Millennial Notes

Lorraine Hansberry Exposes European Arrogance in Africa

by Kristian Stovall

“Les Blancs” is a story that doesn’t let you look away. It holds up a mirror to the impact of colonization—on spirit, family, and identity. Lorraine Hansberry’s 1970 study of imperialism asks: What do you do when your own kin have had their hearts and minds taken over by imperialists?

Oakland Theater Project has delivered a bold, unflinching, and necessary picture of what it’s like to be trapped in a colonized country, ruled by an imperial power.

“Les Blancs” pulls no punches. Director James Mercer II brings the story of an African village to life, with the all Black woman cast sitting on crates, wearing masks, facing the audience, arena-style. In the village, in the hut, we are there with them. The set design is both symbolic and practical—movable pieces like wicker trunks draped in kente cloths allow the space to shift fluidly.

Stark projections depicting bone-in-nose caricatures give way to living, breathing bodies onstage. The impact is chilling, reminding us that the descendants are still here—living among us, not as relics of the past, but as neighbors, friends, and family, enduring the legacy of those images.

Mercer has made bold casting choices: Women of color play roles meant for men, Black and white.  The gender and racial swap challenges our expectations, adding humor and complexity. Seeing a Black woman play a white male character sharpens Hansbery’s satire.

The American journalist Charlie Morris (versatile Champagne Hughes) exposes the fragile ego of white liberals. “See, you do hate all white men” lands differently when delivered by a Black woman. Hearing those lines from a woman of color highlights the farce of the white man who believes himself above accountability.

The acting is phenomenal. Each actor’s performance is grounded and emotionally charged. Monique Crawford does a fantastic job portraying Major Rice, a British  colonial officer. Jeunée Simon gives an authentic heartfelt performance as Tshembe, an African prince who lives in London with his European wife and child. Simon’s performance is filled with grit, nuance, and emotional honesty. Tshembe just wants to live. His return home for his father’s funeral pulls him back into the heart of a crisis he prefers to leave behind.

He’s forced to confront what truly matters—the preservation of his family’s traditions, the memory of his father, and the fight for liberation in the face of colonial takeover. The internal conflict—between escape and responsibility, comfort and truth—is written in her body, her tone.

The sound design by Alex Fakayode creates a powerful ambience, carrying the emotional weight of every scene, rising with the tension, softening with transitions. But the jungle is full of what the whites call “terrorists.” We know they are not terrorists, they are the Freedom Fighters of the 60s, like Lumumba, Senghor, and Mandela. They are fighting to liberate their people from imperial overlords.

Hansberry has tried to show what colonization looks like to Black Africans who have lost their countries. The sons of the tribal Chief take different directions: one is a Priest, one is a drunkard, and the third, Tshembe, is seduced by the comforts of London. What choice will he make now?

This is a must-see show. Bravo to the entire cast and crew.

“Les Blancs” by Lorraine Hansberry, adapted by Robert Nemiroff, directed by James Mercer II, lighting by Stephanie Anne Johnson, props by Renee Mannequin, choreography by Latanya d. Tigner, sound by Alex Fakayode, costumes by Lynell Simmons, & projections by Dilpreet Kanand.

Info: oaklandtheaterproject.org – to August 3, 2025.

Cast: Rezan Asfaw, Monique Crawford, Champagne Hughes, Jacinta Kaumbulu, Aidaa Peerzada, Jeunée Simon, Brittany Sims, and Ije Success.

Banner photo: Jeunée Simon, Brittany Sims, and Monique Crawford. Photos: Ben Krantz Studio