Live theater can reach one’s heart, explore emotions and show us who we are and who we might become, grasping the sentimental without being cloying or sappy. This is especially true in the now classic “Driving Miss Daisy,” receiving a heartfelt, absorbing run through Sunday, March 1, at Palm Beach Dramaworks in West Palm Beach.
Alfred Uhry’s 1987 play, which took the 1988 Pulitzer Prize for Drama, endures and is frequently produced across the country. The 1989 film version received four Academy Awards, including Best Picture and Best Actress for Jessica Tandy.
On the surface, “Driving Miss Daisy” seems to be simple — a son hires a chauffeur for his elderly mother because her driving has become a safety issue. But it is about the bonds between parent and child, how real affection and respect can grow between strangers, as well as about aging, classism, resilience, the loss of independence, assimilation, and prejudice toward both race and religion. Throw in the background of the South in post-World War II and that ups the segregation and racial divide.
Yes, that’s a lot to pack into a 95-minute play, but Uhry’s well-constructed script has no weak points. “Driving Miss Daisy” is the first play in Uhry’s Atlanta Trilogy that explored aspects of Jewish life during the 20th century.
Successful Atlanta businessman Boolie Werthan takes away the car keys from his 72-year-old widowed mother, Daisy, because she has had one too many car accidents. Losing her independence doesn’t set well with Miss Daisy, a former schoolteacher who takes pride in being self-sufficient. “I’ve always done for myself,” she says adamantly.
Growing older isn’t for the faint of heart, and this strong-willed woman refuses to go gentle into that good night. (We hear you, Daisy!) One caveat we must mention: 72 hardly seems old now. But 72 in 1948 was a lot different.
Daisy insists she is not prejudiced but bristles that Boolie will hire a Black man. Hoke Colburn has experience driving other families. He also desperately needs the work and is willing to put up with Daisy’s barbs and curmudgeonly attitude. Hoke also says he likes that the Werthans are Jewish because he has found them to be good, fair employers.
The drive has a bumpy start. Hoke spends a week sitting in her kitchen, doing nothing, before Daisy will allow him to drive her to the grocery store. Even then, she berates him for going too fast (19 mph!), taking a route she never did, and parking where she wouldn’t.
But gradually, the relationship between Daisy and Hoke changes gears from adversarial to real affection, care and friendship. Many tender, poignant scenes shift the plot. While tending her husband’s grave, Daisy learns Hoke can’t read, so she begins to tutor him, making the former teacher feel useful and needed again, and instilling in Hoke a sense that someone cares.
Debra Jo Rupp and Matthew W. Korinko are mother and son in Palm Beach Dramaworks’ “Driving Miss Daisy.” (Jason Nuttle Photography/Courtesy)
Along the way, Daisy and Hoke each will confront, acknowledge and, in a way, overcome their own often-unthinking prejudice. Daisy grows from saying all Blacks, except her maid, steal to having Hoke drive her to a banquet supporting Martin Luther King Jr. (“I think he is wonderful,” she says.) Hoke will understand the prejudice endured by Jews in post-WWII Atlanta.
Dramaworks’ excellent production explores all the depth of this classic, with expert direction from Julianne Boyd, co-founder of Barrington Stage Co. in Massachusetts, guiding the first-class cast of Debra Jo Rupp, Ray Anthony Thomas and Matthew W. Korinko.
Rupp brings depth to Daisy, balancing the character’s prickliness with her determination and need to be independent. She allows us to see how Hoke’s mere presence and his concern break down her walls. During the play, Daisy ages more than 20 years as Rupp terrifically shows her heartbreaking move to dementia and frailty.
The actor has long shown her skills in films and TV series, including as Kitty Forman in the sitcom “That ’70s Show” and “That ’90s Show,” as well as memorable supporting roles including “Seinfeld” and “Friends” and in movies such as “She’s Out of my League.” Rupp also has a long theatrical resume; she played Dr. Ruth Westheimer in the plays “Dr. Ruth, All the Way” (2012) and “Becoming Dr. Ruth” (2013).
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But “Driving Miss Daisy” is a true ensemble piece.
Thomas, whose 40-year career spans TV, film and stage, delves deep with Hoke. Thomas shows a man who has had to deal with being in service to others, generally white families, all his life. But Thomas shows that Hoke has refused to give up his dignity or pride. He illustrates that Hoke’s affection for Daisy is real. But he also isn’t afraid to speak his mind and tell Daisy what she needs to know, even if she balks. Thomas brings chills as Hoke recounts a childhood memory.
Korinko, co-founder of Slow Burn Theatre Co. in Fort Lauderdale, delivers a strong, heartfelt approach to Boolie, exhibiting both his deep love for his mother and his frustration with her. Anyone who has dealt with an aging parent understands the challenges and frustrations. Korinko endearingly taps into this. He elevates every role he plays. Watch how Korinko illustrates Boolie’s conflict at publicly taking a right stance that might be unpopular and lead to a backlash because he is a Jewish businessman — a valid concern considering Atlanta history.
IF YOU GO
WHAT: “Driving Miss Daisy,” presented by Palm Beach Dramaworks
WHEN: Through Sunday, March 1
WHERE: Palm Beach Dramaworks, 201 Clematis St., West Palm Beach
COST: $95
INFORMATION: 561-514-4042; palmbeachdramaworks.org
A version of this review ran in floridatheateronstage.com.
