Prestigious "event" programming has all but disappeared from the various networks' sweeps schedules, so tonight is something of a throwback on ABC: a production of Lorraine Hansberry's A Raisin In the Sun, probably the best-known theatrical work by any African-American.

The play tells the story of Chicago's Younger family, and their disagreement over how to spend the life insurance payment resulting from the death of the head of the family. The man's widow, Lena, has a dream of sending her bright daughter to medical school and getting a home in a majority white neighborhood (no casual decision at the time the play was written in 1959, even in Chicago). Lena's son Walter Lee has different plans; he wants to use the money to open a liquor store.

The primary cast is intact from the 2004 Broadway revival of the play: Phylicia Rashad as Lena, Sanaa Lathan as daughter Beneatha, Audra McDonald as Walter's wife Ruth, and Sean Combs as Walter. This is definitely a cast that might inspire a round of the old Sesame Street game, "One of These Things is Not Like the Others." While Rashad is clearly best known for her work on The Cosby Show, she's been doing quality stage work for years and won a Tony for Raisin, the first African-American actress to win the Tony for lead acting in a play. McDonald also won a Tony for this production to add to the several she already had; she doesn't sing here but is on the short list for any key musical roles that come along (or at least she was before Private Practice began occupying her time).

Combs, on the other hand...well, he's Diddy. Before which he was Puffy, and several other nicknames he's acquired and discarded like so many cell phones. To his credit, Combs does seem to care about being taken seriously as an actor; he drew praise for a key small role in Monster's Ball. And people have long since gotten used to the idea that hip-hop stars can be capable of making an easy transition to acting, and not just playing versions of themselves -- Will Smith has all but completely gotten us to stop thinking of him as the Fresh Prince.

The difference with Combs is that he has a public image that's harder to put aside than most. Hip-hop's most prominent champion of conspicuous consumption is a little more difficult to buy as someone who is struggling in any way, though it's not an impossible task. It's easier to take shots at his ambition in tackling Walter Lee, one of the major roles in theater for any black actor. Even Smith did his time as a sitcom star and in Bad Boys before building up the reputation that won him the roles capable of landing him Oscar nominations. Combs started at the top, and in live theater to boot.

But even though Diddy doesn't necessarily lend gravitas to the cast, if his star power persuades a few extra people to watch a theatrical classic, then it's all for the good. Perhaps when Emmy nominations roll around, we might find that rarity: a production on a broadcast network receiving nods in the movie/miniseries category.

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