Lorraine Hansberry’s Final, African Play Rocks the House

by Robert M. Gardner

OTP has scored a timely hit with its new production of Lorraine Hansberry’s “Les Blancs.” The cast of eight Black women, playing both male and white roles offers a powerful vision that challenges false narratives and our long-held prejudices.

Hansberry left the play unfinished, but her husband, Robert Nemiroff, adapted it after her death from cancer at age 34. Her death was also tragic because in 1959, she had broken Broadway’s racial barriers with “A Raisin in the Sun,” recognized as a great American play.

In 1970, Hansberry explored the nature of revolution, centering the action at a hospital and school in a fictional colonial country. Although European imperialism was being challenged by independence movements in the 60s, Hansberry’s points resonate with us today. In the news, we still see big countries threatening and invading smaller countries they covet.

We still live in a world of “haves” and “have-nots.” Capitalism is King. Although Hansberry’s white run church and school seem like benevolent institutions, the colonized Africans are clearly exploited and oppressed. They must resort to revolt to displace their overseers.

As Charlie Morris, a white American journalist, suave Champagne Hughes invites us to see through his charming words. Morris tries to sweet talk the Africans but his words ring hollow.

As Tshembe Matoseh, Jeunée Simon plays an African man who has returned from Europe to bury his father, powerfully reminding us what’s at stake. Matoseh is torn between his European wife and child back in London and the rival claims of his African heritage. The rising revolution is calling to him to join.

At the heart of the multi-dimensional production, Morris and Matoseh’s intense dialogue flips between the American’s convivial approach and the African’s confrontational replies. Their angry debates force us to look hard at colonialism.

The supposed “benevolence” of the imperialist conquerors is revealed as racism and greed. Matoseh becomes angry that just because Morris offers him a drink, a cigar, and friendly conversation, he should erase 300 years of subjugation.

I found it uncomfortable to realize how many of my attitudes have aligned with Morris, while at the same time needing to acknowledge the Matoseh’s truths. Part of Matoseh’s dilemma lies in the fact that he wants to carve a new life away from his birthplace; but at the same time, he feels that he should lead his countrymen out from under the mantle of colonialism.

As Major George Rice, dynamic Monique Crawford illustrates how military might maintains the status quo. Rice suspects that the newly arrived Matoseh is a revolutionary “terrorist,” not a grieving son. Justice and empathy take a back seat to military dominance.

Under the talented hands of Director James Mercer II, “Les Blancs” makes us face the prejudices that we hide or ignore. Hansberry exposes the mechanism that runs authoritarian regimes. Shades of Hitler, Putin, and now Trump show that cruelty, greed, and tyranny drive those regimes.

With Hansberry’s “Les Blanc,” OTP shows their commitment to social justice. “Les Blancs” casts a bright light on the past and accurately reflects our present crisis. Lorraine Hansberry makes African history vivid.

“Les Blancs” by Lorraine Hansberry, adapted by Robert Nemiroff, directed by James Mercer II, lighting by Stephanie Anne Johnson, props by Renee Mannequin, choreography by Latanya d. Tigner, sound by Alex Fakayode, costumes by Lynell Simmons, & projections by Dilpreet Kanand.

Info: oaklandtheatreproject.org – to August 3, 2025.

Cast: Rezan Asfaw, Monique Crawford, Champagne Hughes, Jacinta Kaumbulu, Aidaa Peerzada, Jeunée Simon, Brittany Sims, and Ije Success.

Banner photo: Jeunée Simon (Tshembe Matoseh) & Brittany Sims (Abioseh Matoseh). Photos: Ben Krantz Studio