New Horizon Theater celebrates Black History Month with Philip Hayes Dean's "Freeman," a classic family drama from the 1970s, a sense of which is given immediately by Mark Clayton Southers' homey and detailed set. Southers, who also directs, fills the stage with comfortable but inexpensive furniture, indicating a house well-cared for and very much -- maybe too much -- lived in.

The Aquilas' home is bursting at the seams with parents Ned and Teresa, their adult son Freeman and his very pregnant wife, Osa Lee. Tension builds and tempers flare, mostly driven by Freeman's seeming irresponsibility. He's a dreamer, but he doesn't want to follow anybody else's rules to achieve his dreams. Dean paints a complex picture. Freeman is frustratingly obstinate and close-minded, but he's also smart and unfairly limited by his surroundings, both societal and familial.

These complexities of character are handled with ease by Leslie "Ezra" Smith, who instills Freeman with raw energy. He's hardly ever still, making Freeman seem nearly consumed by his unattainable desires. Freeman simmers with anger and Smith is adept at knowing when to control and when to unleash Freeman's rage.

In spite of the title and Smith's skill, "Freeman" is an ensemble piece and Southers smartly highlights the family scenes, which are sometimes moving but more often hilarious. This is due to Leslie Howard (Ned), Cheryl M. El Walker (Teresa) and Meredith Pierce (Osa Lee), who bicker and complain and are generally reminiscent of every family who ever breathed under one roof. Their realistic portrayal of the trivialities of family life make Dean's deadly serious ending that much more shocking.

This strong ensemble is completed by Erick Irvis as the Aquila's friend, Dr. Rex Coleman.

With the added appeal of great period music provided by sound designer Wali Jamal to ease the audience through some longish scene changes, "Freeman" deserves a much larger audience than it had Saturday night.