Theatre Three’s “Driving Miss Daisy” is a Great Artistic Triumph

Alfred Uhry’s two-act play, “Driving Miss Daisy,” opened Off-Broadway in 1987 at Playwrights Horizon Studio Theatre on 42nd Street. In 1988, this play received the Pulitzer Prize for Drama, which is a prestigious award given to “a distinguished play by an American author, preferably original in its source and dealing with American life.” As a playwright, I consider this dramedy to be an American treasure: well crafted, with a moving story that offers a vision of hope, written with an economy of words, yet bursting with emotion.

“Driving Miss Daisy” is the poignant, often funny exploration of the complex, quarter-century long relationship between Daisy Werthan, an uptight, affluent, aging, Jewish widow in postwar Atlanta, and Hoke Colburn, the African-American driver, hired by her son, Boolie, to chauffeur her around, after she inadvertently cracks up her car.

When the play opens in 1948, the relationship between Miss Daisy and Mr. Colburn is strained, hostile, and troubled, mainly because Miss Daisy is opinionated, domineering, and arrogant; however, over the course of time, we see how two distinctly different people, overcame seemingly insurmountable odds, to form a soulful, loving, and intimate friendship, which transcended any and all societal boundaries.

For those of us old enough to remember segregation, and the racial strife of the 1960’s and 70’s, this play is a painful, thought-provoking trip down memory lane. Hoke, on a long road trip with Miss Daisy, mentions how he couldn’t use the restroom of a service station, because he’s colored, and now needs to pull over to “go make water.” Those few terse pieces of dialogue served as a horrifying reminder that America, the purported land of the free, hasn’t always lived up to this unalienable right: “All men are created equal.”

“Driving Miss Daisy,” is an incredible vehicle for actors to display their talents and hone their craft, and the superb cast at Theatre Three: Antoine Jones, Phyllis March, and Steve Ayle formed a kind of Holy Trinity, holding the audience spellbound to the bitter end.

The alchemy between Phyllis March, as Daisy Werthan, and Antoine Jones, as Hoke Colburn, is truly magical. The heart-wrenching scene, where Miss Daisy’s memory begins to fail her, and she drifts in and out of senility, as Hoke desperately tries to comfort her, was one of the most powerful performances by two actors you will ever see on stage.

Ms. March was brilliant in the way she physicalized Miss Daisy’s slow decline into old age, her shoulders drooping, back hunching over, her gate growing ever slower and more unsteady, her hands shaking, and the subtle way, over time, her voice grew more fragile and thin.

Mr. Jones brings a quiet dignity to the part of Hoke Colburn, a wise, but uneducated black man, who has witnessed more than his share of humiliations, and yet, he still manages to exhibit the patience of a saint. Mr. Jones nuanced facial expressions, comedic timing, and vivid body language made for an unforgettable performance.

Steve Ayle was most believable and likable as Miss Daisy’s devoted son, Boolie. He is one of my favorite actors, always bringing forth the heart and soul of any character he portrays.

The entire production crew brought their immense talents to this effort. Linda May’s astute direction brought out the best in the actors, and the period costumes by Teresa Matteson and Toni St. John added a touch of realism to the play, as did Lindsay DeFranco’s amazing wig designs.

By the end of “Driving Miss Daisy,” we truly feel as if we’ve traveled a long way with these three memorable characters and feel blessed to have been a part of their remarkable journey.

Timeless, tender, and thought-provoking, Theatre Three’s production of “Driving Miss Daisy,” delivers a glorious night of theatre. It’s well worth the drive, no matter how far you might have to travel to see Theatre Three’s riveting revival of “Driving Miss Daisy.”

Now through February 1st. For ticket info: call 631-928-9100 or purchase them online at: https://theatrethree.com/driving.html

Cindi Sansone-Braff is an award-winning playwright, and the author of two spiritual self-help books, "Grant Me a Higher Love," and "Why Good People Can't Leave Bad Relationships." Her full-length romantic comedy, "Angel's Mice and Men," just had its world premiere at the Hudson Guild Theater as part of the NY Summerfest 2019 Theater Festival.