RAISIN

T h e 1974 T o n y
Award
& 1975 G r a m m y A w a r d
Best Musical
Based

on

LORRAINE HANSBERRY'S
"A

RAISIN

IN THE SUN"

Book

by

wEi

SAMUEL
25

W E S T 4STH

S&

FRENCH, INC.

STREET

N E W Y O R K

7623 S U N S E T BOULEVABD

H O L L Y W O O D

LONDON

10036
90046

TORONTO

R A I S I N was first presented on Broadway b y R O B B B T N E M I B O F F at

the 46th Street Theatre on October 18, 1973, with the foUowing cast:
( I n order of appearance)
P E O P L E OP T H E S O U T H S I D B
Loretta Abbott, Elaine
Beener,
Glenn Brooks,
Walter P. Brown, Karen Burke, Paul
Carnngton,
Herb Downer, Manyln Hamilton, Don Jay, Eugene Little,
Marenda
Perry, Al Ferryman,
Zelda Pulliam, Renee Rose, Ted Ross,
Chuck
Thorpes, Gloria
Turner.
PUSHER
Perryman
VICTIM
Loretta
Aobolt
R U T H YOUNDER
Ernestine
Jackson
TRAVIS YOUNGER
Rolph
Carter
MRS. JOHNSON
-f^eien Martin
Joe

WALTER L E E YOUNGER

Deborah

BENEATHA YOUNGER
LENA

YOUNGER

(MAMA)

ALTHEA

Morton

Allen
Beener

^'''"e

Capers

Virginia
Ted

BOBO J O N E S

Ross

Waller P. Brown
Robert
Jackson
f^e^^ Downer
Marenda
Perry
Richard Sanders

W I L L I E HARRIS
JOSEPH ASAGAI
PASTOR
PASTOR'S W I F E
KARL LINDNER

Scenery Designed b y R O B E R T U . T A Y L O R ; Costumes Designed b y B E R N A R D

JOHNSON;

L i g h t i n g Designed b y W I L L I A M

MINTZBR.

Musical Director & Conductor HOWARD A . R O B E R T S ; Orchestrations b y

AL

COHN,

ROBERT

PREEDMAN ;

Vocal

Arrangements

by

JOTCB

B R O W N , H O W A R D A . R O B E R T S ; D a n c e Arrangements by the C o m poser; Incidental Arrangements D O R O T H E A F R E I T A O .

Associate Producers S Y D N E Y L E W I S , J A C K F R I E L ; Production Stage
Manager

HELAINE

HEAD;

Stage

Managere

NATE

BAHNETT,

TONY

N E E L Y ; P r o d u c t i o n Associates I R V I N G W E L Z E R , W I L L M o r a , C H A R L E S
BRIOGS.

Original Production by A K E N A S T A G E , Washington, D . C . , b y Arrangement with R O B E R T N E M I R O F F .

Production Directed and choreographed by D O N A L D M C K A T L E .

I n 1974, R A I S I N won the Antoinette Perry ( T o n y ) Award as Broadway's Best Musical, with nominations i n nine Categories: Best Musical,
Best Score, Best Book of a Musical, Best Director, Best Actress, Best
Actor, Best Supporting Actress, Best Supporting Actor, and Best
Choreographer.
I n 1975, composer Judd Woldin and lyricist R o b e r t Brittai) won the
G r a m m y Award for Broadway's " B e s t Musical, B e s t Songs and Show
A l b u m " (Columbia R e c o r d s ) .
I n 1975-76, R A I S I N was recommended as an entertainment " m u s t "
by the American Revolution Bicentennial Administration. A n d when
the production finally closed on Broadway i n December 1975, R A I S I N
embarked on an 18-month first class National Tour of forty major cities
in the United States and C a n a d a . I n most of these, " R A I S I N W e e k " or
" R A I S I N M o n t h " was proclaimed by the mayor a n d / o r governor to
coincide with the opening: i n many, R A I S I N set attendance records;
and i n some, it was the first Broadway production to appear i n decades.
I n a l l , R A I S I N was attended by some 3%^ million people.

T h e National Company of R A I S I N , at one time or another, included

the following:
THE

CAST

P E O P L E OP T H E S O U T H S I D E
H. Douglas Berring, Cynthia
Brown,
Jacqueline Derouen, Charliese
Drakejord,
Charles E. Grant, Sheila Holmes, Eddie
Jordan,
Cleveland
Pennington,
Lacy
Darryl
Phillips,
Martial
Romain,
Henry Shaw, Michael Smith, Corliss Taylor, Renee
Warren
PUSHER
Keith Simmons/Le'von
Campbell
VICTIM
Loretta Abbott/Bonita
Jackson
R U T H YOUNGER
Mary Seymour/Vanessa
Shaw
TRAVIS YOUNGER
Darren Green/Altyrone
"Deno"
Brown
MRS. JOHNSON
Sandra Phillips/Emme
Kemp
WALTER L E E YOUNGER
Autris Paige/Gregg
Baker/ Nate Bamett
BENEATHA YOUNGER
Amelia
Walker
L E N A YOUNGER ( M A M A )
Virginia Caspers/Sandra
Phillips
BAR G I R L
Zelda Pulliam
BOBO J O N E S
Irving Barnes
W I L L I E HARRIS
Walter P. Brown/Roderick
Sibert/Ned
Wright
J O S E P H ASAGAI
Milt Grayson/Nate
Bamett
PASTOR
Roderick Sibert/Isaac
Clay
Kay

PASTOR'S W I F E

Stacy

KARL LINDNER
Production Stage Manager T O N Y
BARNETT;
Director

Stage
&

Managers

Conductor

Barnes

McAdams

N E E L Y ; Production Supervisor N A T E

BURT

WOOD,

MARGARET

STACY

MCADAMS;

HARRIS/JACK

Musical

HOLMES/LBONABD

O X L E Y ; D a n c e Supervision Z E L D A P U L L I A M .

General

Manager

SHEILA

JOHN

C O R K I L L ; Company

Manager

KIMO

GERALD/

PHILLIPS.

E x e c u t i v e Associates C H A R L E S B R I G G S , W I L L

MOTT.

CONTENTS

Page
HISTORY OF RAISIN
MUSIC
MUSICAL NUMBERS
PRODUCTION NOTES
I . T h e Setting
n . Furniture and Props
PROGRAM

3
5
8
0
9
10

NOTES

"

RAISIN
Act

One:

Scene
Scene
Scene
Scene
Scene
Scene

Prologue

13

1
2
3
4
5
6

Act Two:
Scene 2
Scene 3
Scene 4
Scene 5
Scene 6
Scene 7
Scene 8

16
26
30
36
41
60

64
71
74
77
80
81
89
92

Scene 1

A N O T E ON F U T U R E PRODUCTIONS
I . Overall Concept
I I . T h e Use of Pantomime
I I I . Background Materials
I V . Hansberry Archives
PROPERTY LIST
ON S T A G E P R O P AND C O S T U M E MOVES
COSTUME PLOT
MUSIC CUES
FLOORPLANS

101
101
102
102
103
103
105
113
115

|5

MUSICAL NUMBERS
ACT

ONE

Page
PROLOGUE
MAN

Company

SAY

Walter L e e

WHOSE L I T T L E ANGRY MAN

RUNNIN' TO M E E T T H E MAN
A

WHOLE LOTTA

BOOZE

Ruth
...

Walter L e e and C o m p a n y

SUNLIGHT

Mama

Althea, B o b o , W a l t e r L e e , Willie and C o m p a n y

ALAIYO

Asagai and Beneatha

AFRICAN DANCE

Beneatha, Walter and C o m p a n y

SWEET TIME
YOU

R u t h and Walter L e e

DONE RIGHT

Walter L e e
ACT

HE

13
18
22
27
30
37
46
60
66
61

TWO

COME DOWN THIS MORNING

Pastor, M a m a ,

64

M r s . Johnson, R u t h , T r a v i s , Company
IT'S

A DEAL

SWEET

TIME

SIDEWALK
NOT

Walter L e e
(Reprise)

R u t h and Walter

TREE

Walter L e e , R u t h , Beneatha

(Reprise)

A DEAL

Asagai

(Reprise)

COME DOWN

Lee

Travis

ANYMORE

ALAIYO
IT'S

Walter L e e

MEASURE T H E VALLEYS
HE

Mama

THIS MORNING

(Reprise) . . . .

Orchestra

74
78
80
82
91
93
96
98

PRODUCTION

NOTES'*

I. T H E SETTING
There is no curtain.
A s the audience enters the theatre, it sees the R A I S I N set illuminated
with cool green and blue lights. I t is a black and grey-toned multileveled structure backed by a brick wall, representing, at first glance,
the concrete and asphalt ghetto of Southside Chicago. I t is scarred,
dangerous and tender with things blending and shifting back and forth
the way they do in real life. T h i s is the place B l a c k people refer to
when they talk about the B l o c k .
A s if fay magicas the muted brick backdrop shifts to brilliaot red,
becomes a field of moonlit blue, pulsates with the greens of mythic
jungles or the golds of summer sundownsthe singular, multi-leveled
set can be instantly transformed from a bustling street to an apartment, a rollicking soul bar, a sanctified C h u r c h on Sunday morning.
Set changes are easily executed by the cast through the use of a few
items of furniture and a series of small mobile platforms (which make
into beds, church benches, bars) hinged to the stage floor for accurate
and quick positioning. A balcony begins downstage right (p. R . ) , stretching up right (v. R . ) and across the upstage area, and leading off left
( L . ) . Several stair units lead off and onto the balcony.
T h i s fusion of platforms, translucent flats and balconies, windows and
entranceways, combines to symbolize the stifling, inhuman conditions
of ghetto life which surround and contain the family of Walter L e e
Younger.
A table, two chairs and a rocking chairall the same color and
simplified block construction as the setwhen positioned on the slightly
raised area from center (c.) to left ( L . ) , create the family's combined
livingroom/kitchenette. A bench unit becomes the sofa. A folding bench
unit becomes the make-down bed on which T R A V I S sleeps. Behind this,
the somewhat higher platform up center ( u . c.) becomes W A L T E R aijd
R U T H ' S room (with a mobile unit as their bed). M A M A and B E N E A T H A
share a third, unseen room off left.
The platform edges at center mark the front door and, at right angles
to it, the door to W A L T E R and R U T H ' S room. U p center left ( u . c. L . ) ,
a step marks the back door to the hallway that leads to the bathroom
the Youngers share, off left, with a neighbor, M R S . J O H N S O N , who lives
further up the hall, off left.
Downstage left (D. L . ) there is a small railing which, when we are in
the apartment, becomes a windowsill on which sits an undernourished
little potted p l a n t M A M A ' S only link with the sunlight and green vistas
of the home she left, nearly forty years before, to come North to
Chicago.
* Also see " A N O T E O N F U T U R E P R O D U C T I O N S , " p. 101.

ir. F U R N I T U R E A N D PROPS
Apart from the above items and a few carefully selected props, everything else i n the apartment and the play is imagined: created i n the
mind's eye of the audience by pantomime.
Floorplans for the exact placement of the furniture i n the apartment
and other locales are on pp. 113-16, along with a diagram indicating Uie
presumed location of doors and windows, closets and pantries, major
household appliances and other objects that exist only i n pantomime.
T h e props are the following: personal items, the plant, the partnership contract, W I L L I E ' S pen, the box B E N E A T H A ' S robe and headwrap are
brought in, an African necklace, the insurance check and envelope, a
tambourine, an envelope of money, L I N D N E R ' S card, attache case, pen
and contract of sale.

10

MUSIC
T h e following orchestrations are available from Samuel F r e n c h :
1. The Full Broadway
Orchestration:
Strings:
1st & 2nd vioUns; v i o l a ; cello
fleecfs;
#1soprano and aJto sax/clarinet/flute/alto
flute/piccolo
# 2 a l t o sax/clarinet/flute/alto flute
# 3 t e n o r sax/clariDet/flute/alto flute
#4baritone sax/bass clarinet/clarinet
Brass:
trumpet 1 & 2 & 3/fluegelhorn; trombone 1 & 2 ; horn; tuba
Rhythm:
1 piano; 1 Farfisa organ; 1 guitar; 1 acoustic bass/fender bass;
1 drums; 1 percussion; 1 African drums
2. Smaller orchestration
without
strings:
Reeds:
# 1 s o p r a n o and alto sax/clarinet/flute/alto
flute/piccolo
# 2 a l t o sax/clarinet/flute
# 3 t e n o r sax/clarinet/flute
#4^baritone sax/bass clarinet
Brass:
same as above.
Rhythm:
1 piano/Farfisa organ; 1 guitar; 1 fender bass; 1 drums; 1 percussion
3. Bus and Truck Version, scored for 8:
R h y t h m same as smaller orchestration; 1 trumpet/fluegelhorn; 1
trombone; 1 reed (soprano, tenor and baritone sax/clarinet/flute.)
(Same books as above except for fender bass, trumpet, trombone,
and reed, for which separate books are available.)
All three of these versions can be conducted from the master conductor/keyboard book.
C H O R A L / P R I N C I P A L S B O O K of the songs is available.
T h e R A I S I N S O N G F O L I O is pubUshed by Blackwood Music, I n c . ,
and is available through B i g Three Music. These are simplified arrangements, good for learning purposes but keys, tempos and arrangements
are not necessarily the same as i n the orchestration.

11

TIME:
PLACE:

T h e E a r l y 1950's
Chicago,

Raisin

UJS.A.

W h a t happens to a dream deferred?

D o e s i t dry up
L i k e a raisin i n the sun?
Or fester like a s o r e
A n d then run?
Does i t stink like rotten meat?
Or crust and sugar o v e r L i k e a syrupy sweet?

Night.

The Block,

A C T

O N E

PKOLOGUE

Southside

Chicago.

A jazz

ballet.

M u s i c C u e I [Score # 1 ] : As the house and stage lights dim

to black, the haunting wail of a soprano sax solo is briefly
heard; as it gives way to the staccato
driving rhythms
of
^the orchestra,
the Block
materializes.

M a y b e it just sags
L i k e a heavy load.
Or does it

explodeT
L a n g s t o n Hughes

From the deep blue shadows, cut by garish neon, two groovy
C A T S vxith "do-rags"
on their heads bop on, v. h., and
across,
making
their flngerpopping
way out for the
night. At D . R . C , they give each other some skin
{palmto-palm
hand-slap).
One bops across L . , greets the local
a flashily dressed gent, D . L . , then circles u . e n d
while the P U S H E R meets the other, R . C .
PUSHER,

off

R.,

The two leap and greet each other with a jive ritual
handshake,
as a young
CHICK
enters,
D . H . , checking
her
make-up
for a date. The men dance in comment and follow
as she circles
sexily
u . L . P U S H E R exits
while C A T
follows
her to u . R . C , and stands watching
from
the
shadows.
During
this a D R U N K has staggered
on, D . L . , t n silent
furious
argument
with the unseen bartender
of a club from
which
he has just been thrown, off h. He sits to get himself
together and watches
hazily.
A

SECOND

joins the first, at c, and a foxy

THIHP
fuscia coat struts on, from u . B . , showing off

CHICK

i n a bright

13

12

RAISIN

ACT

her new coat to her envious

friends:
as she exits
they
mimic
and mock
her. The mu^ic picks
up tempo,
a
F O U R T H C H I C K and the F I R S T C A T join
them, from u . R . ,
and all circle, R . C , in a jazz dance extension
of a
jitterbug
boogie of the '60's. A young
F I F T H GIRL
(the V I C T I M ) ,
passing by, joins in hesitantly
and uncertainlywhile
the
D R U N K , who
has been weaving
his way across D. R . , tries
vainly to interject
himself and at last, giving up,
staggers
upstairs.

ACT

After
The

applauseMusic

RAISIN
C u e I I [Score # 1 A ] :

15
underscoring.

H O U S E W I F E and her H U S B A N D rush down and, as the

music
resumes,
drag
the semi-conscious
VICTIM
upstairs
to
safety,
while the Block melts away and daylight
sneaks
up on

t stage L . the P U S H E R prances

out, stops, sits and snorts a
spoon or two of coke. He sees the F I F T H G I R L , his V I C T I M ,
and jack-knifes
high in a leap before her, D . R . , as the
night people finish their business
and hurry off into
the
fast-approaching
dawn.
feanwhUe,
in the shadows
of the R . balcony
above
them,
another
drama has been soundlessly
taking place*:
The
D R U N K , unable
to find his keys, bangs on his
tenement
door and his irate W I F E answers, remonstrating.
He
starts
back down at the sight of the W O M E N dancing below,
but
his L I T T L E B O Y appears
and grabs his coat. The W I P E
pushes the child back inside and hauls in her
husband
while at another
balcony door, D . R . , a H O U S E W I F E comes
out for the milk. She looks down, signals vainly for the
attention
of D R U N K ' S W I F E , calls for her own H U S B A N D ,
who presently
joins her, and stands
looking
helplessly
down at the scene
below:
is

the music builds, P U S H E R and V I C T I M have begun a dance

of enticement,
frenzied
seduction
and brutalization
as he
forces
her to snort heroin.
The V I C T I M becomes
dizzy,
losing
consciousness.
The music
crescendoes.
She
slides
down his body, grabs his ankle and lies in a heap
before
him,
as other S O U T H S I D E R S pass by u . s., not seeing
or
caring to get involved.
He casts her off, dances over her
andas
the music crashes to a haltleaps
triumphantly
off, R . , in search of more
victims.

T h i s action is an added element of texture and should not, under any

ircumstances, detract from the dance of P U S H E R and V I C T I M occurring
lelow.

The

Younger

family

ACT

ONE

SCENE

livingroom/kitchenette.

Early

morning.

W A L T E R and T R A V I S have entered

unseen during the
Prologue
and
now lie sleeping on their respective
beds. As the light
comes up, R U T H , in a bathrobe,
enters yawning from
the
bathroom.
She crosses to the sink, D . C , and throws
water
on her face in an effort to wake up.

R U T H . W a l t e r L e e i t ' s a f t e r s e v e n t h i r t y I (She crosses

to
T R A V I S , shakes
him.) O k a y , T r a v i s . U p ! (She stands him up,
fast asleep, and crosses to the closet for a towel. He falls
into
a sitting position and then flops back into bed.) W a l t e r ! I t ' s
t i m e for y o u to get u p ! ( R U T H turns and sees T R A V I S , stands
him
up again.)
C ' m o n n o w , honey. Y o u w a n n a get i n t h a t
b a t h r o o m first, y o u better s h a k e y o u r l i t t l e b e h i n d . H e r e
(Hands him the towel.) C o m e on. (Steers him up onto the hall
doorway
landing, where he stands inert and unseeitig.)
Walter
Lee!
(As she starts towards the bedroom, T R A V I S topples
backwardson
a sixth sense she turns, just in time, to catch
him.)
T r a v i s , honey, go on. (Seeing the next-door
neighbor,
MRS.
J O H N S O N , towel
in hand, shambling
down the hall from L . in
bathrobe
and slippers.)
Grab it! A n d hold the door for y o u r
D a d d y ! (As M R S . J O H N S O N rounds the bend, T R A V I S
springs
to life and easily beats her to the bathroom.
She shoots
his
mother a look; R U T H shrugs innocently
and shuts the
door.
J O H N S O N stopsand
pleads with God for
endurance.)

MRS.

MRS.
J O H N S O N . Y O U s a w ' e m . F a t h e r . W e supposed to s h a r e
t h a t b a t h r o o m . T h a t f a m i l y ' s a l w a y s i n t h e r e ! (She rounds the
bend toward
her room, then turns back for a parting
shot
through the door.) A n d t h e y a i n ' t no cleaner w h e n t h e y come
o u t ! . . . (Marches
off L , R U T H crosses to the sink, gets a
frying
pan from underneath,
puts it on the stove, and
starts
stirring
oatmeal.
Behind her back, as she talks, W A L T E R sits
up and yawns, staggers out to the back door, peers blindly
at
the bathroom,
and then comes back, stretching,
as he
surveys
his wife's fine frame
appreciatively.)
R U T H .

(Busy

at stove,

she does

not see

WALTER.)

A l l right.

ACT

RAISIN

17

man.
Y o u j u s t s t a y i n there a n d t h e n e x t t h i n g y o u k n o w
T r a v i s be out a n d M r s , J o h n s o n be i n t h a t b a t h r o o m a n d y o u
be cussing a n d f u s s i n g a r o u n d here l i k e a m a d m a n a n d be
l a t e , too. ( R U T H adjusts the flame, bending over, as,
completely
exasperated
at his presumed lack of progress, she yells.) W a l t e r
Lee! W a l t e r L e e Y o u n g e r
WALTER.
(Tiptoes
up playfully
and embraces
her from
behind.)
T h a t ' s m y n a m e , b a b y ! ( R U T H warms for the
merest
moment.)
Y o u look y o u n g t h i s m o r n i n g , b a b y . R e a l y o u n g .
(But
abruptly
she stiffens:
she's not having any.) J u s t for a
second there y o u l o o k e d so fine. (Drily,
releasing
her.) I t ' s
gone n o w y o u look l i k e yourself
again!
RUTH.
(Pleased
in spite of herself, and slightly
amused.)
I f y o u don't s h u t u p a n d l e a v e me alone . . . (Takes a bowl
from the counter and sets it on the
table.)
WALTER.
(Crossing
c, a plaint to the gods, saltily.)
You
k n o w , the first t h i n g a m a n ought to l e a r n i n l i f e is not to
m a k e love to no colored w o m a n a t eight o'clock i n the m o r n ing.
Y o u a l l i s some eeeevil people a t eight o'clock i n t h e
m o r n i n g ! (He crosses to back door. She breaks eggs into
bowl,
crosses to sink to dispose of the shells, and back to table.)
R U T H . W h a t k i n d of eggs y o u w a n t ?
WALTER.
(Looking
out.) N o t s c r a m b l e d . (She
immediately
starts
scrambling.
He notes this with a helpless
gesture
to
heaven, crosses over, stops her hand and takes her in his arms.)
R u t h , b a b y , y o u k n o w after t o m o r r o w y o u a i n ' t gonna be
s t a n d i n g a r o u n d here fixing no eggs for m e ! (He kisses
her
lightly.)
R U T H . (Pushing
past him to the cabinet for a match.
Drily.)
Y o u done t a k e n up c o o k i n g ?
W A L T E R . Y o u know what I ' m talking about
R U T H . (Lighting
stove.)
N o w W a l t e r , y o u j u s t couldn't be
t a l k i n g 'bout t h a t b i g old i n s u r a n c e check c o m i n ' to y o u r m a m a
t o m o r r o w ! ? Y o u k n o w t h a t a i n ' t none of our m o n e y
(She
gets plates from an upper shelfhe
takes them from her and
sets them on the
table.)
W A L T E R . M a m a ' d l i s t e n to y o u . A l l y o u h a v e to do i s s i t
d o w n w i t h h e r l i k e y o u do a n d s a y (Crosses
to rocker
and
starts
it rocking.
Turning
back and forth between
his wife
and "Mama"
in the rocker, to demonstrate.)
" L e n a , you know
t h a t store W a l t e r L e e ' s j u s t got h i s h e a r t so set on . . . " T h e n
y o u s i p y o u r coffee, see, a n d s a y , r e a l cool, " I a m s u r e W a l t e r

16

18

RAISIN

Lee
w i l l m a k e a k i l l i n g a n d double y o u r m o n e y b a c k . "
beat. To R U T H . ) W e l l , m a y b e d o n ' t s a y " k i l l i n g " I ' m n p
sure m a m a ' d u n d e r s t a n d w h a t t h a t m e a n s . . .
R U T H . N o w t h e r e a i n ' t too m u c h m a m a d o n ' t unders
W a l t e r L e e . . . (She sets the plates around the
table.)
W A L T E R . W e l l , t h e n y o u e x p l a i n to her a b o u t how i t '
legal-like, the partnershipme and Bobo and W i l l i e H a r
R U T H . (Automatically.)
W i l l i e H a r r i s i s a good-for-no ^
l o u d m o u t h . (Gets the frying pan and crosses back to the
to dish out the eggs.)
W A L T E R . (Stung.)
S u r e ! A n y b o d y I do business w i t h h a
to be a g o o d - f o r - n o t h i n g l o u d m o u t h ! W e l l , l e t me t e l l
something about W i l l i e H a r r i s
R U T H . (Abrupt
dismissal.)
h e got a h a n d f u l of "gim^
and a m o u t h f u l l of " m u c h o b l i g e d " ! (She crosses to sin
wash
pan.)
W A L T E R . W h y ? C a u s e he k n o w s h o w to operate?
Kn
how to t h i n k b i g ?
R U T H . N O W , W a l t e r , w i l l y o u e a t y o u r eggs . . .
W A L T E R . R u t h , h o n e y , t h i s t h i n g c a n n o t w a i t forever a n
I ' m a s k i n g for y o u to do i s to t a l k to m a m a
^
RUTH.
(Overriding
him.)
W a l t e r , w o u l d y o u please 1
me alone!
W A L T E R . (.4 moment
of silence. He crosses angrily
up
then back to R U T H . ) O h , y o u fed u p , a i n ' t y o u ? F e d u p '
e v e r y t h i n g ! B u t y o u c o u l d n ' t do one t h i n g to h e l p !
R U T H . W a l t e r , t h a t m o n e y ' s f r o m y o u r d a d d y to
mama
W A L T E R . M y d a d d y w o u l d h a v e w a n t e d m e to h a v e
chance
RUTH.
(By roteautomatic
dismissal as she
crosses
to cabinet.)
E a t y o u r eggs, t h e y gonna be cold. (As W :
turns hopelessly
away, D. L . , struggling to contain his anger,,
gets cups and, as he continues,
puts them on the
table,
cream off the
counter.)
WALTER.
(Looking
off, out front.)
E a t m y eggs?I ( M
C u e I I I [ S c o r e # 2 ] : MUSIC
echoes ironically.)
E a t m y e"
(It echoes again.) E a t m y eggs 11
SONG:

"MAN

SAY"

MAN
SAY, " IGOT M E A D R E A M 1
WOMAN SAY,

RAISIN

19

ing.)
E CREAM!"
the cream to her. She turns away and putters
busily
kitchen ignoring
him.)
fAY,
"JUST HEAR T H E PLANS THAT I'VE
)E!"
SAY,

JN

jar

off a shelf

and puts

it down

on the tableon

the

lALADE!"
. SAY, " D O N T M A K E M E WAIT!"
EAN S A Y , " P A S S Y O U R P L A T E ! "
es a plate.)
r%AY,
" H E R E ' S W H A T I C A R E 'BOUT MOST!"
|LAN
SAY,
tmg up hot toast and burning his
fingers.)
THE
TOAST!"
sits at table, R . chair, escaping into her
coffee.)
r - B A Y , " I G O T T A D O S O M E T H I N G BIG
'FORE
GET
TOO OLD!"
^N S A Y , " C O F F E E ' S G E T T I N G C O L D ! "
f*SAY, " W H E N T H E C H A N C E C O M E S B Y ,
OR
LOSE
passion.)
fTA
TRY!"
iting T R A V I S ' S
couch.)
BOY
SLEEPING I N T H E LIVING ROOM
L I V I N G ROOM TO GROW.
A LOOK AROUND . . . W H A T DO Y O U SEE?
'ieating the whole
room.)
rffJS G O N N A B E A L L H E ' L L E V E R K N O W ?
MUSIC
continues
under.)
P H . H o n e y , y o u n e v e r s a y n o t h i n g new. I m e a n , so y o u ' d
be M r . A r n o l d t h a n be h i s chauffeur. S o I ' d r a t h e r be
in B u c k i n g h a m P a l a c e !
?ki;rER. (Crossing
back to her.) A n d I ' m t e l l i n g y o u t h i s
fly-by-night
proposition. W e got a p a r t n e r s h i p
W a l t e r , e a t y o u r eggs. Y o u gonna be l a t e !
rn.

SAY,
"LOOK OUTl DON'T T R Y TO SLOW
DOWN,
: E C O M E S A GIANT
F I F T Y FOOT H I G H l "

M E

20

RAISIN

ACT

MAN
SAY, "NO T H I S OR T H A T ! "
H E S A Y , "HERE'S
WHERE IT'S AT.
R E A C H UP! GRAB A PIECE OF T H E S K Y "
{The

note hangs as she faces

underSAFETY VAMP.)

him.

The

MUSIC

continues

RUTH.
{She crosses down to him.) N o w l o o k , W a l t e r L e e ,
y o u r m a m a don't w a n t y o u t a k i n ' no r i s k s w i t h t h a t m o n e y
W A L T E R . " R i s k s ! " H e r e I ' m t r y i n g to t a l k to y o u about
m e a b o u t usand a l l y o u c a n s a y i s
R U T H . W a l t e r L e e , w i l l y o u eat y o u r
WALTER.
{Exploding.)
DAMN M Y EGGS DAMN A L L
THE
EGGS T H E R E E V E R WAS!
R U T H . T h e n get dressed a n d go . . . t o . . . w o r k ! ( E n d
S A F E T Y VAMP.)
WALTER.
{The
silence
of inexpressible
frustration.
Then,
aut front, restraining
himself,
with deliberately
exaggerated
calm.)
T H E R E ' S T H E ANSWER I B E E N LOOKING FOR.
IT'S C L E A R AS C L E A R C A N B E .
{She
sits back down,
helplessly.)
NOW I KNOW T H E W A Y TO M A K E T H E GRADE:
{Emphasizing
the pun.)
I'LL E A T WHAT'S B E E N
LAID
'SPECIALLY FOR M E !
{Facing
her.
Urgently.)
MAN
S A Y , " R I G H T N O W ! THIS
IS THAT CHANCE
TO
MOVE,
NO T I M E T O W A L K , G E T R E A D Y TOF L Y ! "
MAN
SAY, "LIFE'S ON T H E L I N E ! "
H E S A Y , " I T ' S YOURS
AND
MINE!
W A K E UP 'FORE I T PASSES Y O U B Y ! "
WOMAN SAY, WOMAN SAY,
WOMAN SAY, " E A T YOUR EGGS!"
{He
sits in the L .
chair.)
D a m n . ( M u s i c c u t off.)
T R A V I S . {Returning
from bathroom,
sees M R S . J O H N S O N on
her way again.) H u r r y u p , d a d d y ! ( W A L T E R runs to his room,
grabs up various toilet articles, dashes out the doorand
past

MRS.

JOHNSONwith a

MRS.

JOHNSON.

