NEW YORK, NY.- James Baldwin recalled first meeting Lorraine Hansberry in 1958 at the Actors Studio in Manhattan after a workshop production of “Giovanni’s Room,” a play based on his novel of the same name. The “biggest names in American theater” were there, he noted, and gave their critiques of the play. But then he locked eyes with a woman yet unknown to the theater establishment who articulated a full appreciation of him and his work. Of that encounter, Baldwin wrote: “She talked to me with a gentleness and generosity never to be forgotten.”

For the next seven years, Hansberry and Baldwin would continue to find moments of deep understanding, forging a relationship even though they often did not live in the same place. But their storied friendship was cut short by Hansberry’s untimely death at the age of 34 in 1965.

This fall, the two writers are communing once again at the Public Theater and, perhaps, finishing a few conversations, with productions of “Baldwin and Buckley at Cambridge,” created by and coproduced with the Elevator Repair Service, and a revival of Hansberry’s classic play, “A Raisin in the Sun,” directed by Robert O’Hara.

“Baldwin and Buckley at Cambridge,” running through Oct. 23, presents a reenactment of a 1965 debate between Baldwin, the writer and civil rights activist, and William F. Buckley Jr., the conservative founder of National Review. The two men argued the motion “The American Dream Is at the Expense of the American Negro.”

The play provides a historical touch point for our fractious political present. Director John Collins said, “I think there are several ways to frame why you should listen to those you disagree with, and sometimes it is because one should allow for the possibilities that the people you don’t agree with might have something intelligent and worthwhile to say. The other reason, though, is to really understand the seriousness, and sometimes the danger, of these other arguments.”

Drawing verbatim from the debate transcript, the play ends with an imagined conversation between Baldwin and Hansberry that was inspired by a 1961 discussion about Black Americans in culture. (In addition to Baldwin and Hansberry, the other participants included essayist and publisher Emile Capouya, journalist and social commentator Nat Hentoff, poet Langston Hughes, and writer and critic Alfred Kazin.) Although they focused primarily on the question of Black writers in American literature, they also considered the status of Black Americans.

On the subject of crafting Black characters, Baldwin explained, “Faulkner has never sat in a Negro kitchen while the Negroes were talking about him, but we have been sitting around for generations, in kitchens and everywhere else, while everybody talks about us, and this creates a very great difference.”

Hansberry confirmed, “Which is a different relationship, because the employer doesn’t go to the maid’s house.” She continued as Baldwin and the rest of the room erupted in laughter, “We have been washing everybody’s underwear for 300 years. We know when you’re not clean.” The recording captures Baldwin and Hansberry’s intimacy and the joy they felt in each other’s company.

Imani Perry, a Princeton University professor whose books include “Looking for Lorraine: The Radiant and Radical Life of Lorraine Hansberry,” describes theirs as “an intimate intellectual companionship. They are both deeply concerned with Black life and regular Black folks’ lives, and also think about the politics of race and its depiction in the public arena.”

“He trusted her artistically, which is a big deal, for someone who is his junior, younger than him, and also when they became friends, he had a larger visible platform,” Perry said of Baldwin, who was 34 when he met a 28-year-old Hansberry. “It was a beautifully intimate friendship. It’s the kind of thing that I think every person who’s either an artist or intellectual, and certainly a person who’s both, yearns for.”




Greig Sargeant, who plays Baldwin and conceived the play, notes that Elevator Repair Service wanted to show the public and private Baldwin. “We did some research,” he said, “and one of the things that we found was that article ‘Sweet Lorraine,’” the essay Baldwin wrote to eulogize his dear friend. In writing the last scene of the play, Sargeant and April Matthis, who originated the Hansberry role, consulted numerous essays, interviews and speeches. Baldwin and Hansberry “sharpen each other by having these debates,” Matthis said, “and it’s always loving, and it’s all meant to hold each other to account with so much love.”

The Public Theater’s fall season also includes a revival of Hansberry’s “A Raisin in the Sun,” about a Black family’s struggles to achieve their dreams within the constraints of a segregated America. The drama, directed by Robert O’Hara and opening Wednesday, centers on the Youngers and their decision to buy a house in a white neighborhood in Chicago. It emphasizes the impact of desegregation.

To drive home this point, O’Hara decided to include a scene with a neighbor, Mrs. Johnson, that is usually cut from productions. “We know where they’re moving in many ways is more dangerous than where they were living,” he said. “I love the scene where Mrs. Johnson says she’s for ‘people pushing out.’ And then she says, but you might get bombed. She’s a harbinger of what the Youngers will face in suburban white America.”

Before the play’s historic premiere on Broadway — it was the first written by a Black woman to be produced there — Hansberry and Baldwin reunited in Philadelphia for its run at the Walnut Street Theater. Sargeant noted, “I read an article once where Baldwin said that the great thing about going to see ‘A Raisin in the Sun’ was that he had never seen so many Black people in the audience,” because “Black people ignored the theater because the theater ignored them.”

“So now the good thing about being in 2022,” he added, “is that we have an institution that is making an effort to make positive changes for the future, having us both there at the same time, highlighting the relationship between Baldwin and Hansberry.”

One hears in both O’Hara’s production of “A Raisin in the Sun” and “Baldwin and Buckley at Cambridge” a longing for missed conversations. “Baldwin” offers trenchant examinations of the American condition, and “Raisin” questions the American dream. “Lorraine Hansberry had this incredible, fantastic, lightning bolt of a play, and then she died so early,” O’Hara said. She did not live to see the Black power movement, or the queer women of color who led third-wave feminism. O’Hara continued, “Imagine what she would have been able to do if she were able to dream longer with us, and that’s what’s exciting, we can now acknowledge her queerness.”

Producing the play in 2022, O’Hara anticipates the impact of the civil rights movement in the late 20th century, a period that Baldwin lived through and wrote about. He continued, “Doing it downtown, we can investigate some of the more difficult crevices.”

The production takes on substance abuse, depression, sexism, classism and the virulent racism that shaped mid-20th-century American society and continues to inform our own. O’Hara said his take on the American classic draws from his general approach to making art. “I live by this tenet as an artist and a human being that I will not be limited by your imagination,” he said. “Because you can’t imagine it doesn’t mean that it’s unimaginable.” Similar to Baldwin and Hansberry’s exchanges, O’Hara said, “I bring a cavalcade of interesting and exciting people around me to push me into the future.”

O’Hara noted the enduring importance of Hansberry’s classic and, similar to “Baldwin and Buckley,” how it anticipates our present. “I think of it as a tragedy in hindsight,” he said. “There’s uplift in the play of them wanting to move out of where they are. But I don’t want us to get lost in the glorious ending. They are moving into the white suburbs in 1959 Chicago. I just think about King saying that Chicago was more dangerous and more racist than the South.”

These two works feature questions not only about the status of America but also the theater by remembering two iconic American artists. Baldwin and Hansberry challenge, as O’Hara noted, the idea that “there’s one type of Black story. There’s one type of reality that fits Blackness.” The story contains many more chapters waiting to be written.

This article originally appeared in The New York Times.