Don't forget, these actors still have to find a theater company brave
(or crazy) enough to cast them. But if that happens — if someone does allow me to mount my all-white version of "A Raisin in the Sun" — then please let us proceed. I promise you, we'll be doing it not to be provocative but because it's a terrific American play. Don't picket outside the theater or send letters to the editor — if you have to, though, do that first rather than start up another annoying blog — or ask CBS to take away my radio show. (I actually don't have one, so relax, you can continue sleeping in in the mornings.)
But it would seem that another Chicago theatre type, Don Hall, would ask, Why the hell are people, white or black, wanting to do so many classics anyway?
Right now, in Chicago, one can see the billionth production of Stoppard's Arcadia, Ionesco's The Bald Soprano, Pinter's Betrayal, Shaw's Caeser and Cleopatra, Lerner and Lowe's Camelot, Equus, The Elephant Man, Harvey, One Flew Over the Cuckoo's Nest, Ragtime, Richard III, Rosencrantz and Guildenstern are Dead, The Diary of Anne Frank and two versions of The Sea Gull. The argument can be made that these pieces have endured because they themselves have something to say to audiences today - that they remain relevant over the course of time. The counter argument can likewise be made that quite a few of these have been performed somewhere in Chicago by someone in the last two years and that we will likely see another production of many of them in the next two.