Lorraine Hansberry - Life

Life

Lorraine Hansberry was the youngest of four children of Carl Augustus Hansberry, a successful real estate broker, and Nannie Louise Perry. In 1938, her father bought a house in the Washington Park Subdivision of the South Side of Chicago, violating a restrictive covenant and incurring the wrath of many neighbors. The latter's legal efforts to force the Hansberrys out culminated in the U.S. Supreme Court's 1940 decision in Hansberry v. Lee holding the restrictive covenant in the case contestable, though not inherently invalid.

Hansberry attended the University of Wisconsin–Madison, but found college uninspiring and left in 1950 to pursue her career as a writer in New York City, where she attended The New School. She worked on the staff of the black newspaper Freedom under the auspices of Paul Robeson, and worked with W. E. B. DuBois, whose office was in the same building. A Raisin in the Sun was written at this time, and was a huge success. It was the first play written by an African-American woman to be produced on Broadway. Aged 29, she became the youngest American playwright and only the fifth woman to receive the New York Drama Critics Circle Award for Best Play. While many of her other writings were published in her lifetime - essays, articles, and the text for the SNCC book The Movement, the only other play given a contemporary production was The Sign in Sidney Brustein's Window.

In 1961, Hansberry was set to replace Vinnette Carroll as the director of the musical, Kicks and Co, after its try-out at Chicago's McCormick Place. It was written by Oscar Brown, Jr. and featured an interracial cast including Lonnie Sattin, Nichelle Nichols, Vi Velasco, Al Freeman, Jr., Zabeth Wilde and Burgess Meredith in the title role of Mr. Kicks. A satire involving miscegenation, the $400,000 production was co-produced by her husband Robert Nemiroff; despite a warm reception in Chicago, the show never made it to Broadway.

Read more about this topic:  Lorraine Hansberry

Famous quotes containing the word life:

    “Accept life, take it as it is? Stupid. The means of doing otherwise? Far from our having to take it, it is life that possesses us and on occasion shuts our mouths.”
    —Albert Camus (1913–1960)

    “We [actors] are indeed a strange lot! There are times we doubt that we have any emotions we can honestly call our own. I have approached every dynamic scene change in my life the same way. When I married Charlie MacArthur, I sat down and wondered how I could play the best wife that ever was.... My love for him was the truest thing in my life; but it was still important that I love him with proper effect, that I act loving him with great style, that I achieve the ultimate in wifedom.”
    —Helen Hayes (1900–1993)

    “What is there in life except one’s ideas,
    Good air, good friend, what is there in life?”
    —Wallace Stevens (1879–1955)