{Stops,

whoop.)

rocking

on her

heels

from

having

ACT 1

RAISIN

21

almost been run over.) Y o u m y w i t n e s s , L o r d ! R u n n i n ' b y nie

l i k e t h e y on a r a c e t r a c k s {Starts
back, then stops for a
parting
shot toward
bathroom.)
T h e y either constipated or
t h e y got d i a r r h e a . . . {She rounds the bend and exits L . During this R U T H has moved the D . R . chair u . s. to the head of
table facing D . s.)
T R A V I S . {Making
his bed, after closing the door. R U T H is at
the table setting utensils for his breakfast.)
M a m a , this i s the
m o r n i n g the teacher s a y we supposed to b r i n g fifty cents for
Negro H i s t o r y Week a n d
RUTH.
{Crossing
back to stove for the oatmeal.)
We ain't
got no fifty cents t h i s m o r n i n g .
T R A V I S . B u t , M a , t h e teacher s a i d
R U T H . {Pouring
oats in bowl at table, then back to
stove.)
N o w I don't care w h a t teacher s a i d ! W e a i n ' t got no fifty
cents, so j u s t h u s h a n d get over here a n d e a t y o u r b r e a k f a s t .
T R A V I S . {Crossing
eagerly
toward his grandmother's
room.)
M a y b e g r a n d m a w i l l give me t h a t m o n e y . . .
RUTH.
T r a v i s W i l l a r d Younger! S i t down. ( T R A V I S
stops
with a great sigh of oppression,
comes to the table and sits,
u . c. chair.) Y o u r g r a n d m a ' s been gone since e a r l y t h i s m o r n ing.
T R A V I S . {Petulantly
pushing his bowl away and resting
head
on fist.) I a i n ' t h u n g r y .
R U T H . (Gently.)
I m a d e y o u h o t oats s p e c i a l .
T R A V I S . (Makes
a facepicks
up his spoon, stabs the oatmeal, raises spoon and lets, first, the oatmeal, and, then, the
spoon
drop back into the bowl from full height.)
I t ' s too
lumpy.
RUTH.
(Pushes
the bowl back in front of him.) N o w y o u
eat!
(As she crosses
to the counter,
T R A V I S shovels
angry
spoonfuls
into his mouth and throws the spoon down. He gets
up, crosses to couch, picks up his cap and
jacket.)
T R A V I S . I ' m gone!

R U T H . Y o u got y o u r m i l k m o n e y ?
T R A V I S . (Sulking.)
Yes'm.
R U T H . A n d not one p e n n y for no caps, y o u h e a r ?
T R A V I S . Y e s , m a ' a m . (Furious,
he throws his coat on.)
R U T H . H e r e . (She hands him a glass of milk. He takes one
sip and hands it back.)
F i n i s h i t ! (He downs the rest
under
protest, wipes his mouth, hands back the glass, then heads for
the door, where he halts, arms folded and back to his
mother.

22

RAISIN

pouting.
R U T H folds
her arms
broadly
mimics.)
"Oh, Mama
don't k n o w w h a t to d o ! " (She
spond.)
" H m p h I I wouldn't
nothin' i n this world! (Music
nothing in this w o r l d ! "

ACT

in precise imUation of him and

m a k e s me so m a d sometimes I
sneaks a look. He doesn't
rek i s s t h a t w o m a n goodbye for
C u e I V [ S c o r e # 3 ] . ) N o t for

SONG: " W H O S E L I T T L E

ANGRY

MAN"

continues
marches

TRAVIS

ACT

RAiSIN

23

T R A V I S . A W W gaalee. M a m a ! (As in, "I'm

not a child
anymore.")
RUTH.
(Still
mimicking
him.)
" A w . . . gaaaalllleeeeee.
Mama!"
T R A V I S . O u c h ! (She has pulled a snarl in his hair; he jerks
away, humiliated,
rubbing his injured head, then puts his cap
onturning
it manfully
to the sideand
folds
his
arms
again.)
RUTH.

(As T R A V I S struggles manfully

to maintain
hia dignity.
Oently
teasing.)
WHOSE L I T T L E ANGRY MAN A R E YOU . . .
NOW L E T M E SEE?
CAN
I B E SURE THAT YOU BELONG TO ME?
(She
crosses to him. He side-steps
crisply at the last
possible
moment and stalks D . C . )
WHOSE L I T T L E PUFF OF SMOKE AND FLAME?
WHOSE L I T T L E ROAR OF MANLY THUNDER?
I WONDER, WHAT'S YOUR NAME?
( T R A V I S rolls
his eyes with disdain.
R U T H
follows
him D . ,
keeping
her distance,
then moves D . L . of the
table.)
MY
L I T T L E B O Y W O U L D N E V E R B E AS M E A N AS
YOU.
HE'D
NEVER SAY GOODBYE WITHOUT A KISS
OR
TWO.
(He has stolen a look at her and been
caught.)
I SEE YOU MAKING EYES AT M E
AND
THAT'S A N OLD F A M I L I A R SIGN.
(Playfully.)
I GUESS YOU'RE MINE.
(MUSIC

under. R U T H s t a r t s cleaning the table

to the doorthen
stops to try
again.)

as

T R A V I S . M a m a , i f I d o n ' t b r i n g t h a t fifty cents to school,

I ' m gonna be t h e most i g n o r a n t N e g r o a b o u t N e g r o H i s t o r y
W e e k i n the whole s c h o o l !
R U T H . ( R U T H crosses to him pulling out combtakes
his
cap off and hands it to him, and starts combing his hair. She's
laughing
and playful;
he's fighting
her, but playing
too.)
. . . A n d the poorest, m e a n e s t , messiest, too! ' B o u t to m a r c h
out of here w i t h t h a t h e a d l o o k i n g j u s t l i k e c h i c k e n s slept
in i t !

MY
L I T T L E B O Y W O U L D N E V E R B E AS M E A N
AS Y O U .
HE'D
NEVER SAY GOODBYE
( T R A V I S starts
for the door. R U T H stops
him.)
WITHOUT A KISS
(Kisses
him.)
OR
TWO.
( R U T H tries
to kiss him again, he eludes her and makes it to
the door unscathed,
implacablebui
sneaking
looks at her,
too.)
I SEE YOU MAKING EYES AT M E
AND
THAT'S A N OLD F A M I L I A R SIGN.
I GUESS YOU'RE MINE.
( M u s i c c u t off. She holds out her armshe
runs into
them
and gives her a hug and kiss. She puts him down just as
W A L T E R crosses
into the bedroom to put his things
away.)
T R A V I S . (New
aggressivenessin
the presence of his
father.)
M a m a , c a n I please h a v e the fifty cents for school?
RUTH.
(Very
gently.)
H o n e y , I t o l d y o u we a i n ' t got i t
. . . okay?
WALTER.
(From
the bedroom
doorway.
Outraged.)
Now
w h a t y o u t e l l the boy t h i n g s l i k e t h a t f o r ? (Grandly
reaching
into his pocket and looking
her in the eye.) C o m e here, son
. . . ( T R A V I S crosses
to him.)
H e r e . (Hands
the boy
fifty
cents, eyes still fixed defiantly
on his
wife's.)
TRAVIS. Thanks, Daddy.
(He starts
out. R U T H
watches
them both with murder in her
eyes.)
WALTER.
(Reaching
out and halting
T R A V I S on an
afterthought.)
I n f a c t , here's another fifty c e n t s ! B u y y o u r s e l f
some f r u i t . . . or t a k e a t a x i c a b to school or s o m e t h i n g !
T R A V I S . (Jumps
up and hugs his father.)
Thanks, Daddy 1
(Crosses
to R U T H , gives her a kiss;
then back to W A L T E R ,
gives
him "five,"
palm
to palm, and
exitstriumphantly

24

RAISIN

ACT

adopting
the jaunty
knee-dipping
strut of the ghetto the moment he is out the door. W A L T E R and R U T H ' S eyes
remain
locked.)
W A L T E R . {A beat. Defiantly.)
N o w t h a t ' s my boy.
( B E N E A T H A , W A L T E R ' S teenage
sister, enters from off L . Yawning, scratching
her bottom,
and generally
"a sight"
in
bedclothes
and robe, her face a blob of cold cream,
hair
a thicket
of curlers,
she has just awakened.
She
passes
through
blindly
and looks out at the bathroom
at the
precise
moment
MRS. JOHNSON
again
appears
on
her
endless mission.
The old lady sees B E N E A T H A , jumps,
galvanizes herself to a final effort and beats it to the
bathroom. B E N E A T H A turns back with a sleepy
vengeance.)
B E N E A T H A . W e l l , t h e r e goes h a l f a n hour. T h a t w o m a n is
gonna give me a serious kidney
c o n d i t i o n ! [Scratching
and
yawning,
she staggers
D . L . to lean against the
windowsill.)
WALTER.
[Surveys
her clinically,
then.)
Y o u are one
h o r r i b l e - l o o k i n g c h i c k a t t h i s hour.
BENEATHA.
(Drily.)
W e l l , good m o r n i n g , e v e r y b o d y .
WALTER.
(Amused
but interested.
Senselessly.)
So h o w i s
school?
BENEATHA.
(Sugar
sweet, but the sarcasm
builds, as she
speaks, to a final sharp thrust.)
Oh lovely. L o v e l y . A n d , you
k n o w , biology i s r e a l l y the greatest. Y e s t e r d a y I dissected
s o m e t h i n g (Looking
up at him.) l o o k e d j u s t l i k e you!

W A L T E R . I j u s t wondered if y o u ' v e made up your m i n d a n d

everything.
BENEATHA.
(Gaining
in sharpness
and impatience.)
And
w h a t d i d I a n s w e r y e s t e r d a y a n d t h e d a y before t h a t , a n d
the d a y before t h a t ?
R U T H . (Trying
to talk over this argument
and being
steadfastly ignored.)
D o n ' t be n a s t y , B e n n i e .
WALTER.
(Defensively.)
I ' m interested i n y o u . T h e r e a i n ' t
too m a n y g i r l s I k n o w w h o d e c i d e
W A L T E R and B E N E A T H A .
(In unison.)
"TO B E A DOCTOR."
(Silence.)
B E N E A T H A . G i v e u p , W a l t e r . T h e i n s u r a n c e m o n e y belongs
to M a m a . I t ' s h e r s . N o t ours. H . E . R . S . h e r s .
W A L T E R . O h , b u t she c a n a l w a y s t a k e a f e w t h o u s a n d
d o l l a r s a n d help y o u t h r o u g h m e d i c a l s c h o o l , c a n ' t s h e !

ACT

RAISIN

25

B E N E A T H A . (With
fury, desperate
to finally end this.)
What
do y o u w a n t f r o m me. B r o t h e r t h a t I q u i t college or j u s t
drop d e a d , W H I C H ! ?
W A L T E R . I d o n ' t w a n t n o t h i n g f r o m y o u except t h a t m a y b e
y o u stop a c t i n g h o l y ' r o u n d h e r e ! O h , now, i t a i n ' t l i k e a n y b o d y expects y o u to get d o w n on y o u r knees a n d s a y , t h a n k
y o u . B r o t h e r ; t h a n k y o u , R u t h a n d M a m a , for w o r k i n g i n
somebody's k i t c h e n to help p u t the clothes on y o u r b a c k
B E N E A T H A . W e l l , I doall
r i g h t ? (Dropping
to her knees in
prayer.)
T h a n k y o u . T h a n k e v e r y b o d y . A n d forgive me for
ever w a n t i n g to be a n y t h i n g a t a l l ! (Pursuing
him on her
knees across the floor.) F o r g i v e m e ! F o r g i v e m e ! F o r g i v e me!
W A L T E R . [Escaping
D . L . by rocker.)
G e t out of m y face. I f
y o u so c r a z y 'bout messing 'round w i t h s i c k people, w h y don't
y o u go out a n d be a nurse l i k e other w o m e n ? (Looking
out.)
O r j u s t get m a r r i e d a n d s h u t u p !
B E N E A T H A . [After
him again, crossing D . R . of table.) W e l l
y o u finally got i t s a i d . I t took y o u three y e a r s , but y o u finally
got i t s a i d . L i s t e n , W a l t e r , p i c k i n g on me is not going to m a k e
M a m a i n v e s t i n a n y liquor s t o r e [Turning
away to end it.
Then, underbreath.)
a n d I for one s a y , G o d B l e s s M a m a for
that!
W A L T E R . (TO
R U T H , shocked.)
Seedid you hear? D i d you
h e a r ! (Crosses
to sofa to get chauffeur's
cap and
jacket.)
R U T H . H o n e y , w i l l y o u go to w o r k .
W A L T E R . A i n ' t nobody ever gonna u n d e r s t a n d roe i n t h i s
house! (He starts for the
door.)
B E N E A T H A . (.4 beat. As he is halfway
out the
doordrily.)
Because you're a nut.
WALTER.
(To Godwho
alone in this room
understands
him.) W e a r e one group of m e n tied to a r a c e of w o m e n w i t h
small m i n d s ! (He stalks out. B E N E A T H A heads for the
bathroom.)
R U T H . B e n n i e , w h y y o u a l w a y s got to be p i c k i n ' on y o u r
brother?
BENEATHA.
(Standing
outside
the unseen bathroom
door.)
M r s . J o h n s o n , w i l l y o u come out of there, please! (Bangs
on
the door.
Then
cheerfully.)
YOUR APARTMENT'S ON
F I R E ! ! (As she stands outside, squirming
in urgent need to
relieve herself, W A L T E R "eenters
and B E N E A T H A freezes as the
focus shifts to him. He stands sheepishly
in the doorway,
looking from R U T H to the floor.)

26

RAISIN

ACT

W A L T E R . I u h {He fumbles with his cap, starts to speak,

hesitates, flounders helplessly,
and finally throws up his arms.)
I need some m o n e y for c a r f a r e .
RUTH.
(A beat. She turns away, out front, suppressing
a
smile. Sweetly,
twisting
the knife,
as she reaches
into
her
pocket.)
F i f t y c e n t s ? ( T o s s e s him "the coin.")
Here.
{He
reaches
up to catch it in midairto
the "TING"
OF A
TRIANGLE.)
T a k e a t a x i ! {He grins begrudgingly.
Music
C u e V [Score # 4 ] : R U T H exits L . , and W A L T E R ,
n.through
the S O U T H S I D E R S who surge on, from all directions.
Several of
them quickly
move table and chairs u . L , below sofa and remove rocker off L . )

ACT

ONE

SCENE

Chicagothe
Southside
a
montage.
As

and

the

Loop.

Morning

the backdrop
turns vivid red and orange, the stage
with frenzied
S O U T H S I D E R S "runnin'
to meet the

rush-hour:

explodes
man."

A C R O W D of 8 rush on from D . R . to line up, pushing and elbowing for air at a changebooth
and turnstile,
D . C , where
they await a bus. Others crowd into a subway
car, u . c ,
in what a moment ago was the bedroom,
S O M E seated
on
the bed, the R E S T clutching
straphangers.

ACT I

RAISIN

27

H e y , m a n , I h e a r d y o u r old l a d y ' s s e l l i n g c o m b a t boots on the

avenue.
D i d y o u see her, m a n ? M i g h t of been your mama.iQ
Quit shovin', o k a y ? ^
c
Sorry.
f\

(\
^

SONG: " R U N N I N ' T O M E E T T H E M A N "

( S U B W A Y R I D E R S become
dancing straphangers
on the
moving,
swerving
vehicle, as red and green traffic lights flash on and
off from
overhead,
while the B u s Q U E U E look left on the
beats in search of the fcws.)
RUNNIN' TO M E E T T H E MAN,
RUNNIN' TO M E E T T H E MAN,
R U N N I N ' A N ' R A C I N ' , NO T I M E F O R PACIN',
RUNNIN' TO M E E T T H E MAN.
( Q U E U E crowds
into the bus, side by side, x>. L . )
H e y , m a n , w h a t stop is t h i s ? Q
P l e a s e get o u t t a t h e w a y . /^Q^^
S a y , m i s t e r , w o u l d y o u get y o u r newspaper out of m y face.
(
Sorry.S/;
L a d y , those are m y feet y o u ' r e s t a n d i n g o n ^ , C
Hey, m a m a ^
h-if^<^ ~ S JO
D o I look l i k e y o u r m a m a to y o u ?
,
M y station! I missed m y s t a t i o n ! p , ^
M o v e y o u r ass, p l e a s e !
God is lo-ove! ^
^
rushes ih from D . R . , bang's on the bus door,
and
his way in through the
people.)
(WALTER

squeezes

WALTER.

The

MUSIC
is staccato
and driving^
voices a rising, jumbled
cry of

and the babel

frustration.

of

their

S O U T H S I D E R S . {Ad-libbing
as they come, with lines like
following.)
-TN
H e y , m a n , does t h i s b u s stop a t 6 3 r d a n d C o t t a g e ? Q | ( ,
T w o , please.
C
^
Y o u got t h e t i m e ? W h a t t i m e i s i t ?
I h e a r t h e y h i r i n g a t t h e y a r d s . Y o u h e a r t h a t ? i>
M i s s , y o u forgot y o u r change, (j) ^
M o v e i t a l o n g , buster. f\
Y o u a i n ' t t h e o n l y one i n l i n e .
^

the

JAMMED UP PEOPLE
SHUFFLIN' ALONG L I K E AN ARMY
DOIN' T H E SAME OLD DANCE.

OF ANTS,

SOUTHSIDERS

RUNNIN' To' M E E T T H E MAN,

RUNNIN' TO M E E T T H E MAN,
OUT O F T H E T R O U B L E , O U T OF T H E F I R E ,
INTO T H E FRYIN' PAN!
{Vehicles
jolt to a halt and all break out of the bus and subway
to become pedestrians
rushing to work. W A L T E R , D . C , tries to
break through toward u . c. but finds himself blocked at every
turn.)

28

RAISIN

ACT

W A Y

I'M

E V E R

W I T H

G O N N A

B E

M A N

O F

M E A N S

S A R D I N E S .

M E E T
M E E T
H A B I T ,

W H E R E

G O T
H E

T H E
T H E

M A N .
M A N .

J U S T

Y O U

L I K E

R A B B I T ,

B E G A N .

has at last made

it to the bedroom,

u . c.)

L A T E !
W A I T !
T O

C A N

K N O W

Y O U ' R E

T H E R E

O P E R A T E .

R A C I N ' ,

R U N N I N ' ,

H E

U P

J U M P I N ' ,

M E E T
I N

T H E

N O

S T O P P I N '

N O W H E R E

H E

. . .

P L A N .

up
c.)

their

R U N N I N ' ,

movements

while

R A C I N ' ,

J U M P I N ' ,

K N O W

R U N N I N '

T H E R E

CHASIN',

T O

T H E

O P E R A T E .

M E E T

M A N .

S K I P P I N ' ,

H E

H O P P I N ' ,
. .

S T O P P I N '

N O

T H E R E ' S
C A U G H T

W A I T

RAISIN

29

JUST TO G E T TO WORK, B E DOWN ON YOUR

KNEES.
JAMMED UP! FOULED UP!
NOWHERE PEOPLE, NOWHERE FACES,
RUNNIN' A N D RACIN' TO NOWHERE PLACES.
{All
start to run in place,
in unison
and slow motion,
as
W A L T E R starts
driving
and the amplified
off-stage
VOICE OF
H I S B O S S issues
the day's
itinerary.)
Mr. A R N O L D , ( O . S . , cheerfully
at ease.)
Good m o r n i n g ,
W a l t e r . I t ' s a l o v e l y d a y . F i r s t stop, C a l u m e t S t e e l .
WALTER.

CHASIN',

M A N .

T H E R E ' S

H I S

place,
they now speed
looks down from balcony

L A T E !
T O

JAMMED UP! FOULED UP!

NOWHERE PEOPLE, NOWHERE FACES,
RUNNIN' AND RACIN' TO NOWHERE PLACES.
YOU
R I D E ON BUSSES, Y O U PUSH A N D Y O U
SQUEEZE

SoXJXHSIDERS
T O

R U N N I N '

U P

B E

C A N ' T

SO

T O

in

SOUTHSIDERS.

B E

W A I T !

G O T

Y O U ' R E
C A N

SO

L A T E !

C A N ' T

ACT

W^ALTEiR

WALTER.
N O

S W I M M I N '

T O

R U N N I N '
R U N N I N ' S
E N D

{He

WALTER.
D O N ' T
H E
HE'S

(All
are now spread across the u . and D . areas, running
and
rushing i n p l a c e to get to work. W A L T E R , in a follow spot, runs
through them to R . , then D . R . , and upstairs to balcony
c.)
SOUTHSIDERS

H O P P I N ' ,

S K I P P I N '

R U N N I N '
C A U G H T

{Still

WALTER

WALTER.
D O N ' T

C A N ' T
HE'S

B E

D O N ' T

U P

Yes,

sir.

M R . A R N O L D . T w e l v e noon, the S t o c k y a r d s . 2 : 1 5 , p i c k me
up a t the A t h l e t i c C l u b .
W A L T E R . Y e s , sir. {Screech
of brakes
and horns from
the
orchestra.
W A L T E R swerves
at the
wheel.)
M R . A R N O L D . W a l t e r , y o u missed t h a t t a x i b y i n c h e s ! D o
y o u w a n t to get me k i l l e d ?
W A L T E R . {Pungently
and unmistakably.)
Y e s , s i r . {He
jams
on the brakes, gets out and starts D . C . )
M R . A R N O L D . W h a t ' s t h a t ? W a l t e r , y o u ' r e not even l i s t e n i n g
to m e ! W a l t e r , w h e r e a r e y o u going?
W A L T E R . I ' l l j u s t be a m i n u t e , s i r . {He crosses through
the
throngs into a phone booth, D . C , dials his callas
the E N move into positions
across
the stage behind
him,
to meet the man
again.)

SEMBLE

I N

N O W H E R E

runnin'

H I S

SOUTHSIDERS

P L A N .

{He runs downstairs

and hops onto the bed, v. c , which
becomes his boss's car and W A L T E R the chauffeur,
as all
break
into work patterns:
the W O M E N scrubbing
the floor on their
knees,
hanging
clothes
{from
the balcony),
typing,
waiting
tables, doing household
chores, etc., the M E N digging
ditches,
toting
bundles,
washing
windows
{on the balcony),
shining
shoes,
pushing
broom,
operating
a steam-pressing
machine,
and hanging the clothes on a rack, etc. The song picks up its
frenzied
tempo.)

RUNNIN' RUNNIN' RUNNIN' RUNNIN' RUNNIN'

RUNNIN'
RUNNIN' RUNNIN' RUNNIN' RUNNIN' RUNNIN'
RUNNIN'
W A L T E R . {With
great excitement
as the S O U T H S I D E R S suddenly halt to a music beat.) H e l l o , W i l l i e ? {MUSIC
up.
They
start up, then halt again.)
I got the m o n e y ! {They start,
then
halt again. Triumphantly.)
W e gotta t a l k B U S I N E S S ! !
{They
start,
then freeze,
looking
at their watches.)
TONIGHT!
( M u s i c out. He hangs up the phone. B L A C K O U T . S O U T H -

30

RAISIN

ACT

siDERS rush off in all directions.

M u s i c C u e V I [Score # 5 ] :
As blue lights bathe the stagethese
will be used for a number
of scene transitionstwo
remaining
C O U P L E S reset
tables and
chairs and exit chatting,
u . R . and D . L . , with a final wave to
each
other.)

ACT

ONE

SCENE

The apartment.
As

Late

afternoon.

M A M A ' S theme
drifts gently
up from the woodwinds,
enters from D . R . , and unlocks
the door. The lights
up within. She looks about, takes off hat, coat and
and drops them on the sofa, while
speaking.

she
come
purse,

M A M A . L o r d , seem l i k e t h e m steps i s getting longer a n d

longer. T i m e w a s w h e n I could do a f u l l d a y ' s w o r k a n d n o t
feel a t h i n g , a n d here I c a n b a r e l y l i f t these o l d bones. J u s t
l o o k a t y o u (Crossing
down to the window
to talk to her
plant.)
y o u look m o r e wore o u t t h a n I do. P o o r l i t t l e no 'count
s c r a g g l y t h i n g ! {Picks
it up. Confidentially,
with a glint.)
H o w ' d y o u l i k e a g a r d e n ? S h o o t ! I b e t you d o n ' t e v e n k n o w
w h a t a garden i s ! W e l l , j u s t y o u w a i t .
SONG: " A W H O L E L O T T A

SUNLIGHT"

H O L D ON, L I T T L E SPROUT,
SITTIN' T H E R E REACHING OUT,
AIN'T NO T I M E T O FALL.
TIME TOSTAND UP TALL!
H O L D QN, L I T T L E SPROUT,
DON'T B E L E T T I N G GO.
{Sits in the rocker with the plant in her lap.)
WON'T B E LONG 'FORE Y O U STARTS T O GROW.
THERE'L
NOTHIN'
BRIGHT
BUTT

L B E A WHOLE LOTTA SUNLIGHT,

B U T B L U E I NT H E SKIES,
Y E L L O W BLOSSOMS C A T C H I N G
ERFLIES.

ACT I

RAISIN

31

AND WHEN T H E LEAVES ARB LULLABYING I N

YOUR E A R . . .
WON'T N E E D T O OPEN U PYOUR E Y E S
TO KNOW T H E T I M E OF YEAR.
T I M E T O G E T OUT I NT H E MORNING.
T I M E T O B A T H E I NT H E GLOW.
AND W H E N THAT LAZY OL' SUN SETS
JUST Y O U L E T I T GO.
NO N E E D T O S I T A R O U N D R E M E M B ' R I N G
HOW I TUSED T O B E .
THERE'LL B E A WHOLE LOTTA SUNLIGHT
SHINING FOR YOU AND ME.
W e l l , y o u see n o w , there's t h i s nice l i t t l e house, a n d it's got
yellow shutters on the windows a n d a i n ' t ' m a n y cars comin'
through t h e s t r e e t b e r e a l safe for T r a v i s . D o n ' t y o u k n o w ,
they calls i t a "dead e n d " street! N o w a i n ' t that a funny name
for a street w h e r e some f o l k s l i v e s begin! {Shaking her head
with wonder, she stands and reaches out as if to embrace all
the sunlight in the room.)
T I M E T O G E T OUT I NT H E MORNING.
{Crossing
to the sink.)
T I M E T O B A T H E I NT H E GLOW.
{Waters the plant.)
AND W H E N T H A T LAZY OL' SUN SETS
JUST Y O U L E T I T GO.
{Crossing
back to the window.)
NO N E E D T O S I T A R O U N D R E M E M B ' R I N G
HOW I TUSED TO B E .
THERE'LL B E A WHOLE LOTTA SUNLIGHT
SHINING FOR YOU AND M E .
{Puts the plant back in place and opens the curtains.)
WON'T B E LONG 'FORE Y O U STARTS T O GROW.
{Stands
looking
wistfully
out for a moment as M u s i c c o n tinues to end, then crosses toward the refrigeratoras
R U T H
enters, exhausted
from the day's work. At the sight of M A M A ,
she
brightens.)
Evening,

MAMA.

Evening, Lena.

RUTH.

child.

RUTH.
{Crosses
to drop her purse on the sofa, then
back
to table.) B l e s s G o d t h i s d a y i s o v e r ! {She sinks into a chair,
table E . , and kicks off her shoes.)

32

RAISIN

ACT

MAMA. Tired?
R U T H . Y O U k n o w i t ! (Extending
her feet with relief
and
flexing her toes.)
M A M A . W e l l , I got a nice cool d r i n k for y o u . (Gets a pitcher
out of the refrigerator
and a glass from the cupboard.)
Been
one of t h e m d a y s ?
R U T H . (Rubbing
her feet.)
U h h u h . ( M A M A pours the drink
and R U T H takes it gratefully,
then subtly
changes
the
subject.)
M a m a , I b e e n t h i n k i n ' about i t a l l d a y
M A M A . (Anticipating
and pleased.)
the check?
RUTH.
(Startled,
but glad it's out in the open.)
T h e check.
M A M A . T e n thousand dollars . . .
R U T H . S u r e i s w o n d e r f u l . W h a t y o u a i m to do w i t h i t ?
M A M A . (Crossing
behind R U T H to draw the younger
woman's
head back against
her and soothe her temples.)
Oh, I ain't
r i g h t l y decided y e t , c h i l d . ' C e p t one t h i n g ' s for s u r e : t h e
m o n e y for B e n e a t h a ' s m e d i c a l s c h o o l i n ' gets p u t a w a y first.
A i n ' t n o t h i n ' gonna t o u c h t h a t p a r t . ( M A M A
hesitatesand
delicately
puts her new idea forth, massaging R U T H ' S
shoulders
and alert for her reaction.)
A n d t h e n I k i n d a been t h i n k i n ' ,
m a y b e we could meet t h e notes on a l i t t l e o l ' t w o - s t o r y s o m e w h e r e i f w e use p a r t of t h e m o n e y for a d o w n p a y m e n t a n d
e v e r y b o d y j u s t k i n d of p i t c h i n . . .
R U T H . (Matter-of-fact
and with no hesitation.)
Well, Lord
k n o w s , we p u t enough r e n t into t h i s here r a t - t r a p .
MAMA.
(MAMA
is momentarily
stunned
and then
looks
around, sighs and agrees.)
R a t - t r a p ? y e s , I guess t h a t ' s a l l
i t i s , a l l r i g h t . (Smiles as she thinks back to better days,
taking a few steps D . L . of table.)
B u t I remember just as well
the d a y m e a n d B i g W a l t e r m o v e d i n here. T h a t w a s a long
time ago
R U T H . H e sure w a s a fine m a n , M r . Y o u n g e r .
MAMA.
(Laughing.)
G o d k n o w s there w a s p l e n t y w r o n g
w i t h B i g W a l t e r ! H a r d - h e a d e d . M e a n . K i n d a w i l d w i t h the
w o m e n (She turns serious.)
B u t he sure l o v e d h i s c h i l d r e n .
A l w a y s w a n t e d t h e m to have s o m e t h i n g . . . be something.
H e used to s a y r e m e m b e r , R u t h (Standing
straight
and
tall, head thrown back, looking off in re-creation
of the
robust
voice, the poetry.and
dignity
of the man.)
"Seem like God
d i d n ' t see fit to give the b J a c k m a n n o t h i n g b u t d r e a m s b u t
H e d i d give us children
to m a k e t h e m d r e a m s seem w o r t h w h i l e ! " (She becomes herself again, smiling.)
H e could t a l k
like t h a t , don't y o u know.

ACT

RAISIN

33

RUTH.
(Agreeingand
at the same time trying to turn the
conversation
around.)
Y e s , W a l t e r L e e ' s a lot l i k e B i g W a l t e r
h e got his d r e a m too . . .
M A M A . (Shaking
her head, refusing to consider the
thought.)
Different, R u t h . Different dreams today.
RUTH.
(Gently
trying to persuade
her.) N o . I t ' s the same
dream, L e n a .
MAMA.
(Firmly,
crossing
D'. to rocker.)
No. I n m y t i m e
we w a s w o r r i e d a b o u t not being l y n c h e d a n d getting to the
N o r t h a n d h o w to s t a y a l i v e a n d s t i l l h a v e a p i n c h of d i g n i t y ,
too . . . b u t t o d a y . . .
(Shrugs.)
R U T H . T o d a y t h e y ' s j u s t got different w a y s of getting there.
Now Walter Lee, he
M A M A . (Cutting
her off as she sits in the rocker.)
N o w ' we
a i n ' t no business people, R u t h .
R U T H . (Rising
with urgency.)
I t a i n ' t j u s t t h a t store or the
m o n e y , L e n a . H e needs something. (Going
to her.) I m e a n
something I c a n ' t give h i m no more. H e needs t h i s chance.
M A M A . B u t liquor, honey . . .
R U T H . (Comically,
trying to lighten the mood as she
crosses
back to her chair but does not sit.) W e l l , l i k e W a l t e r L e e s a y
people gonna a l w a y s be d r i n k i n ' themselves some liquor . . .
M A M A . (With
finality.)
W e l l , w h e t h e r they d r i n k s i t or not
a i n ' t none of m y business. B u t w h e t h e r I sells i t to 'em is
(The
Irresistible
Force and Immovable
Object
in one.)
and
I do not w a n t t h a t on m y ledger t h i s l a t e i n l i f e ! (A beat.
B E N E A T H A enters
D. B . )
RUTH.
(Urgently.)
B u t , m a m a , i t m e a n s so m u c h to h i m .
H e t a l k s a b o u t i t d a y a n d n i g h t (She is interrupted
by
B E N E A T H A ' S cheerful
entrance.)
BENEATHA.
H i , y ' a l l . (She bounces
in and across h., drops
her books on the sofa and immediately
starts back out.) ' B y e ,
y'all.
M A M A . W h e r e y o u goin', B e n n i e ? Y o u j u s t come i n h e r e !
BENEATHA.
(At the door. With enthusiasm.)
I start my
conga d r u m lessons t o d a y . ( M A M A and R U T H look up with
the same
expression.)
M A M A . Y o u what k i n d a lessons?
B E N E A T H A . C o n g a d r u m . (Starts
playing an imaginary
drum
over and about R U T H and across the room to M A M A . )
R U T H . O h F a t h e r , here we go a g a i n !
M A M A . (Bewildered.)
W h a t m a k e s y o u t a k e i t i n y o u r head
to t r y to l e a r n to p l a y . . . W h a t ?

