Darlene Ortega's review for the Portland Observer of the Oregon Shakespeare Festival production of Lorraine Hansberry's The Sign in SIdney Brustein's WIndow notes that, "The play is so far ahead of its time that I wonder if we are ready even now for the prophetic insight of Ms. Hansberry, so famously young, gifted, and black. But I'm grateful that the Oregon Shakespeare Festival has gone to the trouble to offer us this opportunity."
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The Portland Theater Scene says that The Sign in Sidney Brustein’s Window by Lorraine Hansberry at the Oregon Shakespeare Festival is a complex, unexpected portrait of the early 1960s
Artistic staff of the Oregon Shakespeare Festival talks about Lorraine Hansberry and this lesser known play that she wrote at the end of her life.
The Oregon Shakespeare Festival has published a short trailer with scenes from their 50th anniversary production of The Sign in Sidney Brustein’s Window and comments from the OSF’s dramaturg, Lue Morgan Douthit, and the director of the play, Juliette Carrillo.
Melissa Anderson reviews the exhibit, “Twice Militant: Lorraine Hansberry’s Letters to The Ladder.”
David Stabler’s review for The Oregonian wonders about the risk of mounting Lorraine Hansberry’s play: a play very much of its time—60s idealism, fighting oppression, changing the system. Will a cynical modern audience find it quaint?
Victoria Brownworth of Lambda Literary places “Twice Militant: Lorraine Hansberry’s Letters to The Ladder” in context.
Roberta Kent calls the Oregon Shakespeare Festival production a love letter to the award-winning Lorraine Hansberry.
In Lorraine Hansberry: A Museum Show and Opening the Archive, OutHistory offers several perspectives on the queer intersectionality of Lorraine Hansberry: “What I Love, What I Hate, What I Should Like,” “Opening the Restricted Box: Lorraine Hansberry’s Lesbian Writing,” and “Hansberry's Letters to The Ladder Quoted.”
In a review for Hyperallergic, Alexis Clements explores “Twice Militant” exhibit at the Brooklyn Museum.
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