Clybourne Park is a Pulitzer and Tony
award winning play by Bruce Norris written as a response to Lorraine
Hansberry’s A Raisin in the Sun.
Although I did not see the play when it was in Los Angeles, after watching the Tony Awards
telecast, I enthusiastically took the liberty to read the manuscript.
I must say that I’m a huge fan of Lorraine Hansberry’s work
and since Clybourne Park received such prestigious
awards and accolades, I was extremely excited to read it. The premise represented something new and
fresh and I since it had been describe as "a powerful work whose memorable
characters speak in witty and perceptive ways to America's sometimes toxic
struggle with race and class consciousness," I was extremely interested to
know the prospective of the White neighborhood and their intimate views
regarding race and class.
In A Raisin in the Sun, Hansberry’s
characters are rich and full of life.
They are so well developed that what they have to say is like food for
the soul. Her words defined an entire generation of people who felt undervalued
and demoralized, yet still aspired for the American dream. The play is so well
crafted that it still has relevance today.
On the other hand while reading Clybourne Park,
I found myself continuously throwing up my hands in sheer frustration at the
lack of integrity to Hansberry’s masterpiece.
I understand that it’s two separate writers; however there is no
substance in the story or its characters. What critics have deemed as wit is
really just the author’s lack of creativity and subtext. The story is
superficial and frankly as I continued reading the manuscript, I found myself
becoming increasingly insulted at any type of association with A Raisin
in the Sun.
The premise of the play is fascinating. Act I takes place,
not as a prequel to (as advertised), but is taking place simultaneously to the
actions in A Raisin in the Sun. Mr.
Lindner goes to the White family that sold their house to the Younger family
and asked them to basically renege on their contract. The play further states that the reasoning
behind why the house was put on the market in the first place was because the
White family’s son committed suicide in his room. Therefore the family put the house on the
market at a reduced rate. It’s insinuated that the only way the Black family
could have afforded to purchase this house was because it was reduced. However,
it doesn’t take into account that if the house were undervalued, then why
didn’t another White family snap it up since it was in such a desirable
neighborhood? The writer also doesn’t
take into account that historically, when the first Black family moved into an
all White neighborhood, they usually paid more than what the house was worth. (It
was only once “White flight” started to happen, were houses significantly
reduced for quick sales.)
With that being said, I also take issue with the writing
itself. It was so contrived and uncalculating.
Nobody cares about the origins of Neapolitan ice cream or what a person
from a European city is called. The
dialogue all seemed to be unnecessary banter because the author couldn’t think
of anything of real meaning to write about. I would even compare it to a
vaudevillian routine reminiscent of Abbot and Costello without the humor,
originality or resourcefulness.
I wanted this play to have some ingenuity. I wanted it to
tell the perspective of a White community who sees their whole world crumble at
the idea of being neighbors to a Black family.
I wanted to experience the absurdity and be uncomfortable at the notion
of superiority and how that’s reflected in the lives of Whites during that time
period. I wanted to be “a fly on the wall,” and listen to their most private
thoughts. Thoughts they only say amongst
themselves. I wanted to know what their dreams were and how they were very
similar to those of Blacks, yet very different.
I wanted the story to tell the truth. I wanted it to be gritty, honest
and as poetic as A Raisin in the Sun. Again, I wanted it to tell the pure,
unadulterated, underlining truth.
Yet, at the end of Act I, I didn’t care about any of the
characters. I guess I should have cared about Rus and Bev’s loss of their son
to suicide, but I didn’t. The reasoning
being, I didn’t know enough about them to care. The dialogue was written to be
basically clever, so much so, that it lacked all the edibles needed to feed the
imagination. Not only were the characters interchangeable, they were monotonous.
None of them had anything to say or contribute to moving the story forward or
to getting at what was the actual theme of the story. I felt like I was reading
a play that was standing still while trying to move forward on an engine using
water for gas.
Act II warranted such huge potential. It takes place 50
years later in 2009 when a White family purchases the Younger family house and
wants to move into the neighborhood and tear it down in order to build a much larger
unpermitted structure. There is so much
that Norris could have written about in this act, yet is misses its mark as
well. In my opinion, the reason is
because the writer hasn’t committed to understanding the multifaceted issues of
the times or both parties involved. It’s
not enough to simply be an excellent writer with a nack for brainy dialogue. You have to have something to write about and
you have to totally commit to comprehending the complexities of each side. Only then can you write a story so compelling
that you breathe life into the statement of each the characters.