34

RAISIN

ACT

B E N E A T H A . T h e conga d r u m s ! {A final flourish on the

conga,
practically
in M A M A ' S lap.) I j u s t w a n t to. T h a t ' s a l l . (Pecks
M A M A on the cheek and crosses
to the sink for a glass of water,
rinsing before
drinking.)
MAMA.
(Shaking
her head with concern.) L o r d , c h i l d , y o u
d o n ' t k n o w w h a t to do w i t h y o u r s e l f , do y o u ? H o w l o n g before
y o u get t i r e d of t h i s n o w l i k e y o u got t i r e d of t h a t w o r l d
g o v e r n m e n t group y o u j u s t j o i n e d ? A n d w h a t w a s i t before
that?
R U T H . (Amused.)
Weaving.
M A M A . A n d before t h a t ? (Trying
to remember.)
Uh . . .
that thing about A u n t V i v i a n ?
BENEATHA.
(Lowering
the glass. Alooflike
a teacher to
slow pupil.)
"Anti-vivisection."
MAMA.
(Nodding.
Recalling.)
T h a t ' s right! A n d what's it
gonna be n e x t ? !
R U T H . Who k n o w s ! P r o b a b l y belly dancing.
(Half-rising,
she
demonstrates.)
M A M A . (Genuinely
concerned.)
W h y y o u got to flit so f r o m
one t h i n g to another, b a b y ?
BENEATHA.
(Flustered,
defensive.)
I d o n ' t flit. I (Patiently.)
I e x p e r i m e n t w i t h different f o r m s of expression.
M A M A . (A beat. She absorbs
this, very interested,
clears
her
throat, then.) W h a t i s i t y o u w a n t to express?
BENEATHA.
(She flounders helplesslyand
explodes.)
ME!!
(RUTH
and M A M A look at each otherand
simultaneously
burst into raucous
laughter.
B E N E A T H A heads
for the
door.)
RUTH.
(Crossing
D . to M A M A . )
Never mind, Lena. She'll
stop flitting w h e n the r i g h t m a n comes along.
BENEATHA.
(Turning
back, indignant.)
"Right man"!? List e n , m e n are a l l r i g h t to go out w i t h a n d s t u f f
RUTH.
(For sheer devilment.
Crossing
to B E N E A T H A , U . S .
of table.)
W h a t does " a n d s t u f f " m e a n ?
MAMA.
(Still
laughing.)
S t o p p i c k i n ' on her now, R u t h .
(Tickled
anew. M A M A turns D . S . convulsed,
while B E N E A T H A
flaunts her momentary
"vindication"
at R U T H and heads
for
the door. She is halfway
out the door when M A M A ,
suddenly
seized by suspicion,
in mid-laugh
and without warning,
bellows
fiercely:)
W H A T DOES
I T M E A N ? (Turns
to face
her
daughter.)
BENEATHA.
(Wearily.)
I j u s t mean t h a t men are the l a s t
thing on m y mind right now.

ACT

RUTH.

(Still

BENEATHA.

RAISIN
playing
with her.)
(No longer amused.)

35

W h a t ' s t h e first, B e n n i e ?
Oh God I

M A M A . (Shocked
at her language.)
Beneatha! I won't have
y o u t a k i n g the L o r d ' s n a m e i n v a i n . . .
RUTH.
(Still
playing,
trying
to lighten
things.)
C o m e on,
w h a t ' s the first, B e n n i e ?
B E N E A T H A . (In deadly
earnest. Advancing
on R U T H . ) B e i n g
a D o c t o r a n d e v e r y o n e a r o u n d here better u n d e r s t a n d t h a t !
M A M A . (Kindly,
not doubting
it in the least.)
'Course y o u
g o n n a be a doctor, h o n e y , G o d w i l l i n g .
B E N E A T H A . (Irritated.)
G o d h a s n ' t got a t h i n g to do w i t h i t .
M A M A . B e n e a t h a , t h a t j u s t w a s n ' t necessary.
.
B E N E A T H A . W e l l , neither is God.
M A M A . (Shocked.)
Beneatha!
R U T H . F r e s h , j u s t f r e s h as s a l t , t h i s g k l !
B E N E A T H A . O h , for C h r i s s a k e s , R u t h !
MAMA.
(Warning
her.) I f y o u t a k e t h e L o r d ' s n a m e j u s t
one m o r e t i m e
. . .
BENEATHA.
(Crossing
below table
toward
MAMA.)
Why!
W h y c a n ' t I s a y w h a t I w a n t a r o u n d here l i k e e v e r y b o d y
else?
M A M A . (A gentle explanation.)
' C a u s e i t don't sound nice for
a y o u n g girl . . .
BENEATHA.
M a m a , y o u d o n ' t u n d e r s t a n d . (Kneels
beside
her to patiently
explain.)
I t ' s a l l a m a t t e r of ideas, a n d G o d
is j u s t one i d e a I d o n ' t accept.

MAMA,

Beneatha!

B E N E A T H A . N o w I ' m not going to go out and be i m m o r a l on

a c c o u n t of i t . (Carried
away by her own eloquence, she rises
and drifts D . C , almost forgetting
where she is and to
whom
she is speaking,
in pursuit of a larger vision.)
It's just that I ' m
t i r e d of Him getting the credit for a l l the things the h u m a n race
a c h i e v e s through i t s o w n stubborn effort! T h e r e s i m p l y i s no
b l a s t e d G o d ! T h e r e is only M a n (Climactically,
savoring
each word.)
a n d i t i s he who m a k e s m i r a c l e s ! (She
stands
looking
out, possessed
by the thought,
as M A M A rises and
starts
toward
her. B E N E A T H A turns at lastand
MAMA
slaps
her powerfully
across the face. In the silence that follows
the
daughter
avertsbut
does not dropher
eyes, as the
mother
stands tall before
her.)
M A M A . N O W y o u s a y after m e : I n m y mother's house there
i s s t i l l G o d . (Pausein
spite of everything,
BENEATHA
can-

36

RAISIN

ACT

not bring herself to say the words. M A M A takes her face

by
the chin and turns it ^toward her own. With inexorable
frecisiort.) I n . m y m o t h e r ' s house there i s s t i l l G o d .
BENEATHA.
{Several
beats,
then very
softlyeyes
level,
unyielding,
but not to provoke.)
I n m y m o t h e r ' s house there
is s t i l l G o d .
MAMA.
{Firmly.)
T h e r e ' s j u s t some ideas w e a i n ' t gonna
h a v e i n t h i s house. N o t as long as I ' m the h e a d of t h i s f a m i l y .
B E N E A T H A . {Almost
inaudibly.)
Y e s , m a ' a m . ( M A M A turns
away and crosses
to her rocker
and sits, while B E N E A T H A
rushes for the
door.)
R U T H . {Following
B E N E A T H A . ) B e n n i e ! ( B E N E A T H A r u m o^.
R U T H shakes
her head, takes a step toward
MAMA,
thinks
better of it, picks up things on the sofa, and exits quickly, L . )
MAMA.
{Greatly
agitated,
fighting
for composure,
her fist
rising and falling on the arm of the rocker.)
M y c h i l d r e n ! One
done a l m o s t lost h i s m i n d t h i n k i n ' 'bout m o n e y . . . a n d t h e
o t h e r {She lifts her hand helplessly,
lets it fall, and
starts
to rockthen
sits forward again as the lights close in.) Y e a h ,
t h e y m y c h i l d r e n . . . b u t how different w e done become!
{She resumes rocking as the
lights)

ACT

RAtSIN

on the levels, u . L . , while the young

boogie and jitterbug
around a table,
In

DUDES

and

37
CHICKS

D. L .

a spotlight
atop the table, A L T H E A the proprietress,
a
sizzling,
well tumed-out
soul sister, is singing and
fingerpopping, while W A L T E R L E E and B O B O J O N E S , standing
on
chairs to her L . and R . respectively,
are singing and
jiving
right along with her. B O B O , in a square, obviously
not too
prosperous
suit, is an older, somewhat
defeated
manbut
at the moment you cannot tell it as, in high
jubilation,
the three bounce the song back and forth between
them
and the D A N C E R S respond with
exuberance.
SONG:
ALTHEA,WALTER,

BOOZE,

" B O O Z E " *

BOBO.

F A I T H F U L

B O O Z E ,

ALTHEA.
O N L Y

B O O Z E

C A N

C H A S E

T H E

B L U E S !

WALTER.
L E T ' S

H A V E

S O M E O N E ' S

A N O T H E R
G O N N A

. . .

B U Y .

BOBO.

DIMOUT
( M u s i c C u e V I I [Score

A N O T H E R

H A V E

H A V E

L E T ' S

( M A N enters,

#6].)

and

BOBO
L E T ' S
A C T

O N E

ONE

bar. That

W H A T

A N O T H E R ,

opens

SEEDLESS

R Y E .

bar and locks

it into

position.)

WALTER.

H A V E
M O R E

A N O T H E R .
A L L

{Lifting

BOBO.
SCENE

A Southside

A R O U N D !

his

glass.)

L O V E L Y

W A Y

T O

D R O W N !

ALTHEA.
BOOZE,

night.

S T R O N G E R B O O Z E ,

R E A L L Y

Against the slate blue of night, the stage now crystallizes

into
a neighborhood
bistro bathed in reds and the neon of a
sign flickering
on and off outside.
The MUSIC
is loud
and groovy,
the atmosphere
swinging,
funky,
and
the
place teems with S O U T H S I D E R S of all ages gettin'
down
and having fun after the long day's work. M A N
removes
M A M A ' S rocker
and plant off L . A W A I T E R serves
drinks,
a C O U P L E slowdrags,
others mill around in the
mysterious
shadows of the bar, u . c , or perch laughing or
smooching

{With

C A N

a sexy

L I G H T

bellyroll

Y O U R

for the double

entendre.)

F U S E !

WALTER.
I T

K E E P

H A V E

L E T ' S

A N O T H E R .

COMIN',

P L E A S E !

BOBO.
A N O T H E R

F I N D

H A V E

L E T ' S

A N O T H E R ,
J U G T O

S Q U E E Z E .

N O T E T O C O N D U C T O R : T e m p o of this song should swingbut not

so fast as to k i l l the puns and double entendre of the lyrics.

38

R A I S I N
WALTER.

D O N ' T
P U T

I T

BOBO.
A N D

C A L L
O N

M Y
T H E

{Ripping

S E N D

out

M Y

M O T H E R .
T A B

his

L I V E R

liver.)
T O

T H E

L A B I

ALTHEA.
B O O Z E ,
P O U R S

S T E A D Y
O N

T H E

B O O Z E ,
H A P P Y

N E W S !

WALTER.
A

C H U G - A - L U G

P O N Y

W I N E .

BOBO.
A

J U G

O F

G I N ' L L

D O

M E

F I N E .

B L A S T !

D R I N K I N '
I T
I T

A N O T H E R

A N Y T H I N G

S H O T !

Y O U

G O T !

S C O T C H !
R Y E !

I T

W E T !

I T

D R Y !
U P !

I C E !
C O O L !
N I C E !

BOBO.
B A L L !

L O V E

I T

L O V E

ACT

ENSEMBLE.

A L L !

I T

W E

A L L !
H O N E Y

D E W S !

R A I S I N

39

{The
MUSIC
continues
under as a light picks
up W I L L I E
H A R R I S , dapper
and smoothly assured, on the balcony u . c . R . )
W I L L I E . H e y B o b o ! B i g W i l l i e ' s here. O n the scene.
{Holding up a contract
in one hand.)
I got the d e a l . G e t u p
{With emphasis,
fingering
the anticipated
cash between
thumb
and forefingers.)
the green!
B O B O . W i l l i e ! T h e m a n of the h o u r ! ( B O B O helps
ALTHEA
off the table and they start R.- as W I L L I E sweeps briskly
down
onto the club dance floor. Simultaneously
D A N C E R S move
table
and chairs v. L . During
this:)
W A L T E R . H e y , W i l l i e , w e been w a i t i n ' for y o u . Y o u two
drinks late!
WILLIE.

WALTER.
A N O T H E R
BOBO.
I'M

WALTER.
M A K E
BOBO.
M A K E

WALTER.
M A K E
BOBO.
M A K E

WALTER.
S T R A I G H T
BOBO.
O N

WALTER.
T H A T ' S
BOBO.
T H A T ' S
WALTER.
H I G H B A L L !

L O W

A L T H E A , W A L T E R , B O B O and
W E

ALTHEA.

T H A N

S W E E T E R

I ' l l catch

up.

BOBO.
{Excited,
a little man not used to triumphs.)
He's
got the p a p e r s , W a l t e r L e e , he's got the p a p e r s
W A L T E R . I know, Bobo, I know.
B O B O . {AS W I L L I E approaches,
D. R . ) G o t the papers, W i l l i e ?
WILLIE.
{Waving
them.)
I n m y fist! T h r e e - w a y p a r t n e r s
. . . W i l l i e H a r r i s t h e p a r t y of the first p a r t . . .
{Flips
A L T H E A neatly
about and signs with a flourish on her
bosom.)
B o b o J o n e s t h e p a r t y of the second p a r t . . . (Hands
the
papers to B O B O who also signsat
first
on her rump,
then,
corrected
by a look, on her back.)
A n d Walter Lee Younger
{Starts
to hand the papers to W A L T E R , at c , but stops.)
You
got y o u r share, r i g h t , W a l t e r L e e ?
W A L T E R . O h sure, W i l l i e . . . p r a c t i c a l l y i n m y h a n d s r i g h t
now . . . {He reaches for the papers but comes up with
air
O S W I L L I E pulls them back and crosses
away, R . )
W I L L I E . P r a c t i c a l l y ? {Very cool, studying
his cuffs.)
What
you mean, "practically"?
W A L T E R . I m e a n . . . I ' l l h a v e i t i n a d a y or so.
WILLIE.
{With
ultra reserve.)
" D a y or s o " ? {Studying
his
fingernails.)
I a h k n o w how long a d a y is . . . h o w long is
"so"?
W A L T E R . {TOO
quickly,
as he sees it all slipping
away.) I ' l l
have it, Willie. I ' l l have it.
W I L L I E . Y O U k n o w , W a l t e r L e e a i n ' t nobody s t a n d i n ' over
y o u w i t h no b a s e b a l l b a t m a k i n ' y o u come i n on t h i s deal.
A r e y o u out or a r e y o u i n , m a n ?
B O B O . Y e a h . . . is y o u i n or is y o u o u t ?
W A L T E R . I ' m i n , W i l l i e . . . I ' m i n . . . ( S t a r t of S A F E T Y
VAMP.)

40

RAISIN

ACT

B O B O . H e ' s i n , W i l l i e , he's i n .

W I L L I E . T h e n p u t y o u r W a l t e r L e e r i g h t here . . .
c , /lands him pen and
papers.)
W A L T E R . S u r e , W i l l i e . . . {Starts
to sign, then
hesitates.)
J u s t one t h i n g .
W I L L I E . I'm

{Crossing
suddenly

listenin'.

W A L T E R . Y O U sure t h a t ' s t h e r i g h t s {Stalling

for time and
finally coming up with an irrelevancy.)
location
for a l i q u o r
store?
B O B O . {TO
W I L L I E . ) Y e a h , m a n , t h e r i g h t location . . .
W I L L I E . {A beat,
looks from one to the other, then.) M a n !
You
show me t h e WRONG
location
for a liquor s t o r e !
( W I L L I E and B O B O exchange
skin. W A L T E R signs.) G e n t l e m e n ,
w h e n y o u ' r e s e l l i n g booze {Punching
out each word in time
to the beat of the music.)
y o u j u s t c a n ' t lose! ( E n d of
S A F E T Y V A M P . E N S E M B L E breaks into a frenzied finish
to
the
dance.)
WALTER,

WILLIE,

B O B O and

W A L T E R , W I L L I E and

ALL.

WILLIE

and

ACT

RAISIN

41

the deal as the S O U T H S I D E R S leap and freeze in a final

jitterbug
pose. C u t off. E n d of M u s i c . As the lights dim out
stage L . M u s i c C u e V I I I A [Score # 6 A , B a r 7 0 ] . W A L T E R ,
W I L L I E , B O B and A L T H E A exit bopping
up the stairs, D . R., and
ALL
dance offexcept
for T w o B O P P E R S who do a few final
turns at R . before
leavingas
MAMA, BENEATHA
{carrying
rocker),
R U T H , and T R A V I S
{bringing plant), from L . , stride
briskly on and
into)

ACT

ONE

SCENE

apartment.
TRAVIS,

positions

GONE.

BOBO.

BROTHER TO B R O T H E R HOW
W E GONNA LOSE?

WALTER.

ALL.

WALTER,

The

RUTH,

ALTHEA.

LET'S HAVE ANOTHER,

R E A L L Y POUR I T ON!
LET'S HAVE ANOTHER
'FORE ANOTHER SWALLOW'S

Next
MAMA,

indicated.

morning.
BENEATHA,
enter from L . and
take
W h e n scene i s set. M u s i c C u t Off.

/( is Saturdayhousecleaning
day. R U T H , in slacks and one
of W A L T E R ' S shirts, crosses into her room to make the bed.
T R A V I S sits in a chair. M A M A chases
him away and turns
the chair up on the table to sweep. He sits in the other
chair, she chases him again, and he goes to the
bedroom
door to talk to R U T H . All the while, B E N E A T H A , on her
knees in jeans and shirt, D . C , is vigorously
and
absorbedly
spraying
cockroaches.

F A I T H F U L BOOZE, S T E A D Y BOOZE,
ALWAYS R I G H T AND R E A D Y BOOZE!
ONLY BOOZE CAN CHASE T H E BLUES!
^CAN
CHASE T H E BLUES!
( A L L freeieand
abruptlyNbisic
C u e V I I I [Score # 6 A ]
dancers
explode
all over the stage in a second dance
finale,
as W A L T E R , W I L L I E and B O B O leap onto the bar and
nearby
levels and sing a trumpet
trio.)
BOBO.

DOO W A H , DOO W A H , DOO W A H

DOO W A H , DOO W A H , DOO W A H
DOO W A H , DOO W A H , DOO W A H
DOO W A H , DOO W A H , DOO W A H , DOO W A H
{At the climax, the T H R E E P A R T N E R S jump to the ground and
complete
an elaborate,
three-way
ritual handshake that
closes

T R A V I S . M a m a , c a n I please go d o w n ? T h a t c o c k r o a c h stuff
smells a w f u l .
R U T H . O . K . , T r a v i s . B u t , honey, y o u s t a y r i g h t out f r o n t
and keep a good lookout for t h e m a i l m a n . O . K . ?
TRAVIS.
{Eyeing
BENEATHA
as
she
sprays.)
Today
G r a n d m a ' s c h e c k coming, h u h ?
R U T H . Y e s . T o d a y i s the d a y , b a b y . ( T R A V I S starts for the
door.)
M A M A . D o n ' t m i s s under the s i n k , B e n n i e . I seen a c o c k r o a c h y e s t e r d a y m a r c h i n g out of there l i k e N a p o l e o n ! ( T R A V I S
halts in the door, eyes B E N E A T H A with a devilish
glint, rubs
his hands with anticipation
and bops slowly behind her, laying in the
words.)
T R A V I S . W h y don't y o u l e a v e t h e m poor l i t t l e cockroaches

42

RAISIN

ACT

alone, g i r l , t h e y a i n ' t bothering y o u none. (Winds up, smacks

her on the butt
and immediately
darts
behind
MAMA.)
G r a n d m a ! G r a n d m a ! ( B E N E A T H A chases after him with
spray
gun
aimed.)
M A M A . (AS they circle
her.) N o w l o o k o u t there, g i r l , y o u
be s p i l l i n g t h a t stuff o n t h e c h i l d ! N o w j u s t look o u t there,
g i r l ! (Arms outstretched,
blocking
BENEATHA.)
TRAVIS.
(Standing
safely
in the doorway,
with
great
bravado.)
Y e a h , t h a t ' s r i g h t t h e r e , g i r l (With a cocky,
jive
gesture and a flavorful
flourish.)
J u s t l o o k o u t ! (He exits as
B E N E A T H A goes back
to her
spraying.)
B E N E A T H A . W e l l , I can't imagine i t would h u r t h i m i t has
never h u r t the r o a c h e s ! (The PHONE
RINGS
and B E N E A T H A
and R U T H make a mad dash for it, D . L . , almost running
over
M A M A . R U T H gets it and B E N E A T H A starts
R.)
RUTH.
(Expecting
it to be W A L T E R L E E . ) Y e a h , h o n e y !
(Disappointedit
isn't.)
O h , y e s . S h e ' s here. (Holds out the
r e c e i v e r B E N E A T H A , triumphant,
crosses
back and takes it.
R U T H moves
away and M A M A s t a r t s
sweeping.)
BENEATHA.
(With elaborate
composure,
voice modulated
to
perfection.)
H e l l o . (Excited
and surprised.)
O h , hello!
(A
beat.)
O f course I ' v e m i s s e d y o u . . . i n m y w a y ! ( R U T H ,
who has drifted back to listen, leans c l o s e r B E N E A T H A pushes
her away with a look, and R U T H exits L . ) T h i s m o r n i n g ? N o ,
housecleaning. ( M A M A sweeps
closer
to eavesdrop.
Shifting
phone to the other ear.) N o , M a m a h a t e s i t i f I l e t a n y o n e
come over w h e n the house i s l i k e t h i s .
M A M A . (Directly
into the telephone.)
T h a t ' s right!
BENEATHA.
(Embarrassed,
squeezes
a little further
L . to
escape and M A M A goes back to sweeping,
c . Then.) R e a l l y ! ? !
W e l l , i f y o u ' r e that close b y . . . O h , w h a t the h e l l , come o n
o v e r ! R i g h t . Ciao. (Hangs up and immediately
starts R . to get
ready.)
MAMA.
(Outraged.)
W h o i s t h a t ? G i r l , y o u a i n ' t got t h e
p r i d e y o u w a s b o r n w i t h ! (Stops her from walking
through
dustpile.)
B E N E A T H A . ( L . of M A M A , pulling
up her socks and generally
checking
appearance.)
O h M a m a , A s a g a i doesn't care h o w
houses l o o k h e ' s a n i n t e l l e c t u a l . ( . 4 5 if that explains it all.)
MAMA.
Who?
A s a g a i . J o s e p h A h - s a h - g u y . (Says this
slowly,
to pupil, and then finishes quickly.)
He's from Nigeria.

ACT

RAISIN

43

M A M A . (Digests
it, then.) Oh, t h a t ' s t h a t l i t t l e c o u n t r y t h a t
w a s founded b y s l a v e s w a y b a c k . . . (Pleased
with her
knowledge,
she heads to the closet, D . L . , for a dustpan.)
B E N E A T H A . ( V e r y tolerantly.)
No, M a m a , that's Liberia.
MAMA.
(Crossing
back c . ) I don't t h i n k I never m e t no
A f r i c a n before. (Straining
to think of another, she bends over
to sweep up dust.)
B E N E A T H A . W e l l , M a m a , do m e a f a v o r a n d don't a s k a
whole l o t of i g n o r a n t questions. L i k e do t h e y w e a r clothes.
M A M A . (Rising,
insulted.)
N o w , i f y o u t h i n k we so ignorant
' r o u n d here, m a y b e y o u
B E N E A T H A . (Trying
to smoothe it over.) N o , M a m a , i t ' s j u s t
t h a t a l l a n y o n e seems to k n o w a b o u t A f r i c a i s ' T a r z a n
(Crossing
toward v. c.
bedroom.)
MAMA.
(Indignant.)
W h y should I k n o w a b o u t A f r i c a ?
(Steering
B E N E A T H A around
dustpile.)
B E N E A T H A . W h y do y o u give m o n e y a t c h u r c h t o the m i s s i o n a r i e s ? (Enters
the
bedroom.)
M A M A . W e l l , t h a t ' s to help s a v e f o l k s f r o m h e a t h e n i s m .
B E N E A T H A . I ' m a f r a i d t h e y need more s a l v a t i o n f r o m t h e
F r e n c h , the E n g l i s h (Sticking
her head back out of the bedroom.)
a n d t h e C . I . A . ! (The doorbell
rings. M A M A picks up
the trash and exits to her room, while B E N E A T H A
frantically
tries to fix herself up at the mirror and ends by spraying
perfume behind her ears and under her armswith
her shirt still
on. She dashes from the bedroom,
catches herself and turns
back for a final check in the mirror, sniffs under her arms and
crosses to the doorwhere
she stops to compose herself, and
then coolly opens the door. A S A G A I stands there,
composed,
urbane, a striking
young man in a dark suit, concealing
a large
package
behind his back.)
A S A G A I . Hello, Alaiyo.*
BENEATHA.
(Entranced.)
H e l l o . . . (She hangs there
paralyzed, at a loss for words. As he peers around her into the
room, she comes back to reality.)
W e l l , come i n . . . H a v e a
seat, A s a g a i . (The flustered hostess, she leads him to the couch,
V. L . , lifts chair from table and, forgetting
herself,
abruptly
sitsleaving
him still standing uncertainly.
Amused, he looks
at the front door, left open. She turns, sees, jumps up and
closes it, and starts back.) I ' m v e r y g l a d y o u ' r e b a c k !
(Then

BENEATHA.

teacher

'Pronounced: A h - I a h - e e ' y o h .

44

RAISIN

ACT

blurting
abruptly,
peremptorily,
as if it's her due.)
What'd
y o u b r i n g m e ? (She sits. He
sits.)
A S A G A I . (Smiling,
as he sets the box before her on the
table.)
W h a t gives y o u t h e i m p r e s s i o n I brought y o u something?
( B E N E A T H A opens itpulls
out an African head wrap and scans
the material
underneath.
Overcome
by the beauty
of
the
motif, she stands and moves c, holding the headpiece.
Watching
her, pleased,
he crosses
to her R . ) So . . . y o u l i k e the
r o b e s ? Y o u m u s t t a k e e x c e l l e n t c a r e of t h e m t h e y a r e m y
sister's.
BENEATHA.
(Genuinely
surprised
that he would go to such
trouble.)
Y o u sent a l l the w a y h o m e . . . for m e ?
A S A G A I . N o t for you! F o r the robes!
(He says this dead pan,
and then
laughs.)
BENEATHA.
A s a g a i . . . c a n ' t y o u e v e r be serious a b o u t
anything?
A S A G A I . (Smiling.)
I a m o n l y t e a s i n g y o u because you are
so v e r y serious a b o u t everything.
(Gently,
playfully.)
Do you
r e m e m b e r w h e n w e first m e t a t school? Y o u came u p to me
and y o u s a i d : (Imitating
her.) " M r . A s a g a i . . . I w a n t v e r y
m u c h to t a l k w i t h y o u . A b o u t A f r i c a . Y o u see, M r . A s a g a i , I
a m l o o k i n g for . . . m y identity!"
(He
howls.)
B E N E A T H A . (Not
laughing.)
Y e s . . . I remember.
A S A G A I . (Looking
at her intently.)
W e l l , i t is true, this is
not so m u c h t h e profile of a H o l l y w o o d Q u e e n as p e r h a p s . . .
(Lifting
her chin with one hand and making a grand
gesture.)
a Q u e e n of t h e N i l e . (Drawing
her towards
him.) O h , y e s ,
A l a i y o , I c a n indeed be q u i t e serious a b o u t some t h i n g s . (As
he leans in to kiss her. M A M A loudly clears her throat in the
doorway
L.)
B E N E A T H A . (Jumps
and crosses to M A M A and brings her to
A S A G A I . ) Oh . . . M a m a . . . t h i s is Joseph A s a g a i . Asagai,
t h i s i s m y M a m a . (The two stand facing each other at some
distance:
he c , M A M A to his L . B E N E A T H A above and
framed
by the two of
them.)
M A M A . ( O n her best behavior.)
H o w do y o u do?
(Shaking
his hand
vigorously.)
A S A G A I . (Total
politeness
to an elder.) Y o u m u s t forgive me
for c o m i n g a t such a n outrageous hour. (He raises her hand to
his
lips.)
M A M A . W e l l y o u a r e quite w e l c o m e I ' m (He kisses
her
hand and releases
itshe is stunned and for the moment
the
hand and next word linger in the air.) sure! ( B E N E A T H A pulls

ACT

RAISIN

45

the hand down;

the conversation
resumes.)
I do hope y o u
u n d e r s t a n d t h a t our h o u s e (Looking
daggers at B E N E A T H A . )
don't always
look l i k e t h i s ! ( B E N E A T H A crosses
R.
behind
ASAGAI.
Charmingly.)
Y o u m u s t come a g a i n . I w o u l d l i k e
v e r y m u c h to hear a l l aboutr (Fishing
for the
nameit
doesn't come.) y o u r c o u n t r y . (Proudly,
a recital.)
I think it's
so s a d the w a y our poor A m e r i c a n Negroes d o n ' t k n o w nothing
a b o u t A f r i c a 'cept for T a r z a n ! A n d a l l t h a t m o n e y they pour
into these c h u r c h e s (Vigorously,
shaking her finger for emphasis.)
w h e n t h e y should b e i n t h e r e h e l p i n g y o u people
d r i v e out t h e m F r e n c h a n d E n g l i s h C P A ' s done t a k e n a w a y
y o u r l a n d ! (Recitation
completeda
superior
look at her
daughter.)
A S A G A I . (Floundering,
with a look to B E N E A T H A for
assistance.) Y e s . . . y e s . . .
M A M A . (Suddenly
smiling, and relaxing.)
W e l l , I 'spec being
so f a r a w a y from y o u r m a m a y o u better come 'round here a n d
get y o u r s e l f some decent home-cooked m e a l s . . .
A S A G A I . T h a n k y o u . T h a n k y o u v e r y m u c h . (Turning
to
B E N E A T H A . ) I s t h i s agreeable w i t h y o u a l s o , A l a i y o ? (She
nods.)
MAMA.
(Immediately
suspicious.
To B E N E A T H A . ) W h a t ' s
t h a t he c a l l y o u ?
A S A G A I . O h . . . " A l a i y o . " I hope y o u d o n ' t m i n d . I t i s
w h a t y o u w o u l d c a l l a . . . n i c k n a m e , I t h i n k . I t is a Y o r u b a
w o r d . I a m a Y o r u b a . (He says the last with great
pride.)
MAMA.
(Feeling
betrayed,
looking
daggers
at B E N E A T H A . )
I thought y o u s a i d he w a s f r o m
A S A G A I . (Understanding.)
Nigeria is m y country. Y o r u b a is
m y t r i b a l origin.
M A M A . (Looking
at them bothhopelessly
confused.)
Well
. . . t h a t ' s n i c e ! (Then,
all charm again, as she prepares
to
leave.)
D o come a g a i n . . . M r . (Hesitates,
stuck.)
A S A G A I . (Gallantly.)
A h - s a h - g u y . (Gestures
for her to try
it.)
MAMA.
(Starts
to say it, can't, and continues.)
Yes . . .
D o come a g a i n . (He clicks his heels and bows
crisplyshe
tosses
her head triumphantly
at B E N E A T H A , turns with a
flourish and exits proudly
L.)
A S A G A I . W e l l , A l a i y o , I m u s t go. (Starts toward door. M u s i c
C u e I X [Score # 7 ] : S A F E T Y V A M P . )
Oh, but Asagai, y o u still didn't say w h a t
it.) A l a i y o means. (Crossing
coyly a little
BENEATHA.

