"Raisin" breaks Box Office house record..again!

It's the play, baby. That old-fashioned, Arthur Miller-style structuring is in short order in new pieces these days, and it's so-old-it's-new, totally fresh. Good for "Raisin"!

---

It's just shame that there will be so many people leaving that show and the only thing they'll take away with them is P Diddy's autograph.

---

Yeah ...it's the play...that's it!(rolls eyes)

Maybe next, they can mount a revival Of the old Lunt/Fontaine chestnut

THE GUARDSMAN!!

Just cast anyone in it and it's sure to be a grand success no matter what!!

Well hussys;
These days I am just glad anything does well at the boxoffice. And don't forget; even though theres a celebrity attracting the bulk of the audience there are 3 actresses turning in really good work. Work which has created a realy good buzz for the play .

---

Bite your f@@@@@ tounge!

---

Breaking a house record doesn't mean very much when one considers how ticket prices have increased recently.

Just remember, friends, that I still have my ticket stubs from the original opening night of TWHM in 1964. We had third row orchestra seats and they cost a mere $9.90. That show didn't play to an empty seat for its first three years.

---

Just wanted to mention that I saw this over the weekend. This is truly a first-rate production of a great American play. Phylicia Rashad is a revelation (not a drop of Mrs. Huxtable here) -- warm, funny, nuanced, she dominates the stage every moment that she is on it. Audra MacDonald, as expected, is an outstanding Ruth, conveying all the world-weariness and pain of her character, as well as the joy. Sanaa Lathan has some wonderful moments as Beneatha (though she needs to work on that overly strident stage voice) and Teagle F. Bougere is terrific as her African suitor.

Sean Combs, while he's no Poitier, is more than credible as Walter Lee. He nails the desperation, the frustation, the street-savviness of Walter with sureness and conviction. He could use a year or so of Meisner training (he loses concentration and energy when he is not the center of the scene and Walter is merely listening or reacting to someone else) and he doesn't quite pull off his big climactic breakdown in Act II (he doesn't embarass himself either), but overall he fits in soldily with the rest of the stellar ensemble.

Kenny Leon's direction is outstanding -- well-paced, fluid and precise. There's nothing dated and dusty about this production and that's thanks to Leon's work here -- the entire evening is so "alive" and crackles with energy and electricity.

The direction and acting remind you that this play stands with the finest ever written by an American -- and this production is more than worthy of it. Funny, emotionally involving, and dramatically potent -- you'll laugh, you'll cry... literally -- there isn't a better or more effecting show currently running anywhere in the city. By all means, go!

---

Updated On: 5/25/04 at 01:20 PM

But the play wasn't selling as well in previews as it is now. It was the word of mouth that Puffy wasn't awful and the critical raves for the play, direction and the leading ladies that convinced people who were afraid it was a vanity piece revival to go. Without the word of mouth and the reviews, I don't think it would be breaking box office records.