Rebirth And Renewal

Although our celebrations may look different this year, our unwavering faith remains the same. For me, Easter is a time of hope––a reminder of rebirth and renewal––and a belief in a better day to come. From my family to yours, we wish you all a blessed and joyful Easter. pic.twitter.com/xEsgxOarQ5

— Barack Obama (@BarackObama) April 12, 2020

The Obamas Watch ‘A Raisin In The Sun’

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Michael Schulman: Watching The Obamas Watch “A Raisin In The Sun”

On Thursday, the cast of the Broadway revival of “A Raisin in the Sun” was told that a “high-level official” would be coming to the show the next night. Who could it be? Kathleen Sebelius had just resigned—maybe she had more time for theatregoing? Word got out on Friday afternoon: the Obamas were coming to Broadway. By seven o’clock that night, Forty-Seventh Street had been partitioned off, and the Barrymore Theatre was swarming with security guys—not an unwelcome sight, after the Times reported that Broadway has had a tough time attracting men. This was not Obama’s first act of Presidential playgoing. In 2009, he and Michelle went on a date night to August Wilson’s “Joe Turner’s Come and Gone,” and the First Lady has brought her daughters to “Memphis” and “The Addams Family.” “A Raisin in the Sun” was more than a safe choice: it was an undeniably poignant one. It premièred in 1959, and made Lorraine Hansberry the first African-American woman to have a play produced on Broadway. The story follows a black family in Chicago preparing to move into a big, fancy house, despite resistance from their conservative white neighbors. (Sound familiar?) And its themes are as lofty and as loaded as Obama’s: upward mobility, the pain of progress, and, as Sarah Palin might put it (though Hansberry certainly did not), “that hopey, changey stuff.”

The lights went down, and the door to the street swung open. A stream of people, including the President, the First Lady (in black), and Valerie Jarrett, snaked through to the back of the house and then down the aisle. Ignoring the announcer’s pleas, the audience leaped to its feet—this usually happens at the end of the show—and camera flashes twinkled in the darkened theatre. The Obamas shook some hands and took their seats. It’s not often that a single member of the audience commands more attention than the action onstage, and in the initial minutes there was a jittery energy that distracted from the story. Denzel Washington got his usual entrance applause (and a few catcalls from the balcony). If it took a while to buy him as Walter Lee Younger, it wasn’t because Washington is twenty-four years older than his character: Obama’s Obama-ness somehow increased Denzel’s Denzel-ness. At intermission, the Obamas went backstage to meet the cast, as patrons flooded the bar.

Act Two was sprinkled with unspoken moments of meta-theatre. When Walter asks his son, Travis, what he wants to be when he grows up, the boy says, “Bus driver.” His father urges him to dream bigger, and the words “President of the United States” seemed to waft in the air momentarily. In the end, the Youngers take the house, defying the enmity of the “welcoming committee.” They are the change they’ve been waiting for. At the curtain call, the Obamas joined the audience in a standing ovation, and Denzel Washington tipped his fedora to the President, flashing his matinee-idol grin. Scott Rudin, the powerhouse producer, said, “I pretty much cried the whole time.” Bryce Clyde Jenkins, the thirteen-year-old who plays Travis Younger, was still beaming. “I was in school at 11:08 when my teacher, Miss Bernadette, pulled it up on the computer that the First Lady and the President were coming to the performance tonight,” he said. “I kind of jumped for joy inside myself.” Did he find it hard to concentrate onstage? “No,” Jenkins said. “We have a responsibility to the people who are in the show and the Obamas to put on a good show and treat them like they’re our last audience.”

More here

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