(Mispronouncing

46

RAISIN

Acrr I

D. c.) F o r a l l I k n o w y o u m i g h t be c a l l i n g me " l i t t l e i d i o t " or

something.
A S A G A I . W e l l , let me see . . . (Crossing
L . with a look
toward M A M A ' S room to check that this time they are
alone.)
i t is difficult w h e n a t h i n g changes languages. (He takes
out
the African
cloth and moves towards
her.)
SONG:

"ALAIYO"

ACT

RAISIN

ON

47

BENEATHA.

HEARTBEATS!
B E N E A T H A and

ASAGAI.

CALLING MY
NAME.
W E H A V E M A D E OUR
T H E SAME,
ALAIYO.

TWO

DIFF'RENT

WORLDS

ASAGAI.

E Y E S OF
HOW TO SAY IT? HOW TO B E G I N ?
ONE WHO SEARCHES W I T H I N ,
ALAIYO.
(With a deft flourish he tosses the cloth out to its full
and then drapes it about her in true Nigerian
style
the
stanza.)
ONE WHO HUNGERS, S E E K I N G T H E T R U E .
B R E A D ALONE W I L L NOT
DO,
ALAIYO,
HOW TO T E L L YOU?
P I C T U R E T H E M O U N T A I N SO T A L L ,
R I V E R SO W I D E .
ONE WHO
DREAMS
OF R E A C H I N G T H E O T H E R SIDE,
ALAIYO.

DARKNESS

NEEDING

THE

LIGHT,

BENEATHA.

LIKE A BIRD
ALAIYO.
length,
during

NEEDING

FLIGHT,

ASAGAI.

ALAIYO.
WAND'RING SOMEWHERE OVER A CLOUD,
F E E L I N G STRONG, F E E L I N G PROUD,
ALAIYO.
A S A G A I Siiid' B E N E A T H A *
A L L A R O U N D U S , S E E I N G T O M O R R O W SO C L E A R ,
ASAGAI.

SHINING

SO

TRUE.

BENEATHA.

CAN

IT

B E

BENEATHA

and

ASAGAI.

T O M O R R O W IS R E A L L Y

BENEATHA.

SEEING YOUR WORLD TOUCHING

WEAVES A WHOLE NEW DESIGN,
AL-A

MINE

YOU?

BENEATHA.

ALAIYO.

. . .

ASAGAI.

ALAIYO.

(Hesitates.)

BENEATHA.

ASAGAI.

ALAIYO.

ALAIYO.
BENEATHA.

ASAGAI.

ALAIYO.

ALAIYO.

ASAGAI.

BENEATHA.

SOMETHING STRONGER, SOMEHOW REBORN.

LIKE T H E SUNLIGHT EACH DAWN,
ALAIYO.

ALAIYO.
and

BENEATHA

ASAGAI.

ALAIYO.
(They
stand, eyes locked, tremulous,
as the M u s i c ends. A
beat. As he is about to kiss her, she nervously
breaks
away.)
BENEATHA.
(A joke to cover.)
W e l l , I c e r t a i n l y do k n o w
w h a t " A l a i y o " means n o w !

BENEATHA.

ALAIYO.
ASAGAI.

HEARTBEATS TELL ME . . .
B E A T I N G L I K E D R U M S OF M Y

HOME,

48

RAISIN

ACT

ASAGAI.
[Very
tentatively,
afraid
he'll be turned
down.)
T h e r e i s . . . a n A f r i c a n S t u d e n t U n i o n reception tonight. I
w o u l d v e r y m u c h l i k e y o u to j o i n m e w e a r i n g the robes.
[She
hesitates;
he speaks quickly
to avoid a refusal,
crossing
to door.)
D o n o t decide now. I s h a l l c a l l y o u l a t e r . I t m i g h t
help y o u to f i n d y o u r i d e n t i t y ! [As T R A V I S enters D . R . ,
A S A G A I opens
the front door. To himself,
ecstatic.)
Op-paygay-day,
oh-gbah-mu-shay!
[As he turns to go, A S A G A I sees
TRAVIS.
He
strides
forward,
puts
his hands
on T R A V I S '
shoulders
and leapfrogs
over the startled
BOYwho,
instinctively, whips off his jacket
and puts up his dukes to
defend
himself. A S A G A I gives a lusty Tarzan yell, beats his chest and
as T R A V I S stands
immobilized
in shockexits.
The B O Y
turns and sees his S I S T E R , standing
spellbound
in the
doorway.)
TRAVIS.
[Looks
her up and down thoroughly,
then.)
Girl,
you cracking up?
B E N E A T H A . Oh, shut up, boy!
( B E N E A T H A crosses
back
inside, followed
by T R A V I S . She tremulously
gathers up her robe
and box as in a dream, and starts D . and then L . toward
her
room as M A M A
returns.)
M A M A . [Stops
at the sight of her.) W h e r e y o u goin', B e n n i e ?
BENEATHA.
[Grandly.)
T o become a Queen of the N i l e !
[Assumes
her Queen of the Nile stance and exits in a
breathless blaze of glorypast
R U T H , who enters
from L . )
R U T H . [Having
caught the tail end of this.) W h e r e d i d she
say she w a s going?
M A M A . F a r a s I c a n m a k e o u t t o E g y p t . (The
doorbell
rings and the T w o W O M E N freeze;
in spite of all other
distractions
of the morning,
this is what they have been
waiting
for.)
R U T H a n d M A M A . [Simultaneously.)
The mailman!
R U T H . [Pushing
him out the door.) T r a v i s , h o n e y , get d o w n
t h e m steps! ( T R A V I S runs out.)
M A M A . [Trying
to get herself together.)
W e l l . . . well . . .
I d o n ' t k n o w w h a t w e getting so excited about. W e k n o w e d
i t w a s c o m i n g for m o n t h s . ( S i t s in her
rocker.)
R U T H . T h a t ' s a w h o l e lot different f r o m h a v i n g i t come!
( T R A V I S b u r s t s bacfc in with
the envelope
in his hand . . .
hands it to R U T H . . . who hands it to M A M A . ) L o r d h a v e
mercy, I wish W a l t e r L e e was here! Open i t !

ACT

RAISIN

49

TRAVIS.
[Crosses
to the D . L . side of the rocker.)
Open i t .
Grandma!
M A M A . N o w y o u a l l be quiet, i t ' s j u s t a check. [Trying
to
compose
herself.)
R U T H . Open i t . [Terribly
excited.)
M A M A . N O W don't a c t s i l l y ! W e a i n ' t n e v e r been no people
to a c t s i l l y 'bout no m o n e y before . . .
RUTH.
[Swiftly,
automatically.)
W e a i n ' t never had none
b e f o r e o p e n it!
MAMA.
[Finally
tears open the letter and takes the
check
out and inspects
it while the others peer on, and then
holds
it out for T R A V I S to look at.) T r a v i s . . . t h a t the r i g h t n u m ber of zeros?
T R A V I S . [Counts
the zeros with his finger, then.) T h a t ' s t h e
r i g h t n u m b e r of zeros. G r a n d m a . (.4 beat.)
Grandma, you
r i c h ! [He looks off calculatingly,
then plants a kiss on her
cheek, and then slips an arm 'round her
shoulder.)
M A M A . [Suddenly
on the verge of tears, hands it to R U T H . )
P u t i t a w a y somewhere, R u t h . T e n t h o u s a n d dollars t h e y give
y o u . ( M u s i c C u e X [Score # 7 A ] . )
T R A V I S . [TO his M O T H E R , sincerely.)
W h a t ' s the m a t t e r w i t h
Grandma?
R U T H . [Pulls
T R A V I S to the door and puts him out.)
Travis,
h o n e y , y o u go on out a n d p l a y now, b a b y .
T R A V I S . Y e s ' m . [He exits.
R U T H goes into her room and
sits
on the L . edge of the bed, looking at the check, as the lights
silhouette
her and close on M A M A . )
M A M A . T e n thousand dollars . . .
REPRISE:

"A WHOLE LOTTA

SUNLIGHT"

[Choked
up, fighting
tears.)
NO N E E D T O S I T A R O U N D R E M E M B ' R I N G
HOW
I T USED TO B E
. . . A WHOLE LOTTA SUNLIGHT
SHININ' . . .
[She
stops rocking
and leans forward
with
determination.)
No more rats, R u t h !
DIMOUT
( M u s i c c u t off at last

light.)

50

RAiSIN
ACT

night,

the

ACT I

ONE

SCENE

That
In

RUTH.

(Pearl

(Dancing
Bailey.)

ACT

BENEATHA.

R U T H . Who

apartment.

the darkness,
the sounds of a popular
SAME
OLD COLOR
SCHEME."*
along with the
vocalist.

recording
of the era,
hums and sings

R U T H

S I N G E R , (O. S.,
recorded.)
GREY SKIES, B L U E DREAMS
SAME OLD COLOR SCHEME
T H E R E ' S NO M I L K OR H O N E Y
T H E R E ' S NO C R E A M
GET H I G H W H A T FOR?
T H E R E ' S NO G O L D E N D O O R
T H E R E ' S NO S I L V E R L I N I N G
ANYMORE . . .

( A s the lights come up, R U T H comes out of bedroom,

moves
table into place,
and positions
two chairs behind rocker
to
balance
her ironing
board, D . L . B E N E A T H A sweeps on, u . h.,
in exaggerated
imitation
of Watusi. grace, clad in the
African
robes.
R U T H ' S mouth
drops and she puts down the iron in
fascination.)
R U T H . A n d w h a t a r e w e u p to t o n i g h t ! ( B E N E A T H A
sweeps
grandly
to the record player, c , with a mimed stack of
records
balanced
on her head. She lifts the needle m d loftily
removes
the
record.)
B E N E A T H A . E n o u g h of t h i s assimilationist
j u n k ! Let's put
some r e a l m u s i c o n ! (She puts one of her records
onAfrican
drums and chants**waits
ceremoniously
for the recording
to
start, and then abruptly
whirls and leaps with an
earsplitting
shout toward
R U T H w h o almost
drops the iron.)
OCOMOG O S I A Y ! ! t ( B E N E A T H A begins to dancea
melange of
Pearl
Primus,
Dunham
and Madam
Butterfly.)
R U T H . (Drilyand
very idiomatically.)
W h a t k i n d of dance
is t h a t ?
BENEATHA.

vigorously.)
I t ' s a f o l k dance.
W h a t k i n d of f o l k s do t h a t , h o n e y ?

* T h i s should be pre-recorded with the quality of an old 78; otherwise,

substitute an actual record typical of the time. I t should be clear that
R u t h is casually singing along with the recorded voice, not delivering
the song.
I n the original production, song by Michael Olatunji from his
C o l u m b i a album " D R U M S O F P A S S I O N " was used.
t M i s p r o n o u n c e d : Oh-coh-moh-poo'see-ay 1

RAISIN

51

I t ' s f r o m N i g e r i a . I t ' s a dance of welcome.

you

welcoming?

BENEATHA.
(Going
into a very sensual
shimmy,
D.C.) The
M E N ! B a c k to t h e v i l l a g e .
R U T H . W h e r e t h e y been?
BENEATHA.
(Stopping
suddenly.)
H o w should I
know?
(Then, swept up into dance again.) O u t h u n t i n g , or something.
A n y w a y , t h e y c o m i n g b a c k n o w ! (On these words,
WALTER
enters
u . R . " h a p p y " drunk,
tie loose, jacket
slung
over
shoulderand
weaves his way unsteadily
toward
the
door.)
R U T H , W e l l , t h a t ' s good. ( W A L T E R
opens the door. As he
turns to shut it, B E N E A T H A lets out a bloodcurdling
whoop and
charges at him. Scared out of his wits, he lunges into the wall
with a shriek, clutching
hat and
jacket.)
B E N E A T H A . W e l c o m e b a c k to the v i l l A A A A A G E !
(As B E N E A T H A continues
dancing D . C , he weaves unsteadily
across the
trying to blink or brush the scene away as though
it
a large pink
elephant.
When he cannot,
he turns
to

room,
were

RUTH.)

WALTER.

C h e c k come?

R U T H . Y e a h , the c h e c k came. (Now

it is his turn:
WALTER
lets out a yell, kisses R U T H full on the lips, then turns
to
B E N E A T H A and flings up his arms as he, too, starts
to
dance.)
YEEEAAAH!
(Relishing
each
word.)
AND

WALTER.

SHALL

E T H I O P I A

S T R E T C H

F O R T H

H E R

ARMS

A G A I N ! (He joins B E N E A T H A , D . C . )
RUTH.
(Pithily,
out front.)
Y e s , L o r d , and A f r i c a s u r e is
c l a i m i n g her own t o n i g h t ! (Turning
to him.) H o n e y , I hope
y o u a i n ' t gone a n d done n o t h i n g
WALTER.
(Dancing
furiously.)
S h u t u p , w o m a n ! I ' m digging
t h e m d r u m s . T h e m d r u m s m-o-o-ove
m e ! (He continues
dancing, imitating
his S I S T E R . )
BENEATHA.

O C O M O G O S I A Y !

WALTER.
O C O M O G O O O S I A Y ! I n m y h e a r t of h e a r t s
(Thumping
his chest.)
I am much warrior!
RUTH.
(Deadpan,
out front.)
I n y o u r h e a r t of h e a r t s y o u
a r e m u c h d r u n k a r d ! (He stops short, gives her a look,
reaches
down for an imaginary
spear, and suddenly
hurls it at her,
slipping
backwards
to the floor as he does. R U T H
ducksand
resumes
ironing.)
(Dancing
over
him, worshipfully.)
Flaming
BENEATHA.

Spear,

O W I M O W E H ! *

Pronounced:

oh-wee'moh-way

52

RAISIN

ACT

WALTER.
[Mimicking
happily,
drunkenly.)
Gaming Fear!
O [To B E N E A T H A for help.)
Owhat?
BENEATHA.
Owimoweh.
W A L T E R . O W I M O W E H ! H o t d a m n ! [He gets up off the
floor and stalks the room, spearing
"enemies"
to R . and L . ,
then hurls a final spear out over the audience.)
The L I O N
[Spoken
as if he himself were the sleeping mighty lion of the
lore arisen
at last.)
I S WAKING!!
(Music Cue X I , 4/4
R h y t h m [Score # 9 ] . He circles above the table and
leaps
upon it, falls back unable to negotiate
it in his
drunkenness,
then mounts it again triumphantly.
The lights shift
magically,
there is a shimmer
of cymbal
and drum, and suddenly
an
A F R I C A N W O M A N appears
as out of nowhere v. L . , in
gleaming
bare splendor touched by feathers and beads, to rivet and hold
him
spellbound.
As he stares
and rubs his eyes,
another
appears u . c , then a third, D . C , each to bind him in
turn;
and they are followed
at last by the W A R R I O R S , who
enter
with powerful
movements
from v. L . across the balustrade.
As
he drinks in the scene^ the MUSIC
has changed
to the beat
of live drums, but B E N E A T H A not seeing what he
seesstill
dances to the old rhythm and R U T H continues ironing. W A L T E R
raises his arms for attention.
When he speaks it is p o e t i c a l l y ,
in oracular tones, as a man transformed
into a leader
addressing "his" people, "his" tribe: a great chief or prophet, a vision
of glory, on that day when the hour to march has come. The
wordsevery
image he paintsare
all important
here:
now
whispered,
now
shouted,
incanted,
caressed,
impassioned,
transcendent,
but a l w a y s plumbed
to the marrow for the full
symbolic
weight, the beauty and power of the vision that
commands him.) L i s t e n , m y B L A C K b r o t h e r s ! !
B E N E A T H A . [Amazed,
but enthusiastically
going along
with
it.) W e hear y o u !
W A L T E R . D O y o u h e a r ? D o y o u h e a r the w a t e r s r u s h i n g
a g a i n s t the shores of our c o a s t l a n d s ?
BENEATHA. OCOMOGOSIAY!
MALE
SINGER,
( O . S . African
warsong.
A haunting
call
across the savannahs
climaocing in a deep guttural
roara
primal shout tearing up from the gut.) Sango o n i bo de o l a
olola A A A G H ! *
y o u h e a r t h e screeching of the cocks i n y o n d e r
WALTER.

DO

ACT

RAISIN

53

h i l l s beyond w h e r e the chiefs meet i n c o u n c i l for the coming

of t h e m i g h t y w a r ?
BENEATHA. OHURU!*
2 N D M A L E S I N G E R , ( O . S . ) Sango oni bo de o l a olola A A G H !
W A L T E R . D O y o u h e a r the singing of t h e
womensinging
the w a r songs of our f a t h e r s to the babies i n the great houses?
BENEATHA. OCOMOGOSIAY!
F E M A L E S I N G E R , ( O . S . ) Sango oni bo de o l a olola A A A G H !
W A L T E R . T e l l i n g us the D a y has come! [As the chant
and
W A L T E R ' S words
build to a climax the W A R R I O R S surge
down
from the balcony
and leap to places opposite
WALTER.)
The
D a y of G r e a t n e s s w h e n we s h a l l rise i n our G l o r y R i s e m y
B l a c k B r o t h e r s a n d R u l e i n O u r L a n d ! O H , do y o u hear
me
BENEATHA.

[Underneath

W A L T E R , -^my

BLACK

his last

line.)

BROTHERS!

W e hear y o u !
( W A L T E R stamps

his

foot on the table. E n d 4 / 4 , s t a r t of 6 / 8 R h y t h m : The

stage
erupts with all the power,
grace and excitement
of
African
dance, as more D A N C E R S enter, the Drums soar, the
warsong
of the S I N G E R S O. S . resounds ever louder, and a few
occasional
bird and animal jungle cries from one or two D A N C E R S punctuate the spectacle.
Ablaze
with their spirit, picking up the
movements
of first one, then another,
he dances on the table
and then leaps down among themwhile
B E N E A T H A , too,
joins
in the dance, this time imitating
W A L T E R w h o moves
through
the D A N C E R S to find himself at last on the bedroom
platform
V. c. At the climax, the D A N C E R S reach a frenzy,
whirl
andon
a climactic
sudden beatALL
freeze and D r u m s stop. As the
applause
subsides,
he lifts his arms high.) O h , do y o u hear,
MY
BLACK BROTHERS?!
[Crossing
D . toward
table.)
T e l l i n g us to p r e p a r e f o r [Summoning
all the power that is
in him.) the G R E A T N E S S [Clenches
one fist
triumphantly.)
of t h e T I M E ! ! [Clenches
the other. As the D r u m s resume
and the D A N C E R S exit as suddenly
as they appeared,
he leaps
to the table, B E N E A T H A slips onto it crouched
between
his
legs, and both emit a final extended
whoop.)
W A L T E R and B E N E A T H A . O W E E E E - M O W E H H H H !
[There
is a sudden loud knocking
as M R S . J O H N S O N w h o has run
frantically
on from u . L . during the exitbeats
at the
front
door.)
MRS.

the

Pronounced: Shahn-goh' aw-nee' baw day aw'lah a w - l a w l a h A A A G H

JOHNSON.

L e n a ! L e n a ! [As
M u s i c c u t off, and

phonograph.

R U T H

lights

lifts

the arm

return

to

from
normal.

Pronounced: oh-hoo'roo

54

RAISIN

ACT

R U T H opens
the door and M K S . J O H N S O N comes in,
completely
discombohulated.)
Y o u a l l done gone c - c - c - c r a z y i n h e r e ! ? !
WALTER.
{Turning
to her with arms outstretched
worshipfully
as are B E N E A T H A ' S . ) D a u g h t e r of D a r k n e s s ! R i s e up,
g r e a t Q u e e n of t h e Z U L U S ! ! {As the two reach towards
her,
MRS.
J O H N S O N backs
awayand
into A S A G A I , who has
entered
the open door from u . R . on W A L T E R ' S last words. She
whirls,
takes one look at his Yoruba
regaliahe
is dressed for the
African
receptionand
comes
apart.)
MRS.
J O H N S O N . L o r d h a v e m e r c y , the M a u s M a u s ! ! I
{She
flies out V. and off L . B E N E A T H A crosses to A S A G A I and takes his
hand to introduce
him to W A L T E R who is still on the
table.)
BENEATHA.
O h , A s a g a i , t h i s is m y brother, W a l t e r L e e .
( W A L T E R extends
his hand, but abruptly
grabs his mouth
in
obvious
need and dashes for the bathroom.
R U T H and B E NEATHA
try to retain
some composure.)
. . . A n d his wife,
Ruth . . .
RUTH.
{Extending
her hand, to salvage the moment.)
How
d ' y o u do. H e ' s h a d a l i t t l e to d r i n k . . . I d o n ' t k n o w w h a t
her excuse i s !
ASAGAI.
{As charming
as ever.)
I h a v e often been i n the
same position.
B E N E A T H A . {Surprised
to hear this.) B u t , A s a g a i , y o u don't
drink . . .
A S A G A I . Y O U h a v e n e v e r seen me d r i n k , A l a i y o . T h a t is not
q u i t e t h e same t h i n g as n o t d r i n k i n g . G o o d n i g h t , M r s .
Y o u n g e r . {As he speaks, he slips an African necklace
about her
neck, and they exit. W A L T E R reels in exuberantly,
L.,
happy
drunk, and surprises R U T H , sweeping
her off her feet and over
in a dramatic kiss. They both laugh. With a flourish he brings
out his
contract.)
W A L T E R . See? {Proudly
pointing
to the spot.)
A l l signed!
(RUTH
says nothing.)
A full third partnershipme, Bobo,
and
W i l l i e H a r r i s ! {His excitement
is growing.)
N o w when
is M a m a coming h o m e ? {To avoid answering
or
antagonizing
him,
R U T H starts
to put away the ironing board and re-set
the
chairs.)
C h e c k c o m e ? {A beat.)
Y e a h ! Y o u told me t h a t a l r e a d y . {Suddenly
drawing
her to him.) O h , b a b y , - a l l I need
n o w i s the m o n e y !
R U T H .
{Very
gently.
On eggshells.)
N o w , W a l t e r , honey
. . . between " n e e d i n ' " t h e m o n e y a n d gettin'
i t . . . {Her

ACT

RAISIN

55

voice trails off, then another

tack.) Y o u k n o w y o u r m a m a ' s
got her o w n ideas . . . (She starts D. L. for the things she has
ironed.)
WALTER.
(Abruptly
resentful,
sensing
her
reluctance.)
M a m a ? Or you, b a b y ?
RUTH.
(She halts, then continues
D. L . and picks
up the
ironing.)
A l l I ' m s a y i n g is don't count on i t , W a l t e r , t h a t ' s
a l l . (Crossing back to the table.)
W A L T E R . A n d I ' m s a y i n g I ' v e k n o w n m a m a a lot longer
than you have!
R U T H . B u t liquor, honey . . .
WALTER. W H Y ISN'T E V E R E N O U G H F O R M E T O
T E L L Y O U I K N O W W H A T I ' M D O I N G ! (She
starts
folding the ironing on the table compulsively
and he slams his
hands down in it to stop her.) N o w stop t h a t ! M a m a ' s gonna
come through. A l l r i g h t , b a b y ? (A beat. Tenaciously
insisting,
at the brink.)
All R I G H T ?
RUTH.
(Lovinglyand
protectivelytouching
his
cheek.)
I hope so, W a l t e r . . .
W A L T E R . (Furious.)
C A N ' T Y O U B E O N MY S I D E F O R
ONCE IN YOUR LIFE?!
R U T H . (Quietly,
reasoningshe
will do anything at this moto avoid provoking
him.) W a l t e r , I am on y o u r side . . .
ment

W A L T E R . O h , I c a n see

that!

R U T H . (Gently
persisting,
crossing to him.) H o n e y , w i l l y o u
j u s t listen . . . (Blind
with rage, he instinctively
raises a
threatening
fistand she halts. A beat.)
WALTER.
(Viciously.)
W H O NEEDS
Y O U ! (He looks at
her and walks into the bedroom.
R U T H absorbs
it for a long
moment, and then goes after him. He moves away, to the far
u . L . side of the bed.)
R U T H . Y O U w a n t some hot m i l k ?
W A L T E R . N O . I d o n ' t w a n t no hot m i l k ! (A beat.)
W h y hot
milk?
R U T H . ' C a u s e a f t e r a l l t h a t l i q u o r y o u ought to h a v e somet h i n g hot i n y o u r s t o m a c h .
W A L T E R . N O , I don't w a n t no m i l k . W h y y o u a l w a y s t r y i n g
to give me something to e a t ?
R U T H . (A beat. Simply,
starkly.)
W h a t else c a n I give y o u ,
W a l t e r L e e Y o u n g e r ? (It hangs in the air. M u s i c C u e X I I
[ S c o r e # 1 0 ] . He crosses D . L . of the bed.)

56
SONG:

RAISIN
" S W E E T

ACT I

ACT

S E E M S

T I M E " *

O R
W H E R E ' D
S E E M S

I T GOf

L I K E

L E F T
W H E R E ' D
S E E M S

T O

W H E R E ' D

H E R E

W E

W H A T

W E

I T

TO

THIS

A N D

T O ?

T O

T A L K

G O

SOFTNESS,

L I K E
T W O

YOU

H A I S I N
C A N

G O B A C K

SWEET

T H A T

T H I N K I N G

T O

U S E D

A L L T H E R E S T ' L L

W A I T I N G

W A S

O N C E

W A S

L O O K

H A D

D O N ' T

T O

M E A N -

57
M O M E N T
E A S Y

the

K N O W

contract.)

H O W

K N O W

T O

W H A T

SAY.

. . .
E V E R Y T H I N G

L O T O F

G O I N G

I T S

G O

WAY.

(Drops
the
contract
lessly
on the
table.)

T A L K ,

C O U L D

F O R
IS

C O U L D
T H E Y

M E A N I N G

B E

as he fingers

N E A R .
U S

NOW.

D O N ' T

E V ' R Y D A Y
H A D

SO R E A L

W I T H O U T

W H O L E

GO.
T H E

SOFTNESS

E V E R Y D A Y
A

W H O L E

L O T O F

T H E Y

F E E L

help-

RUTH.

W O R D S

F A R

FEEL.

C O U L D

AS

I C A N S E E

Y O U ' R E
L E T

A G O

W O U L D

C A N

F O R Y O U .

out, conflicted,
Y O U

HOW.

B E F O R E

R I G H T

WALTER.
(Tom
between
trying to explain and his own
thoughts.)

RUTH.

T H E R E

A N

L O O K

T O

T H A T

T W I C E

T R Y .

S O F T N E S S
W H E N

TIME

O F P E O P L E
W I T H O U T

SAY, W H E R E

O N C E
A N

. . .

W I T H O U T

T H A T

TALK,

SO L O N G

T H E Y

A L W A Y S

T H E R I G H T

F O R A

. . .
T H E R E

DO.
H E R E

(Turning
H O L D

R E M E M B E R

T H E R O A D S
N O W H E R E

N E A R ?

W A S

C O U P L E

I N G

. . .
K N O W

T O

F R O M
T O

N O T H I N G

W A N N A

H A S A L L B U T

A L L

PLACE

S C A R E D

B E

O N C E
A
T O

R I G H T

WALTER.

H A P P E N ?

H A D

D O N ' T

A W A Y .

W E GET

HOW'D

T O

I T GET

A R E W I T H

I'M

SAY.

I T G O ? H O W ' D

L I K E

S L I P P E D

W E ' R E

W H E R E
S C A R E D

(She reaches
for him. He walks out of the room, gets his
jacket, L . , and heads for the door. She steps down into his path
and the two stand confronting
each other. Then
gloriously
clutching
the memory,
reliving
each moment
as she tries to
revive it in him.)
T H E R E
W H E N

K N O W
U S E D
W H A T

W O R D S
T H E R E
W H E N

S O REAL
C O U L D

T H E Y
N O T
A L L
I F

T O

N O T

M E

F A R F R O M

S H O W

M E .

Y O U T H E W A Y .

(There
is no response
and she starts
and stops her.)
WALTER.
(Facing
her at
last.)

K N O W

T H I N G S

SAY.

YOU

I F

R E M E M B E R

* T h i 3 song should be acted with great feeling and urgency: the questions tearing up from the guts, sung freely, rubato, staccato, not rushed;
the memories cherished for all the sweetness and softness that lies i n
t h e m ; every word and thought sung for its meaning even more than
its melody. Musically, the quality should be B l a c k t h e Blackest interpretation possiblea cry from the heart with all the subtleties, the
broken lines and jagged edges and, where appropriate, the freely i m provised quarter-notes of Soul. B u t none of this for embellishment
only where and to the extent it enhances true feeling.

C A N
T W O

O R

L I K E

S E E M S

awayhe

reaches

out

R E M E M B E R
I

C A N G O B A C K

F O R A

M O M E N T

. . .

BOTH.
A N D

F R O M
F O R

T H E R E

Y O U

I ' L LB E M A K I N G

I T

E A S Y

. . .

RUTH.
I'M

R I G H T

H E R E

WALTER.
I'M

R I G H T

H E R E

58

R A I S I N

Acrr I

BOTH.

WAITING FOR YOU.

{They regard each other. She takes his hand confidently
and,
eyes never leaving his, draws him into the bedroom.
He shuts
the door, she opens his shirt and draws him down upon her on
the bed as the M u s i c ends. After some moments
M A M A enters.
She is obviously,
excited,
eager, calling out for them as she
takes off her hat and coat, drops them on sofa, and
looks
around.)
M A M A . R u t h W a l t e r L e e T r a v i s . . . ? {Crosses
to refrigerator.
Hears
something.
Innocently
cocking
an
ear.)
W h a t y o u a l l doing i n t h e r e ? {A beat. Shaking
her head as
she crosses
quickly
to the window.)
L o r d have mercy . . .
and before d i n n e r , too! ( M A M A picks up her plant as W A L T E R
and R U T H disengageRUTH
reluctantly,
clinging to him; he
sitting
up at last as reality
seeps back. M A M A crosses to the
sink to water her plant as W A L T E R comes out of the
bedroom.
She turns v., sees him and turns away D . S . in
embarrassment,
smothering
a giggle. She quickly
crosses
to the window
and
puts back her plant as R U T H comes out of the bedroom.
MAMA
turns to explain, sees the two of themadjusting
their
clothes
and breaks up in spite of
herself.)
WALTER.
{Conspicuously
and elaborately
surveys
MAMA.
Playfully,
to R U T H . ) S h e don't look no different?
M A M A . {Suspicious.)
W h y s h o u l d I look different?
W A L T E R . W e l l . . . rich lady like you . . . R u t h , I think
w e ought to do s o m e t h i n g a b o u t t h i s r i g h t a w a y ! I t h i n k the
first t h i n g w e o u g h t to do i s . . . m a k e a n a p p o i n t m e n t . W e ' l l
w a s h a l l t h a t grey a w a y a n d m a k e a w h o l e n e w h a i r d o . T h e n
w e ' l l t a k e her to one of t h e m h i n k t y r e d u c i n g salons, y o u
k n o w , w h e r e t h e y m a k e y o u l o o k a l l {Advancing
sexily
while she giggles with delight.)
young and glamorous
{He
chases her D . and u . R . of the
table.)
M A M A . {Breaks
up with laughter,
then abruptly
freezes
in
mid-laugh
and speaks without
warning.)
Y o u a l l sound l i k e
y o u a l l g e t t i n ' r e a d y to L A Y M E O U T !
R U T H . Sho 'nuf, L e n a . . . w h y not? T h e s e here
{Striking a glamorous
pose.)
r i c h w h i t e w o m e n , t h e y do i t a l l the
time.
M A M A . Something a l w a y s told me I w a s n ' t n o
{Imitating
pose, as she crosses D . C . ) R I C H W H I T E W O M A N !
all laugh. W A L T E R takes M A M A and starts to
dance
RUTH'S

{They

ACT

RAISIN

59

whirls her around, and places her in the rocker.)

