Theater: “The Sign in Sidney Brustein’s Window” by Lorraine Hansberry

Playwright Lorraine Hansberry, fresh off her award-winning “Raisin in the Sun” (1959), soon followed that up with another play, “The Sign in Sidney Brustein’s Window.” Unlike “Raisin,” however, this second work was a critical flop and closed in a matter of months.

Having just seen this year’s unfortunate revival of “Sign” at BAM, I can understand why it flopped.

Sidney (Oscar Isaac) is a firebrand/dreamer living in mid-1960s Greenwich Village, whose nightclub (“It wasn’t a nightclub!” he insists) has tanked, and who is seeking investors for a local newspaper he’s taken over. A reform-minded politician (Andy Grotelueschen) approaches him to ask for the paper’s endorsement, which Sidney initially refuses to give.

Sidney’s wife Iris (Rachel Brosnahan from “The Marvelous Mrs. Maisel”) is a frustrated actress flipping pancakes in a local coffee shop, hoping to break into show business. (“I want to be remembered!” she whines.) Her bossy, Park Avenue sister Mavis (Miriam Silverman) visits from time to time, offering unsolicited advice to her “bohemian” in-laws.

Then the troubles begin. Sidney decides to commit to the reform candidate, who turns out to be less than simon-pure. His relationship with Iris sours when she chooses to act in a TV commercial. Meanwhile Iris’ other sister Gloria (Gus Birney) visits—turns out she’s a high-priced call girl with some rather kinky clientele.

Perceptive playgoers (and you, gentle reader) may see where the playwright is going here—we all need to be, in some sense, prostitutes who sell our souls to pay the rent. By Act Two, the heavy handedness of the message becomes a bit much and “Sign” simply falls apart.

Any bright spots? Yes. Oscar Isaac demonstrates that his charisma and comedic charm are as strong as his acting chops. First wowing us in the film “Inside Llewyn Davis” (2012), he gives his best stage performance since starring in “Hamlet” at the Public. Isaac makes Sidney a full-fledged tragic hero. (And apropos of nothing the actor reveals he can play a mean banjo.)

The other highlight of this production is Silverman, who plays Mavis to a fare-thee-well. She tells Sidney she agrees to stay married to her philandering husband, further driving home the point that you have to somehow compromise your integrity to make your way in the world. As for the other members of the cast (including Brosnahan), the less said, the better.

“Sign” is the third play we’ve seen this season (after “Raisin” and “Baldwin vs Buckley”) that touches on the young, gifted, and Black Lorraine Hansberry. Unfortunately, “Sign” also demonstrates that you can sometimes be young, gifted, and less than perfect.