Instead of tackling some existent contemporary social
issues, Norris chose to write superficial dialogue about a White family
planning on moving back into the Clybourne
Park neighborhood. What he doesn’t express is the underlining quandary
as to why. What was their reason or game plan? Was the draw low-cost housing and easier
access to downtown businesses and other conveniences? Was it their intent to take the neighborhood
back? What was the reason that they only
discuss when they’re amongst themselves?
Again, I wanted to be a “fly on the wall.” On the other hand, what he chose to
concentrate on was the family vaguely
negotiating with the neighborhood council regarding tearing down the Younger
house and rebuilding a larger unpermitted structure. Who cares? That’s not interesting because
there are blatant issues regarding race and economics that are totally being
ignored.
Interesting is the fact that they want to move back
into an area which had experienced “White Flight.” An area where Black folks have seemingly now
control, yet the White folks don’t think the house, as is, is good enough for
them. They seem to feel that if they are
to live amongst Blacks, they need to tear down the original structure and
rebuild a much larger one so that it is more a resemblance of their lifestyle.
Missing is the entire issue of gentrification in
which higher income people move back into urban neighborhoods, tear down old
houses, build conglomerate structures and drive up property values; displacing
poorer residents, many of them the elderly, who can’t afford the higher rents
or an increase in their property taxes. Unfortunately,
all you get in Act II is more unnecessary banter and that problem is not addressed
or resolved.
In this act, the characters again, are undeveloped,
especially the two Black characters who, minus a few specific racial
statements, can be interchangeable with the White ones. They have nothing of significance to say
other than they are protesting the height requirement of the proposed plans by
the White family. There’s a reference to the same ole cliché about White people
having Black friends and some dim-witted racial jokes that seem to be
unnecessary and contrived. It’s almost
an act about words and sentences more than sustenance. The Black characters in
particular have nothing of value to say specifically because the author doesn’t
know how to write the sentiments of Black people.
Norris attempted to make his Black characters appear
articulate and White Collard by stating where they worked and that they had
been to Europe, but he totally missed the
essence of who they were, as well their spirit and undertones. It’s almost as
if he wrote them as an after thought without any identity or clear concept. (It’s
not enough to write words on a page and hope that the actor is supposed to make
some sort of semblance to the meaning. Write what we say and feel and if you
don’t know, then ask someone.) Neither
one of the characters had a definitive point of view or a clear and concise
notion as to what they were fighting for; which was so disappointing.
There’s a sheer sense of arrogance that Black folks perceive
regarding White folks moving into an area and automatically trying to take
control. Some through lines could have been, “You moved out of the neighborhood
when we moved in for fear of declining property values. We’ve managed to keep it up and now because
of the convenience of its location, you want to move back in. Yet, it’s no longer good enough unless you
can build a massive structure, live above us so you can look down on us as if
we’re some sharecroppers.” That gives the play perspective, meat and a tangible
place to go.
Lorraine Hansberry’s play was about the American dream and
what that dream instinctively meant to a race of people who because of racism
were disenfranchised. It examines America’s
complicated history of racial tensions between Blacks and Whites. There’s a sense of darkness and despair as
each character seems to be captivated and almost suffocated by their own
circumstances. In spite of that, there’s
hope and so much passion engulfed in those characters that you get a sense of
who they are, what they want out of life and what they’re fighting for. In essence, you feel their pain and root for their
success.
I feel like Clybourne Park was another knock off on
our history that did not land. I can
only guess that the people who have raved about the writing of this play have
not seen, read or fully comprehended the significance and meaning of A
Raisin in the Sun. There is no
way to judge this play on its own merits without examining the sensibilities of
its predecessor. It should never have been touted as a prequel and sequel to A
Raisin in the Sun and if the author decided that was his intention, he
should have done more research and stuck with the tone and integrity of
Hansberry’s work. Otherwise just make it a play about a White family that sells
its house to a Black family in the 1950’s and what happens 50 years later. Only
then could it be judged on its own merit and not compared to such an iconic piece
of literature and history. By tying in Clybourne Park with A Raisin in the Sun, it
simply falls way, way, way, too short.
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