L o o k out now,
b o y g e t o n a w a y f r o m h e r e ! W a t c h out, c h i l d
WALTER.
{Picks up the contract
and kneels before the still
laughing M A M A to show it.) M a m a , l o o k !
M A M A . {Immediately.)
A i n ' t no use i n i t , son.
W A L T E R . M a m a , j u s t r e a d i t . I t ' s a l l different now.
MAMA.
{Not looking.)
D o n ' t need to. ( R U T H , to the right
of the table, looks away, Unable to bear it.)
WALTER.
(Desperate.)
M a m a , i t ' s a business, l i k e a n y other
business
M A M A . I t ' s s t i l l l i q u o r ! ( T R A V I S enters
v>. R . ) '
W A L T E R . I t ' s a l l legal. E v e r y t h i n g ' s been p u t on p a p e r
(As W A L T E R struggles for self-control,
T R A V I S opens
the front
door slowly
and peeks
his head in, unseen.)
I t ' s a l l been
n o t a r i z e d , . . M a m a . . . M a m a , I {As T R A V I S starts
to
edge behind R U T H , she sees him.)
T R A V I S . (Lamely.)
Mama I
R U T H . (Flaring
immediately.)
" M a m a I " nothing! ( W A L T E R
jumps to his feet and moves u . L . of the table, clutching
the
contract.
To T R A V I S . ) I ' m gonna w h i p y o u r b e h i n d ! Y o u are
one hour l a t e . (Advancing
menacingly
on the
boy.)
M A M A . W e l l , a t l e a s t let me tell the c h i l d something. (She
holds out her arms, T R A V I S runs and jumps in her lap.) C o m e
here, b a b y . I w a n t h i m to be the first to h e a r . T r a v i s . . .
T R A V I S . Yes, ma'am.
M A M A . (She looks
anxiously
at W A L T E R . ) G u e s s w h a t y o u r
g r a n d m a gone a n d done for y o u t o d a y ?
T R A V I S . I don't k n o w , G r a n d m a , w h a t ?
M A M A . (Looking
at W A L T E R and at T R A V I S . ) She w e n t out
a n d she bought y o u a house! (At the words W A L T E R looks up
and crumples
the contract
in his hand.)
W e l l , a t least i t ' s
gonna be y o u r s some d a y ( W A L T E R tosses it helplessly
to
the floor and moves
blindly
toward
the bedroom.
Simultaneously,
R U T H starts
towards him, but he raises a hand and
she halts. He stands alone with his back to them, as her eyes
embrace
him and she reaches out helplesslynot
quite
daring
to touch him for fear that even comforting
hands will add salt
to his wounds. M A M A turns T R A V I S from the scene.) N o w y o u
gimme some sugar . . . ( T R A V I S hugs and kisses
her;
she
watches
W A L T E R . ) a n d w h e n y o u s a y y o u r p r a y e r s tonight, I
w a n t y o u to remember y o u r g r a n d f a t h e r ' c a u s e i t w a s h i m
w h o give i t to y o u i n h i s o w n w a y . ( M A M A hugs T R A V I S again.)

60

RAISIN

ACT

RUTH.
(Advancing.)
N o w y o u get y o u r b e h i n d i n the b e d r o o m ( T R A V I S jumps down and runs jor M A M A ' S
bedroom,
h., with R U T H swatting at his tail.) a n d get i t r e a d y ! (He
exits
and she turns back u . R . of the table to M A M A r a d i a n t . ) So
y o u w e n t a n d d i d i t . . . (Raising
both hands
classically.)
P R A I S E G O D ! (She cavorts
in jubilation,
WALTER
turns
abruptlyand
she stops short as their eyes meet. R U T H looks
at him pleadingly,
hopefully,
as if by sheer will to make it all
right.)
MAMA.
(Vehemently.)
I t ' s a n i c e house, too. I t ' s got three
bedrooms, t w o b a t h r o o m s a n d a y a r d w h e r e T r a v i s
RUTH.
(Almost
shouting;
a last-ditch
effort to breach
the
walls.)
O h , W a l t e r h o n e y , please l e t m e be g l a d ! You be g l a d ,
too . . . O h , W a l t e r , h o n e y . . . (She reaches
out for
him,
but his eyes stop
her cold.)
A home, W a l t e r L e e . . . a
home . . .
M A M A . W a l t e r L e e , i t do m a k e a difference w h e n a m a n c a n
w a l k on floors t h a t belong to h i m . . .
RUTH.
(Trying
to deal with practical
things.)
Where is i t ,
Lena?
MAMA.
(Looks
away:
the question
she had been
dreading.
A beat. She clears her throat nervously.)
O u t there i n C l y bourne P a r k . (She starts to rock. R U T H ' S radiance
fades
and
W A L T E R turns slowly
toward his M O T H E R with
incredulity.)
R U T H . (Uncomprehending.)
Where?
M A M A . (Much
too matter-of-factly.)
Four-o-six Clybourne
Street . . .
R U T H . (Simply.)
M a m a , t h e r e a i n ' t no colored people l i v i n g
in C l y b o u r n e P a r k .
M A M A . (A beat.
Then, out front, almost idiotically.)
Well,
I guess t h e r e ' s gonna be some n o w !
WALTER.
(Simply,
incredulous.)
A n d t h a t ' s the peace a n d
c o m f o r t y o u bought for y o u r c h i l d r e n t o d a y . . .
RUTH.
(Trying
her best to absorb
it.) W e l l W e l l y o u
k n o w . . . I a i n ' t n e v e r been one to be a f r a i d of no c r a c k e r s ,
m i n d y o u . . . b u t w a s n ' t t h e r e . . . no other
house . . .
nowhere?
M A M A . (Quietly,
turning her eyes to meet theirs.) N o , R u t h ,
I d i d the best I c o u l d for t h e m o n e y .
RUTH.
(Looks
at M A M A absurdly
a moment, then
bringing
her fists down with vigor as the radiance
spreads from
cheek
to cheek again.)
W e l l . . . w e l l ! A l l I can say is . . . if this

ACT

RAISIN

61

is my t i m e I m e a n my time in lifeto
s a y goodbye (She
starts to circle the room exuberantly,
almost tearfully
happy.)
to these G o d d a m n e d c r a c k e d w a l l s ! (She pounds the
walls.)
a n d these here m a r c h i n g r o a c h e s ! (<SAe steps over an
imaginary
army.)
a n d t h i s c r a m p e d l i t t l e closet w h i c h a i n ' t
n o w a n d n e v e r w a s no k i t c h e n ! . . . t h e n I s a y i t loud a n d
good (Flinging
her whole body into it.)
HALLELUUUUJAH! AND GOODBYYYYE MISERY! I DON'T NEVER
W A N T T O S E E Y O U R U G L Y F A C E A G A I N ! (She
laughs
joyously
and flings her arms up and lets them come
down
happily,
slowly,
reflectively,
as she absorbs
it all in a long
glowing beat of contentment.
Then, a glory shout as she turns
toward the bedroom
and T R A V I S . ) L o r d ! I sure don't feel l i k e
whipping
n o b o d y t o d a y ! (She
exits.)
M A M A . W e l l , son, I ' m w a i t i n g to h e a r y o u s a y something.
I ' m w a i t i n g to h e a r y o u s a y h o w deep inside y o u t h i n k I done
t h e r i g h t t h i n g . (She rises and takes a step towards him. He
starts
out the door.)
W a l t e r ! (Music Cue X I I I
[Score
#11]-)
WALTER.
(Turns
back to face her as the lights close in on
them.)
SONG: " Y O U D O N E

RIGHT"

(With searing, quiet sarcasmunderstated

and almost
offhand
at times, as if nothing
really matters;
and then, at
others,
swiftly
and brutally
twisting the
knife.)
YOU
WANNA H E A R M E SAY, " Y O U DONE RIGHT."
ALL RIGHT, YOU DONE RIGHT!
IF THAT'LL L E T YOU SLEEP TONIGHT,
YOU
DONE RIGHT!
YOU WANNA H E A R M E S A Y T H A T YOU'RE SMART.
ALL RIGHT, YOU'RE SMARTER THAN FIFTY
OF M E .
DONE RIGHT! AND YOU'RE SMART!
AGREE!

YOU
WE

N I C E OF Y O U T O A S K M E A T H I N G OR T W O
WHEN YOU GONE AND DONE WHAT I
KNEW
Y O U ' D DO.
NICE OF YOU T O GIVE M E A CHANCE T O SPEAK
MY
MIND!

62
HOW SWEET, HOW

RAISIN

ACT

ACT

RAISIN

( T y m p a n i r o l l . W A L T E R turns on his heel and strides

houseMAMA
calls out to stop him,
rising.)

KIND!

YOU W A N N A H E A R M E S A Y " Y O U D O N E R I G H T ! "

ALL RIGHT, YOU DONE RIGHT!
IF THAT'LL L E T YOU SLEEP TONIGHT
YOU D O N E R I G H T !
{MUSIC
continues
under, timed with
dialogue.)
M A M A . S o n , I o n l y t r i e d to do w h a t B i g W a l t e r w o u l d h a v e
wanted . . .
WALTER.
I c o u l d h a v e s h o w e d y o u h o w to double t h a t
money
M A M A . S o n , w h y do y o u t a l k so m u c h a b o u t m o n e y ?
W A L T E R . B e c a u s e i t ' s life, M a m a !
M A M A . O h , so n o w money i s l i f e ? ! O n c e u p o n a t i m e i t w a s
Freedom.
F r e e d o m used to be l i f e . . . n o w i t ' s m o n e y .
{Shaking her head, she sits in the
rocker.)
W A L T E R . I t ' s a l w a y s been m o n e y , w e j u s t d i d n ' t k n o w i t ,
t h a t ' s a l l . M a m a , l o o k a t me.
M A M A . I ' m l o o k i n g a t y o u . . . y o u got a nice w i f e , a fine
boy, y o u got a good j o b
W A L T E R . A j o b . M a m a ? A joh?!
M a m a , I drive a man
a r o u n d i n his l i m o u s i n e ! {With
driving,
almost exultant
emphasis on the
"sirs.")
Y E S S I R , NO S I R !
W H E R E ' D Y O U L I K E T O GO, S I R ?
SHALL W E TAKE A DRIVE
OR S H A L L I T A K E Y O U H O M E ?
F A S T OR SLOW, SIR,
B E T T E R L E T M E KNOW, SIR.
SHALL I PARK? IS T H E R E
{With all the frustration
of the utter absurdity
of it.)
A M A R K ON T H E CHROME?!
{Bearing
down now, unrelentingly,
as, he lashes the "sirs"
into
her.)
Y E S SIR, NO S I R !
WHEN YOU'RE IN T H E DOUGH, SIR,
GIVE M E JUST A WORD AND I OBEY.
Y E S S I R , NO S I R !
W H E R E ' D Y O U L I K E T O GO, S I R
( M u s i c cuts off. Abruptly
speaking
thisto
his M O T H E R as
much as to the
Man.)
HOW'D Y O U L I K E TO GO TO H E L L T O D A Y !

MAMA.

Walter

from

63
the

Lee!

WALTER.
{Turning
back to face her, across the
silhouetted
Southside,
as a light picks him up, D . R . and another picks her
up, D . L . T y m p a n i r o l l o u t . B a c k to t e m p o . )
YOU WANNA H E A R M E SAY "YOU DONE RIGHT"?
ALL RIGHT, YOU DONE RIGHT!
AND
YOU'RE SMART! . . .
WE AGREE! YOU DONE RIGHT!
YOU DONE M E R I G H T OUT OF M Y D R E A M S
TONIGHT!

BLACKOUT
( M u s i c c u t off.)

A Southside
As

Church.

ACT

TWO

SCENE

Sunday

morning.

the house lights slowly dim and the stage lights

increase
in intensity,
touched
by stained
glass gobos, the
rolling
chords of a gospel song are heard. M u s i c C u e X I V [Score
#12].

The P A S T O R and his plump wife stroll on, from D . R . , engaged

in a quiet family quarrel. She is shaking her finger
scoldingly and incessantly
when, at D . R . C , he suddenly
stops
her lips with a kiss and, as she beams in gratified
astonishment, turns to greet his P A R I S H I O N E R S . The C O N G R E G A T I O N
enters
humming,
several
at a time, down the
balcony
staircase,
to shake P A S T O R ' S hand, be hugged and
kissed
by his W I F E , and take their
seats.
MRS.
JOHNSON
hobbles
in, in her Sunday go-to-meeting
best,
is greeted in turn and sits on a bench, D . R . L E N A Y O U N G E R
and T R A V I S arrive and L E N A immediately
shows off her
new black duster to P A S T O R ' S W I F E . AS L E N A and T R A V I S
are seated, D . C , the C O N G R E G A T I O N begins more
soulfully
humming
the chorus and swaying
gently side-to-side
to
the rhythms
of the song. P A S T O R ' S W I F E struts
proudly
to an upstage seat as he turns, D . R . C , to direct his flock
{who seemingly
also extend
into the audience)
in song.

SONG: " H E C O M E D O W N T H I S M O R N I N G "

CONGREGATION.

MAMA.
H E

C O M E

D O W N

T H I S

M O R N I N G .
H E

C O M E

D O W N

T H I S

HE COME DOWN . . .
HE COME DOWN
HE COME DOWN . . .
HE COME DOWN
HE COME D O W N COME DOWN THIS
MORNING

ACT I I
MAMA,

RAISIN

65

PASTOR.

H E COME DOWN TO
SHOW H I S
CHILDREN . . .
SHOW H I S C H I L D R E N
THE WAY.
(PASTOR'S

WIFE

COME DOWN TO SHOW

HIS CHILDREN . . .
WALK RIGHT IN THIS
MORNING

cuts loose and shouts

J O I N

in her
US,

U S
W A L K

seat.)

J O I N

US,

J O I N

T O D A Y .
R I G H T

I N

T H I S

M O R N I N G
( P A S T O R ' S W I F E shouts
again. R U T H appears on the D . R . stairs.
She comes down looking very tired and worried, shakes
hands
with P A S T O R and sits to M A M A ' S L . , while the SONG
continues
uninterrupted.)

J O I N US, J O I N US,
JOIN US TODAY.
PASTOR.

TIME

BEEN A LONG
COMING.

TIME

BEEN A LONG
COMING.

W E

B E E N
L O N G

H E R E

T I M E

W A I T I N G
F O R

T H A T

H E A V E N L Y

D A Y .
PASTOR,

MAMA

and

Y O U

T H A T

H E A R

T H U N D E R ?

Y O U

H E A R

I T

R O L L ?

L I G H T

Y O U

S E E

Y O U R

WALK RIGHT IN THIS

MORNING
J O I N US, J O I N US,
JOIN US TODAY.
WALK RIGHT IN THIS
MORNING
JOIN US, JOIN US,
JOIN US TODAY.
WE BEEN H E R E A
LONG T I M E
WAITING
WALK RIGHT IN THIS
MORNING, OH Y E S !

SOUL

SISTER
D I D N ' T

D I D N ' T

D I D N ' T

M O R N I N G .

T H A T

L I G H T N I N G

64

S O U L ?

LORD, D I D N ' T Y O U
HEAR, HEAR THAT
THUNDER
LORD, D I D N ' T Y O U
HEAR, HEAR I T
ROLL?
LORD, D I D N ' T Y O U
SEE, S E E THAT
LIGHT

66
(SOUL

back

SISTER

to her

jumps
seat.)

R A I S I N

up, shouts;

SECOND

SISTER

ACT I I

escorts

her

ACT I I
S H O W

SAID,
SAID,

(Hums.)

" N O M O R E

Y E S ,

H I M K N O W
Y O U
H O W

"RAISIN

67

H I M Y O U

C A R E ?
L E T

H E

W A I T I N G . "
H E

C A R E !

H O W

L O R D !

O H , M Y L O R D !

S E E

L E T H I M

Y O U C A R E !

. . .
K N O W

H O W Y O U C A R E !

{Hums.)

" N O M O R E

( P A S T O R crosses
to D. B . stairs to conduct as D A N C E
from their seats into a show-stopping
number,
explodes
in a routing
chorus.)

W A I T I N G . "

break

ENSEMBLE

while

the

CONGREGATION

ALL.
H E

SAID,

A N D

" W A L K

I ' L L S H O W

(MRS.

T O G E T H E R ,

CHOIR.

C H I L D R E N ,

H E

Y O U T H E W A Y . "

is touched
by the "spirit,"
rises from
D . R . C , where she sings and does a holy

JOHNSON

and comes

her seat
dance.)

H E
H E

C O M E

D O W N ,

C O M E

D O W N ,

C O M E

D O W N ,

C H I L D R E N
MRS.

JOHNSON.

D I D N ' T

S H O W

CONGREGATION.

D O W N
D O W N
D O W N

T H I S

M O R N I N G .

T H I S

M O R N I N G .

T O S H O W H I S

. . .

H I SC H I L D R E N

T H E W A Y

Y O U H E A R

T H A T

H E

T H U N D E R

R U M B L I N '

H E

I N T H E

S K Y ?
D I D N ' T

Y E S ,

H E

L O R D !

C O M E

D O W N ,
D O W N ,

O N

H E C O M E

C O M E
L O R D !
T H A T

L I G H T N I N G

. . L I G H T

SISTER

Y O U R

grabs

D O W N
D O W N

T H I S

M O R N I N G .

T H I S

M O R N I N G .

T O S H O W H I S

T H E W A Y .

and D A N C E R S cut loose completely,

orchestra.)
R I G H T

ac-

D O W N

D O W N -

T O S A Y T H I S

S O M E T H I N G

Y O U R

L O O K E D

H E

C O M E

H E

S A I D

her and

D O W N

. . ,

H I SC H I L D R E N

{The tempo quickens

companied
only by

L O R D !

L O R D ,

T H A T
Y E S ,
L E T
.

T H E

D O W N ,

C O M E

S H O W

. . . A H H . . .

C R A C K L I N '

Y E S ,

Y O U S E E

L I G H T N I N G
O N B Y ?

M Y S O U L , M Y ,
M Y , M Y , M Y ,

SOUL

S I N G I N G
Y E S ,

R I G H T

D O W N

T H I S

M O R N I N G .

W A Y T H I S

M O R N I N G .

M O R N I N G -

I T A L LF O RY O U T O D A Y .

TRAVIS.

L O R D !

D I D N ' T

Y O U H E A R H I S
. . . ( W H O O ! )

{As D A N C E R S resume their seats, T R A V I S , transfixed and unable

any longer to restrain
himself, gets up and walks x>. R . c. to
address
CONGREGATION,
marching
about
at the
footlights,
pointing directly
into the audience
and, occasionally,
whirling
about to single out a P A R I S H I O N E R . At appropriate
moments
responds
with "Amens"
and ad libs.)
CONGREGATION

H E B R I N G H I S

W O N D E R

C O M E

C H I L D R E N

Y O U H E A R I T

R O L L
H I G H ?
D I D N ' T

F L A S H I N '
L I G H T

S O U L !

M Y !

M Y ,

{She starts shouting

and shaking.
walks her back to her seat.)
^^ASTOR
D I D N ' T

E V E R Y W H E R E ?
D I D N ' T

S O N G

F I L L I N G
W E R E N ' T
T O

Y O U F E E L

H I M ,

. . .

A I R ?

Y E S ,

WASN'T

L O R D !

S I S T E R ?
T H A T

M O M E N T

G R A N D !

Y O U B O R N

D I D N ' T

S E R V E H I M ,

H E

Y O U ,

R E A C H

M I S T E R

68
T O U C H
A N D

Y O U R

R A I S I N
H A N D ?

T H E E A R T H

W A S

S A I D
W A S

T H E E A R T H

WAS

T R E M B L I N G

T H E E A R T H

A L L T H E E A R T H

T R E M B L I N G

T H E

ACT
CONGREGATION.

A N D

T R E M B L I N G
I

A N D

S H O W N

W A S

T R E M B L I N G

S U N
D O W N

T H E S U N
W I T H

( T R A V I S screams
and.begins
to shout
hits him and C O N G R E G A T I O N shouts
{In free testifying
style.)

S H O N E

D O W N

G L O R Y

and dance
back.)

as the

"spirit"

TRAVIS.

G L O R Y

W I T H

G L O R Y

W I T H
W I T H
A N D

Y E H , Y E H , Y E H
( S H O U T S )

G L O R Y
T H E S U N

D I D N ' T

Y O U

W A S N ' T

S H O N E

F E E L

T H A T
Y O U R

T O U C H

H E

D I D N ' T
A N D
I

I T ,

D O W N

T H I S

M O R N I N '

S I S T E R ?

M O M E N T

R E A C H

Y O U ,

G R A N D ?
M I S T E R ?

H A N D ?

T H E E A R T H

S A Y

W A S

T H E E A R T H

T R E M B L I N G ,

W A S

T R E M B L I N '

{He continues
to shout and ad lib. M A M A raises one finger high
in the air to get his attention,
but he continues
obliviously
until, suddenly,
he sees her and freezes. A beat. M A M A
points
firmly to his seat; he scoots to it and sits
sheepishly.)
M A M A . {Trying
to hide her amusement,
she grandly
comthe stanza for
him.)

pletes
.

. . E V ' R Y

S T E P

MAMA, RUTH,
MRS.
H E

O F

T H E

W A Y .

PASTOR,

JOHNSON.
C O M E

CONGREGATION.

D O W N

T H I S

W A L K ,

M O R N I N G
H E

C O M E
S A I D

W A L K

T O G E T H E R

D O W N

T H I S

W A L K ,

M O R N I N G
H E

W A L K

T O G E T H E R

" W A L K

W A L K

T O G E T H E R

T O G E T H E R

C H I L D R E N

C H I L D R E N . "

E V ' R Y

S T E P

O F

T H E

W A Y

{Standing

RUTH.
E V ' R Y

up.)

OF

S T E P

T H E

A L L . {Standing

W A Y .

up.)

ACT I I

RAISIN

69

GLORY, HALLELUJAH, CHILDREN,

BOUND FOR GLORY TODAY.
AMEN.
{At the conclusion,
the C O N G R E G A T I O N greet each other,
shake
hands and exit as they enteredexcept
for six who
shift
benches
u . R . and sit for choir practice.
During
this R U T H
draws M A M A aside to a quiet part of the church D . L . C . From
across the room M R S . J O H N S O N , the classic busybody,
spots
them.)
M R S . J O H N S O N . {Advancing
inexorably.)
W e l l , you certainly
o u t d i d y o u r s e l f s i n g i n g tonight, L e n a . C o u l d n ' t h a r d l y hear
N O O N E E L S E ! A i n ' t n o t h i n g wrong . . . I hope? {Hard of
hearing, she cranes her head sideways
and cocks an ear for the
answer. A characteristic
gesture.)
M A M A . N o , J o h n s o n . E v e r y t h i n g ' s j e s t fine.
MRS.
JOHNSON.
W e l l , k n o c k w o o d . H ' y o u t h i s evening,
R u t h ? {Cocks
ear expectantly.
R U T H , preoccupied,
does not
respond.)
Ruth?
R U T H . J u s t fine, M r s . J o h n s o n .
MRS.
JOHNSON.
{Peering
at her.) Y o u look a b i t p e a k ' e d
there. B u t t h e n I 'spec y ' a l l been w o r k i n g double gettin' r e a d y
for the b i g d a y . Y e s s i r , I 'spec we w o n ' t be seeing much of the
Y o u n g e r s ' r o u n d here . . . {Cocks
ear for the
answer.)
M A M A . O h n o w , J o h n s o n , i t a i n ' t as though we w a s m o v i n '
to N i g e r i a , y o u k n o w ! {As R U T H draws M A M A toward R. C ,
M R S . J O H N S O N stops M A M A with a hand on her arm and
turns
her back with a comment. The action is repeated several
times
through the
scene.)
M R S . J O H N S O N . O h , I a i n ' t s i g n i f y i n . ' I ' m j u s t so-o-o
happy
for y o u a l l , f i n a l l y gettin' r e a d y to m o v e on up a l i t t l e higher,
Bless God!
M A M A . {A little
drily, not overwhelmed
by the sincerity
of
the Blesser.)
B l e s s G o d . ( M A M A starts R . with R U T H M R S .
J O H N S O N ' S hand forestalls
her.)
M R S . J O H N S O N . O h , H e ' s good, a i n ' t H e ?
M A M A . Y e s , H e i s . {Starts R . a g a i n the hand.)
MRS.
J O H N S O N . I mean H e w o r k s i n m y s t e r i o u s w a y s . . .
but H e w o r k s {A beat.), don't H e ?
M A M A . Y e s , H e does, c h i l d . ( R U T H pulls M A M A
awaythe
hand stops
her.)
MRS.
J O H N S O N . 'Course y o u a l l seen the news a b o u t t h a t
colored f a m i l y t h a t w a s bombed out there i n t h a t new housing

70

R A I S I N

d e v e l o p m e n t ! B u t t h e n I c a n see the Youngers

n o n e ! {Cocks an ear.)

ACT

11

ain't worryin'

MAMA.
{Pleasantlywith
a determined
smile.)
W e l l now,
J o h n s o n , we a i n ' t e x a c t l y m o v i n g out there to get bombed.
MRS.
J O H N S O N . {Enthusiastically.)
' C o u r s e not, honey. J u s t
m o v i n ' on up. H o w ' s the r e s t of the f a m i l y ? {Cocks
ear.)
M A M A . T h e y a l l fine, j u s t fine. {Turns
to go.)
MRS.
JOHNSON.
{Innocently.)
A i n ' t seen l i t t l e B e n e a t h a i n
c h u r c h for some t i m e now. A i n ' t no . . . {Indicating
pregnancy.)
s i c k n e s s h i t h e r {A beat.) I hope . . . ?
{Cocks
ear
expectantly.)

M A M A . N o , the c h i l d ' s j u s t so b u s y w i t h her schoolin' a n '

all.
MRS.
J O H N S O N . O h , her s c h o o l i n ' ? A i n ' t t h a t l o v e l y ? L e n a ,
y o u sure got some l o v e l y c h i l d r e n . ' C o u r s e she ought not l e t a l l
t h a t s c h o o l i n ' go to h e r h e a d j u s t 'cause she's the o n l y one i n
the f a m i l y to m a k e s o m e t h i n g of herself. (Cheerily.)
Where's
W a l t e r L e e t o n i g h t ? (Cocks
the ear.)
M A M A . (Long
pause as M A M A draws herself up, gives M R S .
J O H N S O N O look,
then leans into the ear for emphasis.)
Out
t e n d i n g to his own business, I r e c k o n ! (She smiles sweetly
as
MRS.
JOHNSON
recovers.)
MRS.
J O H N S O N . One t h i n g a b o u t W a l t e r L e e , he a l w a y s k n o w
how to h a v e a good t i m e ! (To R U T H intimately.)
D o n ' t he,
h o n e y ? A n d so-o-o a m b i t i o u s ! I j e s t know i t w a s h i s idea y ' a l l
bought t h a t h o u s e ! (Cocks
ear. Then, with maximum
enthusiasm.) Y e s s i r , w e s u r e i s p r o u d of y o u a l l . I bet t h i s t i m e n e x t
m o n t h y o u r - n a m e s w i l l be i n the p a p e r s a - p l e n t y
(Out
front, with left hand upraised
to mark off each word of the
headline,
in the firmament:)
"NEGROES . . . INVADE
. . . C L Y B O U R N E P A R K ! " (The hand and the words
hang
there for a moment as she stares off. Then, solicitously
reassuring.)
O h , n o w , b u t d o n ' t y o u f r e t none, honey, 'cause
W i l h e m i n a O t h e l l a J o h n s o n w i l l be r i g h t h e r e (Claps
hands.)
prayin'
for y o u e v e r y d a y ! (Crosses
B . toward edge of the
platform
c , then cheerily
waves back.)
B y e now. (She
draws
herself up and hovers at the edge of the platform
to
negotiate
the step down to the lower levelthen
exits grandly up the
stairs, u. R . M A M A and R U T H stand looking
after her till she
is safely gone. A beat. M A M A turns
out.)
MAMA.
(TO
herself,
shaking
her head with
appropriate
M m m , M m m . I f there a r e t w o things the
sounds.)

Mmm,

ACT

I I

KAISIN

71

colored r a c e h a s got to s u r v i v e : one i s the K u K l u x K l a n , a n d

the other i s W i l h e m i n a O t h e l l a J o h n s o n . (Then,
as R U T H
turns to her and she reads the look in R U T H ' S eyes.)
Child,
I ' m so glad y o u come. B e t t e r t h a n s i t t i n ' home w a i t i n g . (The
two sit to talk privately
on the front bench,
c.)
R U T H . C o u l d n ' t s t a r e a t those four w a l l s no longer . . .
M A M A . H e ' l l be home soon, R u t h .
(Urgently.)
. . . I t ' s been three d a y s , L e n a . . .

RUTH.

M A M A . H e ' l l be home s o o n I k n o w m y son.

RUTH.
(Looking
at M A M A searchingly,
almost coldly.)
Do
you, L e n a ?
(MAMA
says
nothing.)
L e n a , M r s . Arnold
called . . .
M A M A . H e a i n ' t done n o t h i n ' ? (The
question
is put so
strongly
it stops R U T H ' S response and she softens.)
What Mrs.
Arnold want, child?
RUTH.

She s a y M r . A r n o l d h a d to t a k e a cab for

three

days . . .
M A M A . H e gonna lose h i s job . . .
R U T H . (Evenly,
meeting
her eyes to make her
understand.)
H e done lost m o r e t h a n t h a t a l r e a d y .
M A M A . I know it, child. I know it.
R U T H . (Not
convinced.)
W e l l , I hope so, L e n a . (After a beat
of eye contact.
M A M A rises
and starts to leave.)
Where you
goin'?
M A M A . (With
determination.)
T o find m y boy. ( M A M A exits
V. c. as the silent C H O I R rehearsal
breaks up and the S I N G E R S
rise, chanting a c a p e l l a . [Score 1 2 A ] . )
CHOIR.

HE
HE

COME
COME
rises
hands

(RUTH

shake

DOWN
DOWN . . .
slowly and exits up the stairs,
and prepare to depart
as)

ACT

neon-lit
bar materializes,
a W A I T E R enter.

