The Floor Mag put some questions to Joséphine-Fransilija Brookman and Solomon Israel who play Beneatha and Walter Lee in Lorraine Hansberry's 'A Raisin in The Sun'.
The 1959 play charts the lives of the Younger family after the death of Walter Lee Senior, who leaves a considerable amount of money which could change the entire family's lives.
What has it been like to revive a play which has a lot of historical and cultural
resonance in the US for a UK audience?
Joséphine-Fransilija: In recent years, both the UK and the US have become more attuned to the parallels between our histories and shared struggles. The themes explored in the play have been brought to the forefront of public consciousness, particularly in light of the cost of living crisis and race riots. This play offers an opportunity to foster meaningful conversations and bridge divides, as it portrays good people simply striving to improve their lives and provide for their families—a struggle that resonates on both sides of the Atlantic.
The play is not just about the American Dream; it’s about humanity and universal dream for a
better life, for liberation, a home, and a sense of agency. I truly believe and am passionate
that these desires transcend borders and speak to all of us.
Solomon: As with most great plays, regardless of it being set somewhere else and in a different time period, it still resonates and has elements which you can relate to today. Lorraine Hansberry’s writing is so accomplished that even though we’re putting on this production in 2024, you still feel its heartbeat from when it was first written and staged all them years back.
Can you describe your character and what they’re going through in the context of this
play?
Joséphine-Fransilija: Beneatha Younger is Walter’s precocious younger sister. Throughout the play, we witness her journey to discover her identity, as well as her struggle to be understood and express herself to both her family and her potential suitors. She aspires to become a doctor and hopes that Mama will use part of their late father’s insurance money to help her realise that
dream.
Solomon: Walter Lee Younger is the eldest son and only man in the house now, so he has a burning feeling to step up and provide and be the new man of the house, following the death of his father. His new journey into manhood is driven by this pending arrival of the insurance cheque and what he plans to do with it. He grapples with the dynamics of money, work, family and dreams and the road it leads him down is really interesting to watch ... .that's all I can say without spoiling it haha.
(For Solomon) Have you watched any archive footage of Sidney Poitier who played Walter Lee in the film adaptation of A Raisin in the Sun?
Oh of course! His performance of Walter Lee is legendary and is still spoken about today, so I had to go and see what I could steal from him haha. He’s such an amazing performer and playing this role requires so much skill and endurance that I had to go and see how he pulled it off before I gave it a whack.
In terms of linguistics and speech has there been anything you’ve had to adapt to?
Joséphine-Fransilija: We were incredibly fortunate to work with such a meticulous coach Aundrea Fudge, who helped us craft an authentic voice that feels uniquely true to Beneatha and the worlds she navigates. To truly honour her character, I had to capture the sound of someone whose family physically migrated to Chicago from Louisiana during the first wave of the Great Migration, while spiritually embodying Chicago and the concept of "The Aspirational New Negro.” Developing a shared voice that feels natural within the family has been such an enjoyable challenge. The process of curating this collective voice has been a true masterclass in listening and adaptation.
Solomon: What’s been a challenge but also really fun is getting to grips with the southern side of the accent and the wording of sentences. Back then the phrasing and order of speech can sometimes feel like ‘swapped around grammar’ to us Brits but it has such a magnificent musicality to it that it’s just beautiful to speak.
How have you both found your relationship with being siblings on stage and how are
you alike/dissimilar?
Joséphine-Fransilija: Solomon and I share a very similar sense of humour and approach to play, which creates a strong common language when it comes to our work and the rehearsal process. We’re always digging into the text, searching for deeper meaning, and exploring what motivates the characters. We love having conversations about motivation and background, and our ability to unabashedly nerd out over the process and history really bonds us. Although we don’t always get each others pop culture references, life often imitates art. I truly feel like I’ve found a real older brother in him, and we behave like siblings offstage too.
Solomon: Funnily enough we actually behave like siblings in real life! We bully each other and poke one another all the time….in a fun loving way of course haha. Our company is so great and full of amazing people that rehearsals have just been dreamy. We all laugh everyday and have such a relaxed and ‘banterous’ vibe that we can just be playful all the time.
How was the rehearsal process and how did you prepare to stage the production?
Joséphine-Fransilija: The rehearsal process has been incredibly joyful. From the very first table read, we were able to foster a strong sense of community and family, creating an environment where everyone felt safe to experiment and explore in the rehearsal room. Our director, Tinuke Craig, is remarkably thoughtful and intelligent. She has this unique ability to say just one word that opens your mind to a completely new perspective on both the play and the character. With such a rich and layered text, this level of collaboration and intuitive insight is paramount.
Solomon: Like I said before, our rehearsal room was a place full of such comfort and love but also play, that we were able as performers to feel at ease to produce our best. Tinu Craig our Director is incredibly smart and has such depth of knowledge that we were always well informed when it comes to the play and the time period but also, she has such a great balance of being the captain of the ship but also your best friend.
How much of the play resonates with you and also a modern context?
Joséphine-Fransilija: Like Beneatha, my character, I believe many young people can relate to the struggle of
forging an identity in their late teens and early twenties. During this time, you’re constantly
learning, evolving, and experiencing pivotal moments that can leave you feeling different and
off balance every day. The challenge of expressing this growth while not always being taken
seriously by those around you can be incredibly frustrating.
As someone born in England with West African heritage and part of the diaspora, the
themes of connection and global discourse resonate deeply with me. I’m fortunate to have
travelled back and forth, which has helped me feel more centred in who I am, where I come
from, and where I’m headed.
Solomon: Well being a black man in today's society there’s still similarities to what Walter was going through in his time. Unfortunately racism and discrimination still exist and these are things which plague our society today. So seeing how the family deals with and pushes against that is something that resonates with me deeply. Also, the struggles of the average man and the desire to provide the best life you can for your family while facing the challenges of the economy are things I feel sit with me today and most people actually.
A Raisin in The Sun is playing at Lyric Hammersmith until 2 November.
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