Lorraine Hansberry’s epic play creates a shattered reflection of the middle class American dream which appears differently to each character who tries to see it.

“Scene designer Christopher R. Boltz based his design on Aaron Douglas’ 1934 painting “Aspects of Negro Life: From Slavery Through Reconstruction,” which we see on panels before each act hanging above the Youngers’ apartment. In the painting, silhouetted forms seem to exhort a crowd onward; there’s a vibrancy and energy in the muted colors and raised hands of the spectators. Though the set itself is realistic — the stained green walls, the tired sofa — it’s more than mundane. Complemented by Kalen Cobb’s lighting design, there’s a well-worn energy at work. Debbi Shapazian’s period costumes likewise capture the essence of the era.”    Donald Monro,  Fresno Bee