D. R . ,

and

SINGERS

T W O

SCENE

The

stage

L.,

and

WALTER

L E E

and

72

RAISIN

ACT

I I

W A L T E R , far-gone,
glass in hand, eyes glazed, zigzags into a
chair, D . L . , sprawls over the table and signals for a refill.
The
W A I T E R pours it and turns to go but W A L T E R
reaches
out to grasp the imaginary
bottle
in mid-air
and the
leaves it, half-shaking
his head.
WAITER

Throughout
this, W A L T E R tipsily bellows "BOOZE,"
while the
disbanding
C H O I R , at R . , singing
in counterpoint,
pick up
their benches
and exit, u . R . , their voices drifting
back.
REPRISE:

"BOOZE"

(Sung a
capella.)
WALTER.
CHOIR.
(Singing
as
needed
to
cover
WALTER'S
ad
lib
reprise.)
BOOZE!
H E COME DOWN
FAITHFUL, FAITHFUL
BOOZE!
H E COME DOWN
T A K E A LOOK A L L
AROUND YOU
H E COME DOWN
WRITING'S ON T H E
WALL.
BOOZE!
H E COME DOWN
FAITHFUL, FAITHFUL
BOOZE!
DIG
IN YOUR POCKETS
DUST!
H E COME DOWN
BOOZE! '
H E COME DOWN
( M A M A enters
v. L . C . )
THESE UNFORTUNATE
MOTHERS
H E COME DOWN
NEED SOME HAPPY
NEWS . . .
(He unstops the bottle, pours a second glass and sets it across
from him. Deliberately.)
H e y M a m a ! H a v e a drink!
M A M A . (Softly.)
W e m i s s e d y o u , son . . .
WALTER.
(Baitingly.)
J u s t have a drink, M a m a I ' m
buyin'!
M A M A . (Crossing
D . R . of the table.)
W e w a n t y o u home . . .
W A L T E R . " H o m e ? " Your h o m e ! E v e r y t h i n g belongs to y o u ,
don't i t . M a m a ?
(With enormous
effort.)
1 been w r o n g , son.
MAMA.

ACT

I I

RAISIN

73

W A L T E R . (NO, never.)
You, M a m a ?
M A M A . (Sincere
and ashamed.)
I been d o i n ' to y o u l i k e the
r e s t of the w o r l d .
W A L T E R . (Cynically,
flinging it back at her.) Y o u a i n ' t never
been w r o n g about n o t h i n g i n y o u r whole l i f e !
M A M A . I a i n ' t n e v e r w a n t e d nothing t h a t w a s n ' t for y o u .
I j u s t d i d n ' t u n d e r s t a n d a b o u t the store, w h a t i t m e a n to
you
WALTER.
(Twisting
the knife.)
I t ' s "still liquor," M a m a !
(He pours another,
raises his glass to her, and
deliberately
downs it with his eyes locked on hers.)
MAMA.
(Overwrought.)
I k n o w t h a t , son. (Turns
away,
out front.)
O h L o r d , forgive me. (Closes her eyes, sucks in her
breath and makes a decision, facing him.) B u t I ' d r a t h e r see
y o u sellin' i t than destroyin' yourself like t h i s
W A L T E R . (Lurching
bitterly
to his feet and starting out L . )
D o n ' t do m e no f a v o r s !
MAMA.
(Pulling
an envelope
of money from her bag.)
I
m a d e a s m a l l d o w n p a y m e n t on the house. (He halts
listening.)
T o m o r r o w m o r n i n g I w a n t y o u to p u t three thousand
d o l l a r s i n the b a n k for B e n e a t h a ' s m e d i c a l s c h o o l i n '
(The
last straw: with a gesture of dismissal, he starts out, L . b u t
the next words stop him.) T h e rest is for y o u . I t a i n ' t m u c h ,
b u t i t ' s e v e r y t h i n g I got i n t h e w o r l d . (She places the
envelope
on the table.) I ' m t e l l i n g y o u to be the head of t h i s f a m i l y the
w a y y o u s'posed to be. (She hesitates for the briefest
moment,
then closes her bag and turns to gotoo proud to wait for
thank you's. W A L T E R turns.)
W A L T E R . M a m a (He crosses towards her and she comes
back, below D . R . corner of table, and he reaches his hands out
tremulously,
disbelievingly,
to touch
and caress
her
face.
Simply,
quietly, as much to himself as to her: it is less a question than a realization
that she does.) M a m a , y o u t r u s t me l i k e
that . . . ?
MAMA.
(Pulling
herself
together with a supreme
effort at
composure.)
I a i n ' t n e v e r stopped t r u s t i n ' y o u . J u s t l i k e
I a i n ' t never stopped l o v i n ' y o u . (She draws her coat
about
her and exits quickly. W A L T E R starts after her, then turns back
to the money and crosses down to it, v. L . of table. He
reaches
out but stands frozen for a long moment, hand poised
tremulously over the money yet afraid to touch it, while a thousand
thoughts
race through his minduntil
at last he snatches
it
high with a whoop of joy! M u s i c C u e X V [Score # 1 3 ] .
BLUE

74

RAISIN

ACT 11

TRANSITION
LIGHTS
and a triumphant
burst of
trumpets.
He exits, v. h. c , and immediately
reappears
racing up the
u . s . stairs and, as a follow
spot picks him up, across
the
gallery,
to swing by the railing down the front R. steps,
the
money clutched firmly in hand.)

A C T

T W O

SCENE

The Block
As

and the apartment.

That

night.

the backdrop
deepens to night colors and gobos cast
blue
shadows,
W A L T E R sits sprawled
on the ground, facing L , ,
his back against
the front stoop railing, spent and aglow
in his triumph.
In the darkened
apartment
TRAVIS
has
entered, opened his bed, and now lies asleep on his bed.
WALTER.

{Clutching

the money

SONG:
T I M E

F O R

M A K I N '

E V ' R Y T H I N G
Y O U ' V E

T H E N

Y O U ' V E

O N C E
IT'S

W H E N
T H E N
A N D

{He

before

" I T ' S A

Y O U R

him.)

D E A L "

M O V E .

I S A L L S E T .
T A S T E D
G O T T A

T H E P I E
W A N T

A L L

Y O U

C A N

G E T .

D E A L !
Y O U ' R E R E A D Y

T O

GO,

Y O U ' R E P R A C T I C ' L Y
T H E

W H E N
IT'S

T O P

Y O U

O F

G O T

T H E

T H E

T H E R E ,

M O U N T A I N

I S

E A S Y

F A R E .

D E A L !

gets

up.)

T H A N K S

{Marking

M I L L I O N !

off quotation

Q U O T E
C A L L

M E
M E

NOW'S
Y E S

T O

marks

T H E

and a headline

in the

air.)

P R E S S !

L A T E R ,

T H E

T I M E

F O R

H A P P I N E S S .

. . . Y E S !

(Fumbles

for his keys,

opens

front

door and crosses

D.L. C . )

ACT I I

R A I S I N

75

GOT I T GOIN' R I G H T H E R E . . .
GOT T H E F L A M E TO B E FANNED . . .
AND T H E FUEL FOR T H E FIRE
IS R I G H T I N T H E P A L M OF M Y HAND,
{Tosses money up and catches
it.)
IT'S A DEAL!
ASK FOR FAVORS . . .
I W O N ' T D R A W NO L I N E .
GLAD TO SERVE YOU
AFTER
SERVIN' M E AND MINE
...
T H E Y CAN HAVE A L L T H E R E IS
'CAUSE W H A T E V E R T H E R E IS
IS R I G H T NOW!
NO M O R E T O M - T O M M I N ' I N T H E S T R E E T
IN T H E BIG CITY JUNGLE HEAT,
THAT'S T H E C R Y OF T H E MASSES'
R A G G E D Y ASSES
TRYIN' TO FIND A SEAT.
NO M O R E C H A S I N ' T H E B U G S A N D R A T S
L I K E THOSE POOR
(Enjoying
this, quoting the social
workers.)
" U N D E R P R I V ' L E D G E D " CATS.
LET THOSE JUNKIES AND COKIES
ROT IN T H E POKIES,
(Backing
toward the
rocker.)
DON'T R E A L L Y N E E D 'EM
'CAUSE I GOT M Y
FREEDOM.
1 GOT T H E BREAD AND
IT AIN'T GONNA B E M Y LAST MEAL.
IT'S A D E A L !
(Sits in the rocker
and immediately
springs up again with a
final shout of
exultation.)
DIG IT!
(Flops elatedly
back in the rocker. C u t off.)
T R A V I S . (Sleepily.)
W h a t ' s the m a t t e r , d a d d y , y o u d r u n k ?
W A L T E R . N o , d a d d y a i n ' t d r u n k . D a d d y a i n ' t never gonna
be d r u n k a g a i n .
TRAVIS.
(Unconvinced.)
W e l l , goodnight, d a d d y .
(Buries
head in his arms
again.)

76

RAiSIN

ACT

II

W A L T E R . (Crossing
v.) N o , come o n , T r a v i s . G e t u p . I feel
l i k e t a l k i n g . (Boxing
playfully
with him to rouse him.) C o m e
o n , T r a v i s , get u p . (He lifts T R A V I S out of bed and carries
him
to the table, sits him on top of it and stands to his R . )
T R A V I S . (Groggily.)
W h a t y o u w a n t to t a l k a b o u t ?
W A L T E R . I w a n t to t a l k a b o u t you. N o w , w h a t k i n d of m a n
do y o u w a n t to be w h e n y o u grow u p ?
T R A V I S . (Unhesitatingly,
smiling and proud.)
A bus d r i v e r !
W A L T E R . (Shocked.)
A what?
T R A V I S . (Less
certain.)
A bus d r i v e r .
W A L T E R . M a n , t h a t a i n ' t n o t h i n g to w a n t to be.
TRAVIS. Why

not?

W A L T E R . W e l l , 'cause l i k e i t ' s j u s t n o t big enough, t h a t ' s

all. Y o u know w h a t I mean?
T R A V I S . I don't k n o w then . . . sometimes M a m a asks me
the s a m e t h i n g a n d I d o n ' t k n o w w h a t to s a y .
W A L T E R . W e l l , p r e t t y soon y o u ' r e g o n n a know w h a t to s a y .
H e y , m a n i n s e v e n y e a r s y o u ' r e going to be seventeen y e a r s
old a n d t h i n g s a r e going to be a w h o l e lot different w i t h u s .
And
one d a y I ' m g o n n a come f r o m my office
(Winks
at
T R A V I S . ) a n d I ' m going to give y o u r m a m a a k i s s
(Playing
it to the hilt, living the dream as he spins it.) a n d w e ' l l come
upstairs
to your r o o m , a n d t h e r e y o u ' l l be, s i t t i n g on the floor
w i t h a l l the c a t a l o g u e s of a l l the g r e a t schools i n A m e r i c a .
And
I ' l l s a y (Gruff
and authoritativethe
All-American
Dad of M-G-M
movies,
pacing
back and forth puffing
and
flicking
a cigar.)
" A l l r i g h t , s o n i t ' s y o u r seventeenth b i r t h d a y ! N o w , w h a t i s i t y o u ' v e decided to be? Y o u c a n go
A N Y W H E R E ! Y o u c a n be A N Y T H I N G ! "
TRAVIS.
(Imitating
voice,
mannerand
cigar.)
I w a n t to
be l i k e y o u . D a d d y ! (A beat. W A L T E R looks away,
touched
then nudges T R A V I S over L . and sits beside him on the
table.)
W A L T E R . (Grinning.)
T h e r e w i l l a l w a y s be r o o m i n the b u s i ness! ( M u s i c C u e X V I [Score # 1 3 A ] . )
W H E N YOUR D R E A M S A R E TOO S M A L L
YOU'VE GOT NOWHERE TO STAND.
THERE'S A MILLION AND ONE THINGS
I'VE W A N T E D TO G I V E Y O U
(Stands him up on the table and crosses L . of him.)
HERE'S T H E WORLD IN YOUR HAND
(Hands
him the globeTRAVIS
takes it, tosses it up and bats
a home run.)

ACT

I I

RAISIN

77

AND
WE'VE ONLY BEGUN.
(Taps
himTRAVIS
sits and W A L T E R sits to his R . , and puts
an arm around
him.)
IT'S N O T H A R D TO S E E
HOW IT'S GONNA B E
(Looking
out as, with- raised hand, he marks off for T R A V I S ,
to the beat of the music, the space on the Great Office
Door.)
WALTER
L E E WALTER L E E Y O U N G E R W A L T E R L E E YOUNGER-^AATD
SON!
(Father
and Son behold the dream for a moment,
then
embrace as the
lights)
DIMOUT
(Music Cue X V I I

[Score # 1 4 ] U n d e r s c o r i n g . )

ACT

TWO

SCENE

Moving

Day,

some

weeks

later.

The

apartment.

W A L T E R and R U T H are hugging

and playing
upstage
of
table,
while B E N E A T H A closes T R A V I S ' bed, then takes dishes
out
of cabinet
over the sink n . c , and deposits
them on the
table, as two M O V I N G M E N enter toting packing
cases.
FIRST

MOVING

MAN.

(At

the

door.)

Moving

men.

Where

y o u w a n t these p a c k i n g cases?
WALTER.

R i g h t t h e r e . (Indicates

the corner

next

to

TRAVIS'

bed.)
S E C O N D M O V I N G M A N . Where you want this at?
W A L T E R . (Indicating
D. L . corner
of his room.)
I n the b e d r o o m , i n the corner. ( M O V I N G M E N deposit
cases and
exit.
W A L T E R closes
door and crosses into bedroom
to start
filling
the cases, while B E N E A T H A starts spraying,
D . C . AS she
stomps
suddenly
twice on a scurrying
roachMusic
c u t off.)
B E N E A T H A . N O W we a i n ' t gonna h a v e no c o c k r o a c h e s h i t c h h i k i n g to C l y b o u r n e P a r k ! (The T w o W O M E N i a u g / i W A L T E R ,
absorbed
in the bedroom,
cannot hear
them.)
R U T H . (Packing
a box at table.)
Y o u know what, Bennie?

78

RAISIN

ACT

Y o u k n o w w h a t I ' m gonna do the first t h i n g w h e n we get

t h e r e ? I ' m gonna fill t h e t u b u p to h e r e (Marking
off the
level just below her nose.) A n d the first person w h o k n o c k s
B E N E A T H A . . . . gets h i s h e a d k n o c k e d off!
(They
puts down spray gun, gets glasses from the
them to R U T H . )

BENEATHA

and

laugh.
cabinet

brings

R U T H . Y o u know it!
BENEATHA.
U n l e s s , of course, i t ' s W a l t e r L e e !
(Crossing
D . c , salaciously.)
I n w h i c h case y o u j u s t m i g h t i n v i t e h i m i n !
R U T H . (Embarrassed.)
Now, Bennie . . .
BENEATHA.
(Deadpan,
as she reaches up for more
glasses.)
I t ' s a l l r i g h t , R u t h . I ' m going to be a d o c t o r ! (A beat. She
crosses to the u . L . corner of the table to wrap glasses
beside
R U T H . M u s i c C u e X V I I I [Score # 1 5 ] . )

REPRISE:

"SWEET

TIME"

RUTH.
(Looking
off, to herself glowingly,
joyously.)
T H E R E ONCE WAS A SWEET T I M E
WHEN A COUPLE OF PEOPLE THAT I USED TO
KNOW
(WALTER
comes out of bedroom
and watcheswith
a signal
to B E N E A T H A not to reveal
him.)
USED TO KNOW WITHOUT THINKING
TWICE
W H A T T O S A Y . . . W H E R E T O GO . . .
(He sneaks up behind R U T H , covers her eyes and she
jumps.
He takes her in his arms and they dance, cheek to cheek, a
close intimate slowdrag,
to D . L . c . )
AL T E R

IF YOU CAN REMEMBER

SEEMS L I K E I C A N GO B A C K
OR T W O . . .
R U T H

and

FOR A MOMENT

WALTER.

A N D F R O M T H E R E I ' L LB E M A K I N G I T E A S Y
FOR Y O U
(He twirls her out.)
R U T H . (With
a playful
curtsey.)
I'M R I G H T H E R E . . .
W A L T E R . (Arms
outstretched
in a come-and-get-me
gesture.)
I'M R I G H T H E R E . . .
R U T H

and

WAITING
(He dips her

WALTER.

over.)

ACT I I

RAISIN

79

FOR YOU.
(They dance on as the MUSIC
soars.)
B E N E A T H A . T a l k about o-o-o-old fashioned
Negroes!
W A L T E R . (Delighted.)
W h a t k i n d of Negroes?
B E N E A T H A . (Crossing
D . C . in exaggerated
imitation
of their
dated dancing dips.)
Old-fashioned.
WALTER.
(TO R U T H . ) D a m n , B e n n i e r a c e , r a c e , r a c e ! G i r l ,
don't y o u k n o w e v e n the N double A C P t a k e s a b r e a k somet i m e s ! ( B E N E A T H A and R U T H break up.) Y o u k n o w , I can
j u s t see t h a t c h i c k i n a few y e a r s . S h e ' l l h a v e some poor c a t
o n (Elaborately
seizing R U T H in front of the table
and
leaning her way way back on his outstretched
arm to
demonstrate.)
the O p e r a t i n g T a b l e (Picking
up scalpel like a
surgeon poised to operate.)
a n d j u s t w h e n she's r e a d y to
slice into h i m , s h e ' l l s a y (Very cullud.)
" B y the w a y , m y
m a n , w h a t a r e y o u r v i e w s on C i v i l R i g h t s d o w n t h e r e ? " (He
starts to slice fiendishly.
The doorbell
rings and B E N E A T H A
opens itto a middle-aged
W H I T E M A N , hat and attache
case
in hand, who had entered D . R . a moment earlier, looking
about
for the street
address.)
L I N D N E R . (Uncomfortably.)
U h . . . how do y o u do. M i s s .
I a m l o o k i n g for a M r s . . . . (He checks a card.) M r s . L e n a
Y o u n g e r . (He stops short as R U T H shrieks and giggles
wildly,
playing
with W A L T E R , who now has her spread-eagled
on the
table in a mad kiss. L I N D N E R turns away in
embarrassment
and the MUSIC
stops as B E N E A T H A signals frantically
and
vainly.)
BENEATHA.
(Stamping
her-foot
for attention.)
Walter Lee!
R u t h ! ( M u s i c c u t off. As she blocks L I N D N E R ' S view into the
room, enunciating
clearly
b u t soundlessly.) T h e r e ' s a w h i t e
m a n outside . . . ( W A L T E R and R U T H look at L I N D N E R frozen
for a long moment and at last disengage,
BENEATHA
faces
him.)
L I N D N E R . . . . M r s . L e n a Younger.
BENEATHA.
O H . . . Y E S . T h a t ' s m y mother.
(Stepping
back to admit him, with a final gesture at W A L T E R and R U T H
as they cross above the table to the doorway.)
Won't you
come i n , please.
L I N D N E R . T h a n k y o u . (Takes
one step insidekeeping
his
options
open.)
W A L T E R . I ' m M r s . Y o u n g e r ' s son. C a n I help y o u ?
L I N D N E R . W e l l . . . yes, thank you. Iahunderstand you
people h a v e bought a piece of r e s i d e n t i a l p r o p e r t y a t . . .

80

following.

The

[Score

#16].)

T W O
5

Block.

" S I D E W A L K

T R E E "

{Pensively.)
T R E E ,

F O R G E T

down
W H E N

H A N G I N '

Y O U

R E M E M B E R

{Slides

RAISIN

{Checking
slip of paper in his pocket.)
406 C l y V
W A L T E R . T h a t ' s right.
L I N D N E R . Y e s . A n d a h m y name is K a r l .
{Hands
W A L T E R his card. The Y O U N G E R S
look'
one another,
and back to L I N D N E R . ) A n d a h ,
t h e . . . {Clears
his throat and smiles
weakly^,
P a r k I m p r o v e m e n t A s s o c i a t i o n . {A beat.
With
anger, W A L T E R takes a step towards him,
brandie'
almost
under
his nose, and L I N D N E R draws
h
lights)
BLACKOUT
(Music Cue X I X

A C T

SCENE

Immediately

Gobo light patterns

bathe the set and the stage in
of late afternoon.
A spotlight picks up T R A V I S , ;
the staircase, D . R.
SONG:

. f

TRAVIS.
S I D E W A L K
W O N ' T
I'LL
AND

Y O U ' D

I N

S P A C E

I'M HAPPY

'er the L . unndow

ground.)
M E ,

H O L D

ACT

again, and sti

and exits

T H E R O O M

T O

^. The

N O

81

C R Y

P L A C E .

to the u . c. bed and begins

on the
edge.)

T R E E ,

L.)

TWO
6

SCENE

M E

H I D I N G

off, runs
tight-rope

NEVER

LIVIN' WITH T H E

railing

BLACKOUT

M E

onto the stairs

R A I S I N

E; S W I N G I N ' , N O M O R E C L I M B .
iff and crosses D . )
tLL T E L L M E I ' V EB E E N T H I N K I N ' SMALL.
platform
edge by the front
door.)
EES A R E GROWIN'
H E R E I ' L L B E GOIN' . . .
.I'LL H A V E A CHANCE TO GROW,
THEM ALL.
' u . R . as though leaving, and then does a sudden
to D . H . C , and, as he starts to sing again,
crosses

HAVE T H E GOOD T H I N G S D A D D Y
i b u G H

thumbs down" gesture, he cartwheels

to D. C . )
TREE, WHAT AN END,
be apartment
edge, D. C . )
^FORTUNE, LOSE A FRIEND.
TOMORROW NOT F O R US TO SHARE.
'RY T H E T A L L ONES,
iRGET T H E S M A L L ONES,
BE RIGHT HERE NEXT YEAR
.NYWHERE.
ihrnly up and crosses L . )
BE RIGHT HERE NEXT YEAR
ERE,
t the window to lean out on the
railing.)

YWHERE
VwilERE
WHERE.

GO.

H I G H

to the

S C O L D

T O

the railing

L O W ,

W H E N

F L Y I N '

the railing
M A M A ' D

B E T H E R E

{Slips under
railing.)
G I V I N '

{Jumps
believe

S I D E W A L K

M O R E

to

wa'

apartment.

fseated on the windowsill,

fidgeting with L I N D N E R ' S
. U T H , upstage of the table, is half-heartedly
pack-

T I M E ,

82

RAISIN
ing, while B E M E A T H A , on the couch v. u^^i
enters from D. R . with a large empty cart'o

M A M A . [Surveying
them.) I t e s t i f y before
got a l l t h e e n e r g y o f the D E A D !
{Takes
drops it on the sofa.) M o v i n g m e n due h e r e
B E N E A T H A . Y o u h a d (Perking
up, almost
Mama.
M A M A . S u r e e n o u g h w h o ? (Crosses
0. to pock
sink.)
B E N E A T H A . (Drily.)
I believe t h e y s a i d t h e y we
coming C o m m i t t e e . (With a grand flourish, W A L '
holds out the card, assuming a flat, thin,
exagifi
western white accent and toneMr.
Middle
A
haps Paul Lyndewhich
he maintains
through
and the first stanza of the song, and elsewhere
as a,
W A L T E R . Yes

. . .

my

card!

M A M A . W h a t ' s the m a t t e r w i t h y o u a l l ?
(Looks
Knowinglyand
without fun.) F a t h e r , give us S'
they threaten us?
WALTER.
(Jumping
back
in mock
shock.)
y o u ? ! ! " W h y , M r s . Y o u n g e r ! (Emphatically.)
Noij
deplore t h a t sort of t h i n g w e out here i n C l y b o i i r i i
determined
to do s o m e t h i n g a b o u t i t ! W e f e e l
/,
R U T H . (Taking
her place resolutely
to M A M A ' S S:
cent.)
. . . t h a t m o s t of the t r o u b l e i n t h i s w o r l d '
B E N E A T H A . (Leading
M A M A to the rocker
and
with a flourish.
Same accent.)
. . . e x i s t s because^
don't s i t d o w n a n d talk to each o t h e r ! ( M u s i c Cup!
# 1 7 ] . The three perch against the table, with W , . ^
middle.)
^'
SONG:

"NOT

ANYMORE"*

WALTER.

LET'S TALK ABOUT BROTHERHOOD,

B E N E A T H A a n d R U T H . (Abruptly,
they lean
in front of him, shoving him
back.)
Hummmmmmmmmm!

into

RAISIN

83

{Breaking
through
them.)
ROTHER, WE'RE MISUNDERSTOOD!
rrply on the cymbal
clink.)
xGUTS M E R I G H T TO T H E CORE,
-and
a n d R U T H . (Lean out strumming
banjosncertingly
shoving him back
again.)
Mmmmmmmmm!
Shoves them aside and steps through
them.)
E

FOR HOPE . . .
(As

she

and

R U T H join

him

v>. c.)

7 T B R I N G NO R O P E !
hang themselvesone
arm up taut,
ead dangling

the other

at

limp.)

OWT
DO T H A T . . . NOT ANYMORE.
ORE, NOT ANYMORE,
SON'T DO T H A T ANYMORE.
^pping
prissily from a tea cup.)
ipO P O L I T E ,
R

RIDE AT NIGHT!
the whip and the three

in unison

join

in

horse-

AMA.)

DON'T DO T H A T . . . NOT

ANYMORE.

W a l t e r L e e ! B e n e a t h a ! T h a t k i n d of t a l k i s j u s t
.hate!
: H a t e ! ? W e a i n ' t t a l k i n g ' b o u t no h a t e . . .
bracing the free American
air.)
IV'RYWHERE,
i F E E L I T I N T H E AIR?
A WAVE OF GOODNESS A L L AROUND.
;CE Y O U GO,
_ G E T THAT BIG HELLO?
and R U T H form an arch over the table. B E N E A T H A
it as in a TV
commercial.)
(Gaily waving, breathless,
smile
fixed.)
! I ' M ON MIAMI
BEACHCOME
ON
t

}^p, cool strut.)

,j T H A T G O L D E N R U L E ,
)W Y O U R COOL.'
M I L K OF K I N D L I N E S S POUR.

Tempo of this song throughout should be slow eno:

maximum exploitation of the humor i n the lines and the
maximum exploitation of the humor i n the lines and this-:
all tendencies to speed i t up i n later performances.
,f

84

RAISIN

R U T H . (Enthusiastically
playing "One
on their
fists.)
EENY, MEENY, MINEY, MOE,
CATCH A
(WALTER
WALTER

and
and

BENEATHA,

aghast,

stop

her

Potatoflt'
' I
*

. who

>

don't

have

much

RAISIN

85

- TO B E NEIGHBORLY,
T T H E LAND OF T H E FREE?
WHAT OUR BOYS A R E A L L FIGHTING

from

BENEATHA.

NO, W E D O N T S A Y T H A T . . . N O T A N . . . .
WALTER.
(Crossing
to M A M A as the others
form
Circle about her.) N o w w e ' r e n o t r i c h a n d fancj^
. . . j u s t plain folks . . .
BENEATHA.

WALTER.

homes . . .

BENEATHA.
. . and a dream . . .
WALTER. .
of t h e k i n d of c o m m u n i t y
RUTH.
(Graciously,
noblesse oblige.)
...
our c h i l d r e n i n .

but

...
we w a "

WALTER.
(Reassuringly
august,
the
All-Amefi
nouncerWalter
Cronkite,
Eric Severeid,
You
Are
else, Mr. Middle
Americaflat,
midwestern,
pef
Lynde.)
A n d as for a l l those t e r r i b l e i n c i d e n t s t h
w h e n colored people m o v e into c e r t a i n a r e a s . . .
here to t e l l y o u . M a ' a m . . . not in Clybourne
P
turn and march D . C , flanking W A L T E R , rapiers
raised
a la the Three
Musketeers.)

, ounts a chair and the

table.)
""RAND O L D F L A G !
(Spoken
lyric.)
OVE T H A T P A T R I O T I C B A G !
, of July
Orator,
as B E N E A T H A and R U T H
march
around the table in broad burlesque of the lame,
halfplayer
and patriotic
drummer
boy of the "Spirit
of
" W e h o l d these t r u t h s to be s e l f - e v i d e n t : T h a t all
c r e a t e d e q u a l . . ." A n d t h a t ' s w h y we feel t h a t for
-'ness of a l l concerned . . . W e l l , people get along
hen t h e y s h a r e
a common
background!
T H A . ( D . A . R . Lady through tightly pursed lips.) R a c e
s i m p l y doesn't enter i n t o i t !
. (As B E N E A T H A and R U T H kneel, hands clasped in
GO T O
..and

CHURCH

BENEATHA.

GO T O

CHURCH,

ALL.

WE'RE A FRIENDLY CLAN

EV'RYTHING IS M A N TO MAN.
T H I N G S GO W R O N G
(BENEATHA
and R U T H turn and plunge
their
W A L T E R , who staggers
forward.)
'A
BUT W E ALWAYS WEAR A GRIN.
(Ue chuckles
grimly through fixed teeth as the otk
wipe the blood off their rapiers.
Suddenly
ALL b
chanical
men.)
THO' T H E W O R L D I S T E N S E ,
WE JUST U S E OUR COMMON SENSE.
(Stepping
hand. Southern

BENEATHA.
WALTER'S

"WHY
(Does
hand.)

out front
drawl.)

blandly,

SOME
OF MY BEST
FRIENDS
a horrified
doubletake
as she turns

as ^

HAVE'
back a'

ALL

DESPISE JOHN

BIRCH!

-y.)
^AUD
T H E N.A.A.C.P.
-red tepid smiles and the fingers of one hand
flutterdlessly
against
the palm of the other, they
clap
,

perfunctorily,

(Lorgnette

7.

uneasily.)
raised,

with

a trill

of false

enthusiasm,

"ric.)
PORNE'S
A JOY . . .
"\
mamboing
down front.
Calypso
style,
yric.)
iAT
BELAFONTE
BOY!
; " H A . (Joining
her, with abandon,
spoken
lyric.)
' . D N ' T M I N D H I M LIVIN'
NEXT
DOOR
(As "MATHILDE"
strikes up in the orchestra
and
"y dances,
he unbuttons
his shirt almost to the navel
es Belafonte.
With a shout.)
EV'RYBODY-Y-Y-Y!

86

RAISIN

A L L . {Abruptly
into street games;
hopskotch,
patty cake, patty
cake.)
W E LIVE ON A F R I E N D L Y S T R E E T . . .
' I .
EV'RYONE KNOWS WHO THEY'LL M E E T . .
E V ' R Y D A Y F O L K S B E H I N D E V ' R Y DOOR.
'
( W A L T E R ' S arms arc before
him to form a
basketw.'
pile high with money.)
'i
WE'RE PREPARED TO
PAY*
JUST TO K E E P I T A L L T H A T W A Y ! '
{He empties the basket on M A M A .
Raucously.)
YOU'LL N E V E R H E A R US SHOUT . . .
YEAH! YEAH!
WE OUGHTA BURN 'EM OUT!
YEAH! YEAH!
NO, W E D O N ' T D O T H A T ,
{They
line up, one behind
the other,
a vaudeville
turn, arms raised, hands
NO, W E D O N ' T D O T H A T ,
NO, W E D O N ' T D O T H A T . . .
NOT ANYMORE! . . .
{They
toward
three
rolling
stands

and circle
flailing.)

the

strike
a final
pose and- freezearms
outs'
MAMA,
BENEATHA
on one knee. At
conch
break
up completelywith
B E N E A T H A , D. C ,
on the floor with laughter.
M A M A rises,
unamus'
over them. W A L T E R , the first to sober, tries
to.
sits up, takes one look at M A M A , lei6
and collapses
again.)

