the play, where she is supposed to show herself overcome by strong emotion. It seems...
...Younger family are packed in a sunless Chicago South Side tenement flat. There is white-haired, wide-girthed Mother Younger (Claudia McNeil), a matriarchal Rock of Gibraltar; her son Walter Lee (Sidney Poitier), 35, who finds his chauffeur's uniform a strait jacket; his younger sister Beneatha (Diana Sands), a race-conscious progressive who wants to be a doctor; Walter's wife Ruth (Ruby Dee), who yearns for a grassy reprieve from the soot-and-asphalt jungle; and the Youngers' small boy Travis (Glynn Turman), whose main problem is to be first in the communal bathroom down...
Raisin might be somber, or merely sentimental, if its milieu were not so sharply observed, its speech so flavorful, and its infectious sense of fun so caustic. Much of the laughter wells up around Beneatha, a girl of earnest intellectual fads. When a Nigerian boy friend introduces her to a bit of African lore, she promptly decks herself out as "the queen of the Nile," and whirls across the room to click off a jazz program ("Enough of this assimilationist junk...
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