BENEATHAshe

shriek

M A M A . Y o u a l l t h r o u g h l a u g h i n ' 7 {A beat.)
'Caus u r e a i n ' t . {Grimly.)
C h i l d r e n , y o u k n o w w h a t this new
done become?
W A L T E R . {Crossing
toward her, with great
seriousness.
M a m a , I t h i n k w e do. {Abruptly
comes apart in a qui
mass of fearknees
knocking,
teeth
chattering,
ha.
mouth Willie Best.)
'
MAMA.
{A beat. She bursts
out laughing,
hugs
W
Then.)
Y e s , W i l h e m i n a O t h e l l a J o h n s o n {Claps
lou
clear for emphasis.)
S T A R T P R A Y I N ' ! ! {She gets her
and crosses above table. An aside to R U T H and W A L T E S
are hugging, smooching
and generally
carrying
on u . L . ) *
y ' a l l c u t t h a t o u t ! {At table, sticks splints
in her pla"
starts to wrap it.)
^

These two lines are crucial to plot and must come across for oc
provide the premise for the action i n future scenes.

n.THA. {Snickering,

(
RAISIN
incredulous.)

87
W h a t a r e y o u doing,

?
ZA. F i x i n g m y p l a n t so i t w o n ' t get h u r t none along the
ATHA. Y O U

g o n n a t a k e that

to t h e n e w h o u s e ?

i. Uh-huh.
4THA.

{In

Stitches.)

T h a t o l d s c r a g g l y l o o k i n g no a c -

thing?
'A. {Stops,
regards B E N E A T H A , waits for her to
subside,
last firmly
thrusts
the plant before her.
Enunciating
.y.) It E X P R E S S E S ME!
( R U T H and W A L T E R howl
and
iTHA wields a chair in mock self-defense
against
them,
places plant on T R A V I S ' folded
bed.)
H . So t h e r e , M i s s T h i n g ! {DOORBELL
RINGS.)
, E A T H A . T h a t c o u l d n ' t be the movers . . . i t ' s not h a r d l y
b . . . {She starts for the d o o r W A L T E R pulls her back
ly.)
E R . W a i t . . . w a i t . . . I ' l l get i t . {He stands
and
at the door. B E N E A T H A goes to the L . side of R U T H at
;le and resumes
wrapping
glasses. M A M A crosses D . L .
,jbroom
closet.)
\.. Y o u expecting c o m p a n y , son?
T E R . {Excited.)
Y e a h . . . yeah . . .
"A. W e l l , open the door, son, open the door. {He opens it,
.. B O B O stands
there, nervously,
eyes
haunted.)
. T E R . R i g h t on t i m e , B o b o , r i g h t on time . . . W h e r e ' s
y man?
H e a i n ' t w i t h me, m a n .
_TER. (Gives
him some "skin.")
W e l l , that's a l l right.
' o n i n , m a n , come on i n .
(Reluctantly

coming

inside,

taking

his

hat

off.)

f M i s s R u t h ? M i z Younger. H e y , 'Neatha.
LTER.

Y o u w a n t a beer? Y o u w a n t to s i t d o w n , m a k e

I f c o m f o r t a b l e or s o m e t h i n g ?
. (Still

hovering

near

the

dooras

close

to retreat

as

N o , W a l t e r . I c a n ' t s t a y , W a l t e r . I j u s t come b y to

le.)

m w h a t happened.
W e l l , lemme hear.

LTER.

. W e l l , lemme tell y o u
. I ' m listening, man.
(Trying
to draw W A L T E R

outside.

Half

whisper.)

on o u t s i d e , W a l t e r .

88

RM8IN

W A L T H S * . {Shaking free.) Meai

Springfield?

RUTH.

Now

ACT

. . . w h a t happened down! i n

B O B O . ( A l m o s t inavdihly/fumbling
eyes on the floor.) S p r i n g f i e l d . . .

with

his hat,

frightened

w h a t w a s s u p p d s e d to h a p p e n irr S p r i n g f i e l d ?

BoBO. M e anduh^Willie H a r r i s w a s going' d o w n to

S p r i n g f i e l d t o . . . w e w a s going t o s p r e a d s o m e m o n e y
a r o u n d a b o u t t h e l i q u o r license . . .
W A L T E R . W h a t happened down there?
B o B O . {Half whisper.)
WALTER.
( W i i / i taut
matter w i t h you?
B o B O . (With
terrible
field y e s t e r d a y .

I ' m t r y i n g to tell y o u n o w , m a n .
agitation
now.)
M a n , w h a t i s the
effort.)

I d i d n ' t go d o w n to no S p r i n g -

WALTER.
{Abruptly
drawing
him D. C. away from
and B E N E A T H A at table, and M A M A , who stands listening
rocker.)
W h y . . . w h a t are you t a l k i n g about?!

R U T H

above

B o B O . I ' m t a l k i n g a b o u t the f a c t t h a t w h e n I got to the t r a i n

s t a t i o n , m a n W i l l i e ain't never showed
up!
WALTER.
{Halted,
life hanging on the moment.)
W h y not?
BoBo. I don't know.
WALTER.

W H E R E

WAS

HE?

B O B O . I don't know.
WALTER. W H E R E IS

HE?

ACT 11

RAISIN

89

B O B O . (Moving
towards
him helplessly.)
I ' m sorry, Walter
L e e , y o u k n o w t h a t , m a n . . . ( W A L T E R simply
raises
his
hatlds^ as if he cannot bear even another word and B O B O breaks
off and starts out. Near the door, lamely.)
I had m y life staked
on t h i s d e a l , too . . . (He exits and W A L T E R , unable to face
them, moves to the sink area D . C . )
(From
above
rocker.)
Son, the money . . . is it
MAMA.

gone? A l l of i t ? B e n e a t h a ' s m o n e y , too? (Not

wanting

to

be-

lieve it.) W a l t e r L e e ?
W A L T E R . (Turning
slowly to face her.) M a m a . . . I n e v e r
w e n t d o w n to the b a n k a t a l l . (There
is total silence.
RUTH
covers
her face with her hands;
B E N E A T H A sits
forlornly,
locked
in her own thoughts.
M A M A looks
at her son
without
recognitionand
then, suddenly,
towards
the front
door.)
M A M A . B i g W a l t e r . I seen h i m come i n here . . . n i g h t after
n i g h t . . . a n d look a t t h a t floor . . . a n d then look a t me
. . . the r e d s h o w i n g i n h i s eyes . . . the v e i n s m o v i n g i n his
head . . . (Quite
without
thinking
about it, she starts
to
move slowly towards
W A L T E R . ) I seen h i m grow o l d a n d t h i n
before be w a s f o r t y . . . j u s t w o r k i n g a n d w o r k i n g h i m s e l f
l i k e s o m e b o d y ' s old h o r s e ! A n d , Y O U (Face
to face
with
him now, she raises her fists powerfully
. . . and fights
the
impulse
to strike
him.)
M a m a ! ( B E N E A T H A runs out of the house as the
to black in the apartment
and up
on)
BENEATHA.

B O B O . I don't k n o w , W a l t e r , t h a t ' s w h a t I ' m t r y i n g to tell

y o u . . . I waited six hours . . .

lights

crossfade

WALTER.
N O W j u s t maybe y o u was late. Y e a h . A n d just
m a y b e he w e n t d o w n t h e r e w i t h o u t y o u y e s t e r d a y . Y o u k n o w
W i l l i e h e got h i s o w n w a y s . A n d m a y b e m a y b e he's t r y i n g
t o c a l l y o u a t home r i g h t now. {Grabs
B O B O senselessly
by the
collar.)
N o w , l o o k , he's s o m e w h e r e H E ' S G O T T O B E !

ACT

TWO

SCENE

B O B O . {Breaking
free.) W h a t ' s the m a t t e r w i t h y o u , W a l t e r ?
Y o u k n o w a c a t d o n ' t l e a v e y o u n o r o a d m a p w h e n he t a k e s
y o u r m o n e y . . . M a n , W i l l i e i s gone!

The

front

stoop.

Immediately

following.

B E N E A T H A starts up the stairs, D. R . , A S A G A I enters

and
calls out V. H. Simultaneously,
in the dark of the
apartment M A M A slowly
lowers her fists and crosses to sit in
the rocker,
while W A L T E R L E E goes into his room
and
sinks down on the far side of the bed.

As

WALTER'.
{Absolute
silence,
as he turns out, D . L . C , away
from them all.) N o . . . n o t w i t h t h a t m o n e y ! M a n ,
please,
not w i t h t h a t m o n e y ! {Trying
desperately
to hold on.) W i l l i e
. . . I t r u s t e d y o u , m a n ! I p u t m y life i n y o u r h a n d s . . .
N o t w i t h t h a t m o n e y . . . not w i t h t h a t m o n e y ! M a n , t h a t
m o n e y w a s m a d e f r o m {He breaks at last in anguish.)
My
f a t h e r ' s F L E S H ! ( B E N E A T H A crosses blindly to the sofa. R O T H
sits
helplessly.)

A S A G A I . A l a i y o ! I h a v e come to h e l p y o u p a c k . (She
halts
on the stairs but doesn't respond.)
W h a t k i n d o f mood i s t h i s ?
(She turns away.)
I s something wrong?

90

RAISIN

ACT

I I

B E N E A T H A . H e gave a w a y t h e m o n e y , A s a g a i .
A S A G A I . W h o gave a w a y w h a t m o n e y ?
B E N E A T H A . M y b r o t h e r , he gave a w a y m y f a t h e r ' s i n s u r a n c e
m o n e y . {She comes down off the stairs.)
H e made a n investm e n t w i t h a m a n even T r a v i s w o u l d n ' t h a v e t r u s t e d n o w i t ' s
a l l gone! {She starts v. R . He stops
her.)
A S A G A I . I a m very sorry. A n d you now?
B E N E A T H A . M e ? {Bitterly,
crossing to D . K . C . ) M e . . . i t ' s
f i n i s h e d ! O v e r . I t w a s a l l a d r e a m a n y h o w ! A c h i l d ' s w a y of
l o o k i n g a t t h i n g s . A l l t h a t nonsense a b o u t w a n t i n g to " c u r e "
t o f i x the bodies a n d m a k e t h e m r e a l l y w h o l e a g a i n ! I
c o u l d n ' t decide w h e t h e r to go i n t o r e s e a r c h or o b s t e t r i c s ! W e l l ,
M a m a fixed t h a t . . . a n d m y d a r l i n g b r o t h e r ! W h o needs
doctors i n t h i s r o t t e n w o r l d a n y h o w !
A S A G A I . {Gently.)
P e o p l e do.
BENEATHA.
{Impatiently.)
"People"!? Oh, Asagai . . .
{Crossing
away to L . foot of D . R . stairs.)
A S A G A I . {Passionately,
forcefullyto
break through to her.)
A l a i y o , I n e v e r t h o u g h t to see you l i k e t h i s ! You!
Your
brother m a d e a m i s t a k e a n d y o u a r e g r a t e f u l to h i m . So t h a t
n o w y o u c a n give upthrow
out the a i l i n g h u m a n r a c e on
a c c o u n t of i t ! Y o u t a l k a b o u t w h a t good is s t r u g g l e ! W h a t
good is a n y t h i n g ! ? W h e r e a r e we a l l going a n d w h y are we
bothering
B E N E A T H A . {Whirling
to face him.) And you cannot
answer
it! {Crosses D . R . )
ASAGAI.
{On fire. Shouting
over her.) I L I V E T H E A N S W E R ! I w i l l go home a n d look a b o u t m y v i l l a g e a t the
i l l i t e r a c y , disease, i g n o r a n c e ! I w i l l l o o k a t the r a p e of a
c o n t i n e n t t h e w e a l t h of m y brothers p i l e d high i n the v a u l t s
of the W e s t w h i l e our people suffer a n d d i e a n d I w i l l not
w o n d e r long. I w i l l fight to change all of it! I w i l l give u p m y
l i f e i f I h a v e t o ! {A beat. He turns her around and says into
her face, intently.)
A l a i y o , w h a t I a m t r y i n g to t e l l y o u i s
t h i s : there is s o m e t h i n g t e r r i b l y w r o n g i n a w o r l d o r a house
w h e r e a l l d r e a m s d e p e n d on the death of one m a n .
B E N E A T H A . W e l l , of course t h e r e i s , b u t . . .
A S A G A I . T h e n w o u l d i t n o t p e r h a p s be better for y o u , too,
to d i r e c t y o u r anger to changing
that world?
B E N E A T H A . {Crossing
away, D . C . ) A s a g a i , I k n o w a l l t h a t !
A S A G A I . G o o d ! T h e n stop moaning and groaning a n d tell me
w h a t y o u p l a n to do.

ACT

I I

BENEATHA.

RAISIN

91

DO?

A S A G A I . Y e s . I h a v e a bit of a suggestion.
B E N E A T H A . What?
(Quietly.)
T h a t y o u come home w i t h me . . .
(Indignantly.
Misinterpreting
his intention
ASAGAI.

BENEATHA.

and

crossing away.) A s a g a i ! A t a t i m e l i k e t h i s !
ASAGAI.
(Smiling.)
M y d e a r y o u n g c r e a t u r e .of the N e w
W o r l d , I do not m e a n across t h e c i t y I m e a n across t h e
ocean. H o m e . . . to A f r i c a .
BENEATHA.
(Turning
towards
him,
stunned.)
To . . .
to . . . ?
A S A G A I . (Raising
one hand.) N o t t o n i g h t . ( M u s i c C u e X X I
[ S c o r e # 1 8 ] . ) B u t soon, A l a i y o . . . w h e n y o u h a v e finished
y o u r s t u d i e s a n d y o u will finish t h e m y o u w i l l find a w a y
as y o u r mother f o u n d a w a y , as y o u r people h a v e found a
waythen, Alaiyo.
B E N E A T H A . T o N i g e r i a . . . ? (Crosses
v. to him.)
A S A G A I . H o m e . I w i l l t e a c h y o u the old songs a n d the w a y s
of our people . . . a n d i n t i m e we w i l l pretend t h a t y o u h a v e
o n l y been a w a y for a d a y .
REPRISE:

LET
IN

ME TELL

"ALAIYO"

Y O U HOW I T WILL B E

Y O U R H O M E 'CROSS T H E S E A ,

ALAIYO.
(Moving
slowly D . R . C . with her as he paints the
vision.)
EARLY MORNINGS BATHED I N T H E SUN . . .
W E W I L L S E E T H E M AS ONE,
ALAIYO.
VOICES RISING
SONGS T H A T O U R P E O P L E H A V E SUNG,
SONGS OF T H E L A N D .
HOW
A DREAM
BENEATHA.

DREAMI
ASAGAI.

CAN

GROW FROM A GRAIN OF SAND,

ALAIYO.
BENEATHA

and

ASAGAI.

ALAIYO.
( A S A G A I takes her in his arms and finds her lips.)

92

RAISIN

ACT

11

BENEATHA.
(Resisting,
half-heartedly.)
A s a g a i , y o u ' r e gett i n g m e a l l m i x e d u p (He kisses her fully and she
responds
hungrily,
but at last pulls away.)
A s a g a i , I t h i n k I need to s i t
awhile and think.
A S A G A I . (Smiling,
he seats her on the stairs.)
A l l right, I
s h a l l l e a v e y o u . J u s t s i t a w h i l e a n d t h i n k . N e v e r be a f r a i d to
sit a w h i l e a n d t h i n k . . . (He backs away, then.) H o w often
I h a v e looked a t y o u a n d s a i d , " A h h h l So this is w h a t t h e N e w
W o r l d h a t h f i n a l l y w r o u g h t ! " ( M u s i c c u t off. A S A G A I
exits
V. s. W A L T E R rises,
comes out the door and starts D. B . , sees
B E N E A T H A a n d hesitates,
speechless.)
B E N E A T H A . (Rising
in his path, bitterly,
hissingly.)
Yes . . .
j u s t look a t w h a t the N e w W o r l d h a t h wrought! J u s t look!
T h e r e h e i s ! (He starts quickly
past her and exits D. R . as she
shouts
after
him.)
M r . B l a c k Bourgeoisie himself! E n t r e p r e n e u r ! C a p t a i n of I n d u s t r y ! C h a i r m a n of t h e B o a r d !
stands looking
after him, and then slowly,
in a
emotions,
starts in as the lights dim s . R . a n d come
(BENEATHA

fog of mixed
up on)

ACT

apartment.

Immediately

ACT

I I

MAMA.

(At

D. L .

comer

( M u s i c C u e X X I I [Score
casually.)

WALTER.

(TOO

M A M A . T o who,

following.
are seated
as
around,
rises

RAISIN

93

RUTH.
(The words cascading
desperately.)
L e n a , we got
four g r o w n people i n t h i s h o u s e w e c a n w o r k ! I ' l l w o r k I ' l l
w o r k t w e n t y hours a d a y i n a l l the k i t c h e n s i n C h i c a g o ! I ' l l
scrub a l l the floors i n A m e r i c a i f I h a v e t o a n d w a s h a l l the
sheets i n A m e r i c a b u t we h a v e got to M O V E ! W e got to get
O U T O F H E R E ! ! (She is near hysteria and the words hang
as she gropes in vain to continue,
knowing
even as she does
that she is already
defeated.
B E N E A T H A instinctively
reaches
out to comfort
her and R U T H turns sobbing
into her arms.
W A L T E R , who has entered
D . R . , now pauses
momentarily
outside the door to draw himself togetherand
enters with
forced
nonchalance.
At the sight of him B E N E A T H A , D . C , turns
away,
and R U T H , too, can scarcely
bear to look at him. But if W A L T E R
reacts, he conceals
it beneath
a facade of coolly defiant,
almost jaunty
bravado.
He has made a decision, rationalized
a
course of action for himself because he has h a d to. He
believes
a man must be tough, "realistic."
And precisely
because he is
uneasy with itis in fact churning withinhe
can permit
no
chink in the armor, no doubt or response or awareness of other
priorities,
to come between him and his purpose.
Consequently,
he is "super-cool":
as the cats in the street
say,
"JAMF.")

TWO

SCENE

The

R U T H , at the table,
and M A M A , in the rocker,
before. Suddenly
M A M A sits forward,
looks
and starts to walk about the
room.

of

table.)

W h e r e y o u been, s o n ?

#19].)
Made a call.

son?

W A L T E R . (With
a shrug.) T o the M a n .
M A M A . W h a t m a n , son?
WALTER.
(On the edge of insolence.)
T o the m a n . M a m a .
D o n ' t y o u k n o w who T h e M a n i s ?

R U T H . Walter Lee

M A M A . Some n e w c u r t a i n s . . . some b r i g h t new t i e - b a c k s

. . . f r e s h c o a t of p a i n t . . . B e j u s t fine.
R U T H . (Raising
her head slowly.)
No, Lena . . .
M A M A . . . . A n d m a y b e some nice f o l d a w a y screens to p u t
up a r o u n d T r a v i s ' bed a t n i g h t . W h y , t h i s p l a c e be l o o k i n g
S O fine w e forget t r o u b l e e v e r come. (She has moved to the
D . L . corner
of the table. B E N E A T H A comes in.)
R U T H . L e n a , no . . . (Grabbing
B E N E A T H A ' S arm.)
Bennie,
y o u t e l l her . . . (She drags her down across to M A M A . ) Y o u
tell her we can still move.
MAMA.
(Shaking
her head.)
R u t h , sometimes y o u got to
k n o w w h e n to h o l d o n t o w h a t y o u got.

. . .

W A L T E R . (Crossing
R . around
table and D . L . c.) T h e
MAN!
Captain Boss . . . M i s t u h Charlie . . . Oh Please-Cap'nMistuh-Bossman-SUH!
BENEATHA.
(Suddenly
turns.) T h e W e l c o m i n g C o m m i t t e e !
WALTER.

T h a t ' s r i g h t ! T h a t ' s good!

(Swiftly.)

REPRISE:

(WALTER

"IT'SA

flauntinglyrubbing

their

DEAL"
noses

GONNA G I V E 'IM A SHOW!

SING T H E HAPPIEST NEWS!
TO B E G I N T H E P E R F O R M A N C E
I ' L L B O W D O W N A N D K I S S BOTH

in

it.)

H I S SHOES.

94

RAISIN

ACT

WHAT A DEAL!
( M u s i c continues u n d e r . )
M A M A . W h a t a r e y o u t a l k i n g 'bout, s o n ?
RUTH.
(Coming
towards
him
fiercely.)
Y o u t a l k i n g 'bout
t a k i n g t h e m people's m o n e y to keep u s f r o m m o v i n g i n t o o u r
house?
W A L T E R . (Jaw to jawriding
over her.) I a i n ' t j u s t talking
a b o u t i t I ' m t e l l i n g y o u t h a t ' s w h a t ' s gonna h a p p e n !
(With
a look of desolation,
she crosses away, u . s. of table.)
Talking
a b o u t l i f e . M a m a ! Like it is.
LIFE IS GRABBING T H E CHANCE!
L I F E I S C A S H I N G T H EB E T !
THERE'S JUST TAKERS AND TOOKEN
AND
I'M TAKIN' A L L I CAN GET.
WHAT A DEAL!
( M u s i c continues u n d e r . )
M A M A . Y o u m a k i n g s o m e t h i n g i n s i d e of m e c r y , son.
WALTER.
(Supercool.)
D o n ' t c r y , M a m a . U n d e r s t a n d . (Yet
in spite of himself he is beginning
to lose
control.)
IT'S T H E N A M E O F T H E G A M E !
IT'S T H E O N E W A Y T O GO . . .
IT'S T H E B O U N C I N G R I G H T B A C K
COMIN' UP W I T H A FISTFUL OF DOUGH!
( M u s i c continues u n d e r . )
M A M A . (Advancing
resolutely.)
S o n I c o m e f r o m five g e n e r a t i o n s of s l a v e s a n d s h a r e c r o p p e r s , b u t a i n ' t n o b o d y i n m y
f a m i l y n e v e r t o o k no m o n e y f r o m no one t h a t w a s a w a y of
t e l l i n g us we w a s n ' t fit to w a l k t h e e a r t h . W e a i n ' t n e v e r been
t h a t poor! W e a i n ' t n e v e r been t h a t (Voice
breaks and she
turns away a few steps L . , unable to continue.)
dead i n s i d e !
( W A L T E R reaches
out helplessly;
there is no response.
He turns
to B E N E A T H A w h o escapes
to the sofa. He turns to R U T H
who turns away and sits behind the table looking
off.)
WALTER.
(Screaming
at them in fury at himself,
at
them,
the situation,
the world.)
W h a t ' s the matter w i t h y o u a l l !
DIDN'T MAKE UP T H E WORLD!
DIDN'T MAKE UP T H E RULES!
THERE'S T H E GOOD A N D T H E BAD,
BUT T H E GOOD A L W A Y S C O M E U P T H E FOOLS!

DON'T B E WHIPPIN' ON M E
'BOUT T H E R I G H T A N D T H E WRONG!
LET'S STOP COMIN' ON W E A K

T H E WORLD'S ALWAYS COMING ON

WHEN

RAISIN

ACT I I
STRONG.
WITH A DEAL!
( M u s i c continues under.)
M A M A . (Quietly.
A step

towards

him.)

95

B a b y , h o w y o u going

to feel on the i n s i d e ?
W A L T E R . G o i n g to feel fine! M a m a , I ' m gonna feel fine! I ' m
gonna look t h a t s o n - o f - a - b i t c h i n the eyes a n d I ' m going to
s a y (Falters
and presses
onpunishing
himself,
whipping
himself and his mother.)
" A l l r i g h t , M r . L i n d n e r . . . this is
America!
Y o u w a n t t h a t neighborhood out there the w a y y o u
w a n t i t ? Y o u w a n t the r i g h t to keep i t l i k e y o u w a n t i t ? T h e n
PAY
for i t ! ! J U S T P U T T H E M O N E Y I N M Y H A N D
A N D Y O U WON'T H A V E TO L I V E N E X T DOOR TO
N O B U N C H O F ( M u s i c c u t off.) STINKIN'
NIGGERS!
(The
others
turn away and W A L T E R , provoked
even
more,
lashes back at them.)
A n d m a y b e . . . m a y b e I ' l l j u s t get
d o w n on m y b l a c k k n e e s (Drops
to his knees, a little L . <?/
D . c , facing out R . , three-quarters
toward the audience but still
playing
it for M A M A . ) a n d I ' l l s a y (He starts
grovelling,
grinning, rolling his eyes and wringing his hands in
deliberate
exaggerated
imitation
of the Stepin Fetchit
stereotype,
while
M A M A , R U T H and B E N E A T H A watch
in frozen horror.)
"Capt a i n , M i s t u h , B o s s m a n . A - h e e - h e e - h e e ! O h y a s s s s s u h , boss,
y a s s s s u h , G r e a t W h i t e (Voice breakshe
forces himself
to
go on.) F a t h e r ! J u s t g i ' ussen de m o n e y , f o ' G o d ' s s a k e , a n '
w e ' s n o s u h w e ' s a i n ' t g w i n e o u t deh ' n ' spoil y o ' w h i t e
f o l k s ' neighborhood . . ."(It hangs. He turns towards
MAMA.
Evenly,
chillingly
and implacablymeeting
the full
ugliness
of the world in kindas his eye finds hers.) A n d I ' l l feel fine!
F i n e ! F i n e ! ( M u s i c C u e X X I I I [Score # 2 0 ] : He rises and,
summoning
his last resources,
forces himself to walk
defiantly
into his roomwhere,
once the door is shut, he sinks to the
bed.)
B E N E A T H A . (A beat. Quickly.)
n o t h i n g b u t a toothless r a t .
M A M A . W h a t you say?
BENEATHA.

T h a t is not a a n . T h a t i s

I s a i d t h a t t h a t i n d i v i d u a l i n t h a t r o o m is no

brother of m i n e .
M A M A . O h ? Y o u f e e l i n g l i k e y o u better t h a n he i s t o d a y ?
You
done w r o t e h i s e p i t a p h , too . . . l i k e the r e s t of the
w o r l d ! W e l l , w h o give you t h e p r i v i l e g e ?
B E N E A T H A . Y O U s a w h i m , M a m a . . . d o w n on h i s knees I

96

RAISIN

ACT I I

N o w w a s n ' t i t y o u w h o t a u g h t m e to despise a n y m a n who

w o u l d do w h a t he's going to d o ?
M A M A . Y e s . I taught y o u that. B u t I thought I taught y o u
something else too . . . I t h o u g h t I t a u g h t y o u to l o v e h i m .
B E N E A T H A . L o v e h i m ? T h e r e ' s n o t h i n g l e f t to l o v e
M A M A . T h e r e i s always s o m e t h i n g l e f t to l o v e ! A n d i f y o u
a i n ' t l e a r n e d t h a t y o u a i n ' t l e a r n e d n o t h i n g . (With great intensity.)
W h e n y o u s t a r t s to m e a s u r e a m a n , y o u m e a s u r e
h i m r i g h t , c h i l d , m e a s u r e h i m r i g h t . ( B E N E A T H A runs
into
arms.)

MAMA'S

BONG:

"MEASURE

T H E

VALLEYS"*

ACT

I I

rising

almost

to a shout

RAISIN
and Cresting into

the song.)

97
'cause t h e

w o r l d done w h i p p e d h i m s o !
W H E N Y O U KNOW HOW A D R E A M CAN FADE . . .
H O W A M A N C O M E S T O B E SO A F R A I D .
WHEN YOU KNOW WHERE HE'S BEEN,
T A K E A LOOK A T H I M AGAIN,
crosses

then

looks

(She

toward

WALTER,

looks

at

BENEATHA

and

RUTH,

D. c.)

MEASURE T H E VALLEYS, MEASURE T H E HILLS.

( M u s i c out. As she stands there, T R A V I S bursts through
the
door
excited.)
TRAVIS.

WHEN A B R E E Z E GETS TO LOSIN' GROUND,

B E T T E R ASK A L L T H E T R E E S AROUND.
W H E N T H E WIND'S G E T T I N G SLOW,
L O O K A T W H E R E I T ' S H A D T O GO,
MEASURE T H E VALLEYS, MEASURE T H E HILLS.
{Releasing
BENEATHA.)
W H E N A S T R E A M ' S N E A R L Y D R Y AS BONE,
B E T T E R COUNT E V ' R Y T U R N , E V ' R Y STONE.
WHEN IT'S A L L RUNNING THIN,
T A K E A LOOK A T W H E R E IT'S BEEN,
MEASURE T H E VALLEYS, MEASURE T H E HILLS.
{She crosses toward the door behind which lies her son. B E N E A T H A stands
beside R U T H at the
table.)
W H E N Y O U KNOW HOW A D R E A M CAN F A D E . . .
HOW A M A N C O M E S T O B E SO A F R A I D .
WHEN YOU KNOW WHERE HE'S BEEN,
T A K E A LOOK A T H I M AGAIN,
MEASURE T H E VALLEYS, MEASURE T H E HILLS.
( C r o s s i n g D . to B E N E A T H A and R U T H a s the MUSIC
continues
under.)
H a v e y o u c r i e d for t h a t boy t o d a y ? I d o n ' t m e a n
for y o u r s e l f , c h i l d . . . I m e a n for h i m . . . H o n e y , w h e n
d o y o u t h i n k i s t h e t i m e to love somebody the m o s t ? W h e n
t h e y done good a n d m a d e t h i n g s e a s y for e v e r y b o d y ? I t ' s
w h e n he's a t h i s lowest a n d c a n ' t believe i n h i s s e l f
(Voice
I t I S particularly important i n this song that certain words, which
might otherwise be underplayed or run together, be enunciated unmistakably so that the meaning of the metaphor can be grasped i m mediately b y the listener. These i n c l u d e : " b r e e z e , " "ground " and the
participles i n "a breeze." "a stream's," "measure the valleys, measure
the hills.

G r a n d m a , the moving

men

are downstairs!

The

t r u c k just pulled u p !
M A M A . A r e t h e y , b a b y ? T h e y d o w n s t a i r s ? (She sighs and
sits in her rocker. Meeting
no response, T R A V I S crosses
eagerly
to B E N E A T H A , on the sofa, to tell her about the great
van
O S L I N D N E R enters.
He peers through the open doorway,
knocks
lightly for attention,
and comes in.)
LINDNER.
(Hopefully.)
U h . . . H e l l o ! ( R U T H , the
closest
to him, turns her back. He removes
his hat. In the
bedroom,
W A L T E R sits up reluctantly.
To M A M A heartily.)
W e l l , I cert a i n l y w a s g l a d to h e a r f r o m y o u people! ( M A M A turns
away
in the rocker,
hands clasped,
eyes staring
dead ahead.
He
crosses to the table. Amiably,
expansivelysmall
talk to fill
the void.) Y o u k n o w , life c a n r e a l l y be so much . . . s i m p l e r
t h a n folks l e t i t be most of the t i m e . (Opens his attache
case.
W A L T E R comes
to his door.) W e l l , M r s . Y o u n g e r , w i t h w h o m
do I negotiate? Y o u , or y o u r son? (The
question
hangs.
L I N D N E R takes
out a contract
and fountain
pen, looking
from
one to the other. T R A V I S , curious,
drifts
over and
abruptly
picks up the papers.)
J u s t some official papers, sonny.
RUTH.

(Snatching

them

away

and

putting

them

back.)

T r a v i s , y o u go d o w n s t a i r s . . .
MAMA.
(Suddenly
sitting forward.)
N O ! No, T r a v i s y o u
come r i g h t h e r e ! (Indicating
the D . S . side of her rocker. T R A V I S
crosses.
She pats him on the butt and he sits on the floor
beside
her.)
A n d y o u m a k e h i m understand about " l i f e , "
W a l t e r L e e . (A beat. He looks desperately
from her to the
boy.)
G o a h e a d , son. G o a h e a d . (Their
eyes hold. W A L T E R
takes a step towards her pleadingly,
but she folds her hands
and looks off: it is all in his hands now. At last he turns to
who has seated
himself
behind
the table and is
the
contract.)
LINDNER,

studying

98

RAISIN

ACT

W A L T E B . W e l l , M r . Lindner. W e called y o u becausewell,

me a n d m y f a m i l y . . . (He looks about, shifting from foot
to foot.) w e a r e v e r y p l a i n people . . .
L i N D N E B . Y e s . Y e s , of course, M r . Y o u n g e r . {Reassured,
he
buries
himself
in the papers.
W A L T E R continues
with great
difficulty.)
W A L T E R . I m e a n I a m a c h a u f f e u r a n d . . . m y w i f e , she
w o r k s i n people's k i t c h e n s . . . a n d so does m y m o t h e r . I
m e a n w e a r e v e r y p l a i n people . . .
LINDNER.

Younger.

{Turning

a page,

WALTER. Anduhmy
borer m o s t of h i s l i f e
LINDNER.
{Cutting
him
yes. I understand . . .

not paying

attention.)

Yes, Mr.

fatherwell, m y father was a l a off

somewhat

impatiently.)

Yes,

W A L T E R . A n d m y f a t h e r {With
sudden intensity
as the
anger rises in him at the man's indifference
and the
position
he has placed h i m s e l f in.) H E A L M O S T B E A T A M A N
TO
D E A T H ONCE BECAUSE THAT MAN
CALLED
H I M A B A D N A M E {For a moment he hovers on the edge
of violence:
if L I N D N E R says the wrong thing now, W A L T E R .
I S capable
of anything.
Evenly.)
Now do you know what I
mean?
LINDNER.
{Looking
afraid I don't

up,

frozen

with

fear.)

No.

No,

I'm

W A L T E R . Y e a h , w e l l {Relaxing
a little, as he
deliberately
steps back from the precipice.)
w h a t I m e a n to s a y i s t h a t . . .
(Crossing
around L I N D N E R toward M A M A and reaching
out to
touch her. Simply,
with wonder.)
W e a r e v e r y p r o u d people.
I m e a n w e c a m e f r o m people w h o h a d a l o t of p r i d e . ( M A M A
starts
to rock and to hum
" H E COME DOWN THIS
M O R . N I N G " a s though she were in church, with pride
and
resolution,
her head nodding the amen yes. L I N D N E R is
paying
absolute
attention
now but W A L T E R scarcely
notices.
He has
found himself and it is as if the other no longer exists.
Near
tears,
he is nonetheless
moving
toward
an inner calm.
He
speaks simply,
confirming
himself
and his own.) A n d t h i s i s
m y s i s t e r a n d she's going to be a d o c t o r !
L I N D N E R . W e l l I a m sure t h a t i s v e r y nice, b u t
W A L T E R . W h a t I m e a n to s a y i s (Crossing
v. B . of L I N D NER
and signaling
to T E A v i s . )
C o m e here, " T r a v i s . ( T R A V I S
crosses, grins up at him, and W A L T E R draws him beside him.)

ACT I I

RAISIN

99

A n d t h i s i s m y son . . . a n d he m a k e s t h e eighth generation

of o u r f a m i l y i n t h i s c o u n t r y a n d w e h a v e all thought a b o u t
your o f f e r L I N D N E R . (Holding
out the pen, anxious to get the
signature
and get out.) W e l l , good . . . good
W A L T E R . A n d we h a v e decided to m o v e i n t o our house, y o u
see (He reaches out for R U T H and she crosses to his side.)
because m y f a t h e r m y f a t h e r (His eyes meet M A M A ' S . )
he e a r n e d i t for u s , b r i c k b y b r i c k . ( W A L T E R looks the man
in the eyes and shrugs. Simply.)
W e d o n ' t w a n t y o u r money.
( M u s i c C u e X X I V [Score # 2 1 ] : underscoring and curtain
call music.)
LINDNER.

(Disbelievingly.)

I t a k e i t t h a t y o u h a v e decided

to o c c u p y ? !
BENEATHA.
LINDNER.

T h a t ' s w h a t the man s a i d !

(Crossing
to M A M A , contract

in hand.)

Mrs.

Y o u n g e r , y o u a r e older a n d w i s e r
MAMA.
(Abruptly
holding her hand up to stop him.) Y o u
k n o w h o w these y o u n g f o l k s i s n o w a d a y s . M i s t e r . C a n ' t do a
t h i n g w i t h ' e m ! (As he opens his mouth.)
Goodbye!
LINDNER.
(Putting
papers
back in his briefcase,
furious.)
W e l l . . . I d o n ' t k n o w w h a t y o u people t h i n k y o u a r e going
to g a i n b y m o v i n g w h e r e y o u j u s t a r e n ' t w a n t e d a n d
( T R A V I S puts
L I N D N E R ' S hat in his hand.)
where some e l e ments . . . w e l l , some people c a n get a w f u l w o r k e d up . . . !!
(But
nobody is listening.
They are too busy hugging and digging each other as he exitsalmost
bumping into the M O V I N G
MEN
and N E I G H B O R S , who come on from R. to greet and escort
the family
off.)
M O V I N G M E N . A r e y o u a l l the Y o u n g e r s ? J i f f y M o v e r s .
MAMA.
(Into
action.)
R u t h , p u t T r a v i s ' j a c k e t on h i m !
W a l t e r L e e , fix y o u r s e l f u p , y o u l o o k l i k e somebody's h o o d l u m !
BENEATHA.
(Going
to her, D . c.) M a m a , A s a g a i a s k e d me
to m a r r y h i m a n d go to A f r i c a
M A M A . (Not
paying attention.)
T h a t ' s nice. (To a M O V I N G
M A N who has lifted her rocker abruptly
overheadas
rest of
the F A M I L Y leave, with the N E I G H B O R S closing about them to
assist and wish them godspeed.)
J u s t a minute, young m a n !
T h a t a i n ' t no b a l e of c o t t o n ! T h a t i s my c h a i r a n d I got to
sit i n i t a g a i n , so y o u be c a r e f u l w i t h i t !
(Frozen
in mid-motion.)
Y e s , ma'am-yes,
lowers it gingerly
to chest level, turns
and,
MOVING

MAN.

m a ' a m . . . (He

100
like

a ballet

alone.

stands

casually

chair

tiptoes

field,

ment,

dancer
out

the

in one
She

at the walls

hesitates,
suddenly
As

reaches

picks

her out.
with
exit

the

nitro-glycerin

long

safe

last

moves
afraid

a sob,

at

joking

as

through

around

touch
she

ACT 1 1
mine-

he flips

with

enters

table,
fist.
sees

her,

back

and

for

her and,

propels

the

MAMA

her

taking

her

A N O T E ON F U T U R E PRODUCTIONS

apartD . and

her
and

kisses

turns

it about

the

the

the kitchen
it, starts

stifles

WALTER

it to her,

drapes

her shoulder,

'round

and

last,

off V. c. At last
look

toward
to

which

composure,
and brings

door she hesitateshe

swells,

arm

laughing

where

and saunters

one

almost
by

to regain

up her plant
At
one

RAISIN
balancing
door
hand

takes

and ceiling,
out

is overcome

she struggles

her. He
leads

coat and, as the MUSIC

charge,
They

forward.

lights)

DIMOUT

I. O V E R A L L

CONCEPT

T h e script a n d production notes i n this edition, and the floorplaps,

prop and costume plots which follow, are drawn from the Broadway
and National R o a d productions of R A I S I N .
T h e idea of a minimal physical production with strong emphasis
on pantomime a n d audience imagination was evolved for these productions. It should not be construed, however, as being intrinsic or
essential to the musical. N o r necessarily as recommended or preferred
in all circumstances.
F o r amateur production, the approach has certain obvious advantages: i n cost; i n the greater reality that may be achieved through
reliance on imagination as opposed to inadequately " r e a l i s t i c " settings
whose design or execution m a y lack the quality to eenviaee; i n the
fun and challenge of a new technique; and, not least, i n the elimination
of long delays a n d interruptions to change sets betweep scenes.
However, where budget is no object and extensive technical facilities
and apparatus for quick changes are available, multiple scene changes
and more elaborate effects and settings can, of course, be employed as
in any musical, along with full costuming and the Uke.
II. T H E USE O F PANTOMIME
M i m e is one of the more difficult art forms, a technique in which
most actors have not trained extensively. I t s possible pitfalls as well
as advantages should be considered.
Sloppily executed, underdone or overdone, mime can be confusing
and distracting. B u t even when performed brilliantly, i t will undercut
the drama if allowed to draw too much attention to itselfif i t is too
detailed, too comphcated, a disruptive focus for the audience.
T h u s , the best mime i n a musical of this kind is the least noticed.
L i k e fine direction, i t should be as inobtrusive, simple and spare as
possible; once the initial adjustment has been made, audience concentration should be on the characters and story, rather than on objects and
implements, which should register automatically ajjd be taken for
granted exactly as they would be if actual doorknobs and dishes were
used.
T o achieve this will require extra rehearsal: special practice sessions
in pantomime, if possible with an expert, to observe and work with the
particularity of the objects to be " c r e a t e d , " their exact locations on
stage and how each functions. (Does the door open in or out, to right
or left? H o w far back does one step from a door in opening i t ? A t
what height is the knob? H o w wide is a whiskey glass? A n d so on.)
Enough time, practice, and repetition, in short, to enable the movements of the company to become so instinctive and automatic that at
last the actors are freed to concentrate on the only thing that will really
101

102

A N O T E ON F U T U R E

PRODUCTIONS

matter when the curtain goes u p : character and situation, what is said
and sung and lived through.
With this i n mind, the director should freely consider whether pantomime or more traditional means will best serve h i s / h e r production
and should feel free, in any case, to substitute " r e a l " props for imagined
ones wherever this proves desirable.
III. BACKGROUND MATERIALS
1. RAISIN

Souvenir

Book

F o r those who may be interested, the photos and related text in this
book give an excellent sense of the feel, look and style of the original
production, as well as much relevant background data. Copies are a v a i l able for $3.00 (by check or mail order) from M A X E I S E N S P E C I A L ,
234 West 44th Street, N . Y . C . 10036.
2. Original Cast
Album
T h i s was produced by and is available from C o l u m b i a Records.
IV. H A N S B E R R Y A R C H I V E S
T h e Lorraine Hansberry archives will ultimately be housed i n a
major university or library. Robert Nemiroff, M s . Hansberry's literary
executor, would be especially grateful, therefore, to receive programs,
posters, reviews and any relevant comments concerning local productions
of R A I S I N . Please address these to h i m c / o the W i l l i a m Morris Agency,
1350 Avenue of the Americas, New Y o r k , N . Y . 10019.

2 chairs

PROPERTY

LIST

1*'^

1 rocking chair /

simplified block con^

Running Prop L i s t
1 pot and scraggly plant ( M a m a )
1 partnership contract and pen (Willie Harris)
1 large gift box with I large (4'x8') Y o r u b a print cloth and 1 head1
1
1
1
1
1
6

wrap (Asagai)
regular size white envelope with check ( T r a v i s / M a m a )
African necklace (Asagai/Beneatha)
knock box (offstage for propman's use for door knocks)
tambourine
roll of paper money (remains of insurance money) ( M a m a )
attache case, pen, business card, contract ( L i n d n e r )
benches for church (3 to be used later as "packing crates")
ACT ONE
ON S T A G E PROP AND COSTUME MOVES

Scene 1
Walter enters with chauffeur's cap & jacket.
T r a v i s enters with jacket & green cap.
Scene
2~
Chorus members move table & chairs across u . L . to couch, close
T r a v i s ' bed, turn rocker D . S .
Transition irom Scene 2 to S
2 female dancers move table D. S .
M a l e Dancer moves chair D . S . S . B . side.
Male Dancer moves chair D. B. S . L . side.
Scene S
M a m a enters with green coat, brown hat,
R u t h enters with purse.

pocketbook.

R u t h exits D. L . 1 with green coat, brown hat, 2 pocketbooks D. L . 1

Scene 4
M a n lifts bar and locks i t into position.
M a n unlocks and closes bar.
A t end of trio, Walter, Bobo & Althea get off table and chair.
2 male dancers move table v. L. i n front of couch.
2 female dancers take chairs v. L . and put them L . & B . of table.
Willie enters with partnership contract and pen.
Scene 6
Asagai enters s. R. 3 with gift box containing 1 Y o r u b a cloth and
headwrap.
Beneatha exits with box and Y o r u b a cloths.
T r a v i s exits D. R . gets envelope with
103 check.
R u t h puts letter and check i n her pocket and exits with it.

104
Scene

PROPERTY LIST
6

R u t h moves table D. S . , places chairs s. L . to h o l d ironing board.

Walter enters carrying sport j a c k e t with contract i n inside pocket,
brown hat and gold tie.
Asagai enters wearing necklace, gives to Beneatha, exits with B e neatha.
M a m a enters with green coat and pocketbook.
INTERMISSION

Wardrobe removes green coat, pocketbook, jacket, tie.

C r e w remove crumpled contract, shift W a l t e r / R u t h ' s bed into bench
positions, bring on benches for church, move table and chairs into
position for 2:2, and remove rocker.
ACT
Scene

TWO

Singer brings tambourine on and off s. R. to prop room.

4 men restore W a l t e r / R u t h ' s bed to bedroom position.
2 women exit with bench s. B .
2 women move both benches into parallel ti. and D. S . positions for
choir practice n. B .
Scene 2
2 women exit u . B . with bench.
M a m a enters u . L . with money in pocketbook.
Scene S
Waiter takes rocker with plant on D. L . 1, places rocker first i n D. S .
position, plant second o n D. S . L . rail. M o v e s s. L . chair D. S . T a k e s
bench off D. L. 1 with M a l e D a n c e r .
T r a v i s open bed.
Male Dancer enters n. L . 1 moves table D. S . to mark, moves s. B .
chair D. S . , takes bench off D. L . 1 with Waiter.
T r a v i s exits with money.
Scene 4
Beneatha closes bed, turns rocker D . s .
1st moving man places 3' bench i n kitchen, seat to bedroom D. L.
wall.
2nd moving man places 3' bench i n bedroom D. L . corner seat faces
V. s.
L i n d n e r enters c. s. R . with attache case containing pen, contract;
card i n jacket pocket.
Scene 6
M a n enters with green coat.
Bobo enters s. R . 3, exits s . R . 3.
M a m a moves plant from rail to table to T r a v i s ' bed which is closed.
Scene 8
Lindner enters with attache case with contract, also hat.
1st moving man carries rocker off v. R . 3.
2nd moving man carries bench in living room off a. R . 1.
M a m a , plant & green coat off D. R. 1.

COSTUME

PLOT

T h e costumes are reminiscent of the " e c l e c t i c " style of the fashion

period (1954-61) with an emphasis on body movement. Because both
the vocal and dance ensemble perform as characters, as well as scene
changers, the need for quick costume changes had to be resolved. T o
attain effective visual transitions, i t was decided to employ the bodysuit and body-shirt adding various accessories from scene-to-scene and
where desirable completely changing the color scheme.
Male accessories i n c l u d e d : hats, jackets, vests, ties, scarfs and " d o r a g s " a silk scarf folded triangularly and tied like a turban ancj used
as a head covering to protect processed h a i r a style black men wore
in the 50's and 60's. Feminine accessories included: wigs (since the
Afro was not i n f a s h i o n ) ; various styles of s k i r t : sheaf, circular, pleated
or biased, which were designed to help change the look of the basip
body suit and facilitate movement; jackets, ranging from bolero length
to hip length, especially in the church scene; hats made of straw, veil
and flowers; gloves and jewelry where appropriate.
T h e shows basic color scheme was so geared that each principal
character wore costumes along one color line, i.e.: M a m a (earth t o n e s brown, rust, o l i v e ) ; Walter Lee (tans, rust, yellow, mustard); R u t h
(soft blues and peacocks); Beneatha (various shades of red and
m a r o o n s ) ; T r a v i s (wine and shades of r e d ) ; Mrs. Johnson (lavender
and m a u v e ) ; Asagai (indigo and earth b r o w n ) ; Bobo (browns and
r u s t s ) ; Willie H a r r i s (royal blue and purple).
T h e ensemble dressed i n cool colorstones of bottle green, navy,
marine blue, violet and emeralds. T h e African dance sequence was
designed i n coppers, gold, whites, blacks, creams, various tones of
sepia and brown to highlight the dream quality of the ballet. A great
amount of synthetic raflSa straw in white, black and tan was used as
well as beads and feathers of similar colors for leg bands, armlets, headwraps, headdresses and great pony tails. T h e headdresses were made
from raffia woven into various tribal designs.
BREAKDOWN OF SCENES
Prologue

(ensemble): T h e Block. Southside Chicago. Night.

Two Groovy Cats

bright printed shirts
jackets
trousers
black shoes
"do-rags"
A Young Chick
flaired skirt
print blouse
crinoline petticoat
heels, stockings
wig, jewelry

105

106

COSTUME PLOT

Drunk
suit
shirt
tie
shoes
Three
Chickt*
flaired skirts
blouses
petticoats
heels, stockings
wigs, jewelry
one wears flaired fuscia coat
Pusher*
ornate print vest
tiousers
shirt
shoes
wide-brimmed hat
flashy style of the pimp
Victim
flaired s k i r t
solid color blouse
flat shoes, stockings
ponytail with ribbon
Drunk's
Wife
nightclothes
slippers
nightcap or wig with curlers
Little
Boy
pajamas
Male
Neighbor
black trousers
gray open shirt or undershirt
black shoes
Female
Neighbor
non-flaired s k i r t
blouse
flat shoes, stockings

* *
ACT

*
ONE

Scene I: Younger apartment. E a r l y morning.

Ruth
blue print housecoat
blue house slippers
blue head scarf
Walter Lee
yellow shirt
mustard trousers
brown shoes, sox

COStUME

PLOT

107

narrow green tie

olive chauffeur's cap
olive chauffeur's jacket
Travis
denim jeans
pallid shirt
tennis shoes
green cap
denim jacket
Beneatha
print bathrobe
comical fuzzy house slippers
hair up in curlers
face full of cold cream
Mrs.
Johnson
mauve bathrobe
house slippei-s
head scarf
petticoat

* *
Scene 2: T h e L o o p . Morning rush hour.
Walter Lee
(same as scene 1 )
M a l e Ensemblework clothes (denim pants, worksuits, sweat shirts,
hats, caps, sneakers, work shoes, etc.)
Female Ensembleday-work clothes (skirts, blouses over basic body
suits, flat shoes, stockings, crinoline slips, pedal pushers, wigs)

* * *
Scene

S: Younger apartment. L a t e afternoon.

Mama
flaired hip length green coat
brown hat
brown pocketbook
print dress
shoes, stockings
Ruth
blue blouse
turquoise skirt
flat shoes, stockings
purse
Beneatha
wine skirt
wine & white checkered blouse
red cardigan sweater
saddle oxfords
bobby sox
red scarf
brown shoulder bag

108

COSTUME PLOT
*

Scene 4: A neighborhood bar. Night.

Walter Lee
yellow shirt
mustard trousers
olive stingy b r i m hat
brown shoes, sox
narrow gold tie
checkered sport jacket
Bobo
brown cap
brown trousers
brown tweed jacket
blue shirt
tie
Willie Harris
royal blue suit
purple hat
tie
blue shirt
black shoes, sox
Althea
sexy party dress, cut low
ruffled crinoline s l i p
heels, hose
jeweh^^
F e m a l e E n s e m b l e : dress-up, sexy dresses, skirts and blouses i n blues,
orchids, pinks, greens and purples. Heels, hose and plenty of jewelry
and sophisticated hair-dos.
M a l e E n s e m b l e : Trousers, shirts, vests, shoes and sox i n blues, orchids,
greens and purples. Stripes, checks and solid colors.

* **
Scene B: Younger apartment. N e x t morning.
Ruth
dark blue slacks
blue shirt (Walter L e e ' s )
blue house slippers
head scarf
Travis
(same as Scene 1)
Asagai
dark brown suit
shirt
tie
shoes, sox
Beneatha
blue jeans
blouse

COSTUME PLOT

109

saddle oxfords
bobby sox
head scarf
Mama
flowered print house dress
head scarf
scuffs, stockings

Scene 6: Younger apartment. T h a t night.
Ruth
(same as Scene 5)
Beneatha
African robes
African head wrap
(barefooted)
Walter Lee
(same as Scene 4)
Mrs.
Johnson
lavender dress
shoes, hose
Travis
cap
jacket
shirt
trousers
tennis shoes, sox
Asagai
African robes
African head wrap
African necklace
sandals
Mama
coat
hat
pocketbook
dress
shoes, stockings
Male & F e m a l e ensemble:

African costumes, see description

Costume

Plot.

* *
ACT

TWO

Scene 1: C h u r c h . Sunday morning.

Pastor
black suit
minister's collar
black shoes, sox

110

COSTUiffi PLOT

Pastor's
Wife
flowered h a t
gray & white dress with jacket
purse, gloves
shoes, stockings
jeweliy
Mrs.
Johnton
lavender dress or two pc. suit
hat with flowers
elbow length gloves
purse
shoes, stockings
jewelry
Travis
wine sweater
white shirt
tie
wine trousers
black shoes, sox
Mama
black hat with flowers
black duster coat
white gloves
black and green print dress
black purse, shoes, hose
Ruth
turquoise dress
blue coat jacket
blue pillbox h a t
gray purse
white gloves
black shoes, hose
Male E n s e m b l e : dark trousers, light shirts, vests, shoes, sox
Female E n s e m b l e : dress-up dresses, skirts, blouses, frilly hats, glo'
purses, hose, shoes, jewelry

* * *

COSTUME PLOT

111

dark trousers
black shoes, sox

* * *
Scene S: T h e B l o c k . Immediately after Younger apartment. Same night.
Waller
Lee
(same aa Scene 2)
Travis
plaid shirt
denim jeans
tennis shoes, sox

* *

Scene 4: Apartment. Some weeks later.

Moving
Men
khaki coveralb
caps
black shoes, sox
Walter Lee
shirt
pants
shoes, sox
Beneatha
blue jeans
red sweater
bobby sox
saddle oxfords
Ruth
blue pants
light blue blouse
black shoes
Karl Lindner
grey suit
grey hat
black shoes
white shirt
black tie

* **

Scene S: A bar. Night.

Mama
(same ais Scene 1 )
Walter Lee
rumpled yellow shirt
rumpled mustard trousers
brown shoes
sox
jacket
Waiter
stripped vest
shirt

Scene 6: T h e Block. Afternoon.

Travis:

cap, jacket, plaid shirt, blue jeans, tennis shoes, sox

* * *
Scene 6: Apartment. L a t e r .
Mama
print dress
hat

112

COSTUME PLOT

coat
purse
shoes, hose
Beneatha
Ruth
Walter Lee
(same as Scene 4)
Bobo
brown car coat
brown cap
brown trousers
canvas shoes
shirt

MUSIC CUES
Act One
Prologuejazz ballet. Orchestra and dance ensemble.
M u s i c cue # 1 S c o r e # 1 (House Out) " R A I S I N P R O L O G U E "
Music cue # 2 S c o r e # 1 A (underscoring after applause p. 15)

Scene 7: F r o n t stoop. L a t e r .
Beneatha
(same as Scene 6)
Asagai
stripped shirt
beige trousers
light blue sweater
brown shoes, sox

* * *
Scene 8: T h e apartment. L a t e r .
Mama, Ruth, Walter Lee, Beneatha (same as Scene 6)
Travis (same as Scene 5, without cap and j a c k e t )
Lindner (same as Scene 4)
Ensembletwo dressed as moving men (same as Scene 4) other males
and females (same as Scene 2, A c t O n e )

Scene 1
M u s i c cue # 3 - S c o r e # 2 " M A N S A Y " ( W a l t e r " E a t m y e g g s ? ! "
p. 18)
Music Out ( W a l t e r " D a m n 1" p. 20)
Music cue # 4 - S c o r e # 3 " W H O S E L I T T L E A N G R Y M A N "
( R u t h " . . . W o m a n goodbye for nothing in this world 1" p. 22)
M u s i c Out ( R u t h beckons to T r a v i s p. 23)
Scene 2
Music cue # 5 - S c o r e # 4 " R U N N I N ' T O M E E T T H E M A N "
( R u t h " H e r e . " Triangle cue on Walter's catch.)
( R u t h " T a k e a t a x i ! " p. 26)
M u s i c Out ( W a l t e r " T o n i g h t I " p. 29)
Scene 3
Music cue # 6 S c o r e # 5 " A W H O L E L O T T A S U N L I G H T "
(Begins following blackout as scene transition hghts come up
p. 30)
M u s i c Out ( M a m a " W o n ' t be long 'fore you starts to grow."
p. 31)
Scene 4
Music cue # 7 S c o r e # 6 " B O O Z E " (Music in on dimout p. 36)
Music Out (Dancers freeze, p. 40)
Music cue # S S c o r e # 6 A " B O O Z E " E n c o r e (Following freeze,
Dancers explode in frenzy of dancing, p. 40)
Music Out (Handshake and freeze, p. 41)
Music cue # 8 A S c o r e # 6 A , Bar 70 " B O O Z E " Encore (as daneera
dance off stage and next scene is set by actors, p. 41)
Music Out (When scene is set, T r a v i s " M a m a . . ." p. 41)
Scene 5
Music cue # 9 S c o r e # 7 " A L A I Y O "
( A s a g a i " W e l l , Alaiyo, I must go." p. 45)
M u s i c Out (p. 47)
Music cue # 1 0 - S c o r e # 7 A " S U N L I G H T " reprise
( M a m a " T e n thousand dollars they give y o u . " p. 49)
M u s i c Out (As last light dims out p. 49)
Scene 6
M u s i c cue # 1 1 S c o r e # 9 - " A F R I C A N D A N C E " ( 4 / 4 rhythm,
( W a l t e r " T h e L i o n is W a k i n g . " p. 52)
4/4 out, 6/8 r h y t h m starts (as Walter stomps on table p. 53)
M u s i c Out ( A s R u t h stops record player p. 53)
M u s i c cue # 1 2 S c o r e # 1 0 " S W E E T T I M E "
( R u t h " W h a t else can I give you, Walter L e e ? " p. 55)
Music O u t ( A s they embrace on bed p. 58)
Music cue # 1 3 - S c o r e # 1 1 " Y O U D O N E R I G H T "
( A s M a m a s a y s " W a l t e r . " p. 61)

113

(Music cut off into tympani roll on W a l t e r " H o w would you like
to go to hell t o d a y ! "
T y m p a n i roll out as spots pick M a m a and Walter up at opposite
sides of stage.
Walter continues song to end. M u s i c out a t blackout p. 62)
Act Two
Scene 1
Music cue # 1 4 - S c o r e # 1 2 " H E C O M E D O W N T H I S M O R N I N G "
(opening of A c t I I p. 64)
M u s i c Out ( A U " A m e n " p. 69)
Scene 3
Music cue # 1 5 S c o r e # 1 3 " I T ' S A D E A L "
(As Walter snatches up the money p. 73)
Music Out ( E n d of songWaiter: " D i g i t ! " p. 75)
Music cue # 1 6 S c o r e # 1 3 A " I T ' S A D E A L - T A G "
( W a l t e r " T h e r e l l always be room i n the b u s i n e s s ! " p. 76)
M u s i c O u t (as lights dimout)
Scene 4
Music cue # 1 7 S c o r e # 1 4 (underscoring p. 77)
M u s i c Out (as Beneatha stomps on cockroach p. 77)
Music cue # 1 8 S c o r e # 1 5 " S W E E T TIME"
reprise
( B e h e a t h a " I t ' s alright R u t h , I ' m going to be a doctor." p. 78)
M u s i c Out ( B e n e a t h a ^ " Walter L e e I R u t h ! " p. 79)
Scene 5
Music cue # 1 9 S c o r e # 1 6 " S I D E W A L K T R E E "
(starts in blackout p. 80)
Music O u t (with blackout p. 81)
Scene 6
Music cue # 2 0 S c o r e # 1 7 " N O T A N Y M O R E " (Beneatha"exists
because people just don't sit down and talk to each o t h e r ! " p. 82)
Music Out (As trio strikes final pose and freezes with arms outstretched and B e n e a t h a on one knee p. 86)
Scene 7
Music cue # 2 1 S c o r e # 1 8
" A L A I Y O " reprise
(Asagai"Not
tonight." p. 91)
Music Out ( A s Asagai exits p. 92)
Scene 8
M u s i c cue # 2 2 - S c o r e # 1 9 " I T ' S A D E A L " reprise ( M a m a " W h e r e
you been, s o n ? " p. 93)
Music Out ( W a l t e r " S t i n k i n ' N i g g e r s ! " p. 95)
Music cue # 2 3 - S c o r e 20 " M E A S U R E T H E V A L L E Y S "
( W a l t e r " A n d I ' l l feel fine! F i n e ! F i n e ! " p. 95)
M u s i c Out ( E n d of song p. 97)
Music cue # 2 4 S c o r e # 2 1 (underscore music into curtain calls.
W a l t e r " W e don't want your money." p. 99)

114

115

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BOB R A N D A L L
(Little Theatre)

Comedy

4 Men, 4 Women, Interior

A vacant apartment with a river view is open for inspection by
prospective tenants, and amon^ them are a man and a woman
who have never met before. T h e y ave the last to leave and,
when they get ready to depart, they find that the door is locked
and they are shut in. Since they are attractive yoimj; people,
they find each other interesting and the fact that both are happily married add.s to their delight of mutual, yet obviously separate interests.
" . . . a Broadway comedy of f u n and class, as eheerfol as a
rising souffle. A sprightly, h a p p y comedy of charm and humor.
T w o people playing out a v e r y v i t a l game of love, an attractive
fantn.sy w i t h a precious tincture of truth to it."N.Y,
Timns.
'*, . . perfectly charming entertainment, sexy, romantic and
iunny,"~\Vomen's
"Wear Daily.

Royalty,

$50-$35

WHO KILLED SANTA CLAUS?

TERENCE
(All

FEELY

Groups)

Thriller

6 Men, 2 Women, Interior

Barbara Love is a popular television 'aimtie'. It is Christmas,
and a number of men connected with her are coming to a
party. H e r secretary, Connie, is also there. Before they arrive
she is threatened b y a disguised voice " n her Ansaphone, and
is sent a grotesque 'murdered' doU in a coffin, wearing a dress
resembling one of her own. S h e calls the pohce, and a handsome detective arrives. Shortly afterwards her guests follow.
It becomes apparent that one of those guests is planning to
kill her. O r is it the strange young man who turns up u n expectedly, claiming to belong to the publicity department,
but unknown to any of the others?
" . . . i s a thriller w i t h heaps of suspense, surprises, and nattily
cleaver turns and twists . . . M r . Feeley is technically highly
skilled i n the artificial range of operations, and his dialogue is
b r i l l i a n t l y e f f e c t i v e . " - T h e Stage. London.

Royalty,

$50-.$2.5
#2