Opening night of Driving Miss Daisy at the Playhouse driven by a splendid cast and powerful storytelling
The brilliance is in the details, and the opening performance of Driving Miss Daisy at Laguna Playhouse on Sunday certainly proves that adage to be true. Fine-tuned by an incredible cast of Michael Learned (Daisy Werthan), Lance E. Nichols (Hoke Colburn), and David Nevell (Boolie Werthan), each actor superbly grounds and propels the story over a span of 25 years.
Together, they form a trifecta of remarkable talent.
Michael Learned won a record four Primetime Emmy Awards for Outstanding Lead Actress in a Drama Series in The Waltons (1973, 1974, 1976) and Nurse (1982).
Lance E. Nichols is a veteran character actor, best remembered for his starring role as dentist Larry Williams in HBO’s critically acclaimed Treme.
David Nevell returns to Laguna Playhouse, having previously appeared in Twelve Angry Men and The Odd Couple.
To most, this is not an unfamiliar story. Playwright Alfred Uhry’s groundbreaking Pulitzer-prize winning story chronicles the decades-long relationship between a strong-willed, well-to-do Jewish woman and her black chauffer in the Jim Crow South. Set against the backdrop of changing world events between the late 1940s and the early 1970s, what begins as a hostile pairing blossoms into a life-altering friendship that transcends all the societal boundaries between them.
Driving Miss Daisy has absorbed audiences since its off-Broadway opening in 1987, productions meandering their way from three national tours, to an Oscar-nominated film, to London’s West End, and a Broadway opening – finally – in 2010.
Clearly, covering a wide range of subjects like aging, race, class, and religion, particularly in an iconic play and Academy Award-winning movie, is tricky, but this production handles it with delicacy and heart.
As directed by Michael Bloom, who is the former artistic director of Cleveland Playhouse, it is masterfully orchestrated in all respects.
Learned has perfected the look, voice, accent, and prickly personality of Daisy as well as the hard shell that barely hides her vulnerability. Measuring every scene with subtle yet profound nuances, Daisy’s brittle nature is reflected in the stiffness of Learned’s movements, and the quavering of her mouth and chin in the last scenes, underscoring that she’s no longer in control of even her own body. I challenge anyone over the age of 60 not to tear up during the scene in which Daisy thinks she’s still a teacher and can’t find her papers. That interaction with Hoke is worth the price of admission.
Nichols approaches Hoke’s character with confidence and calm resolve, and the humorous jockeying with Miss Daisy is a delight to witness, although one of the best scenes is when they have a disagreement over his need to stop the car to go to the bathroom. He is a strong entity on stage and a formidable counter to Learned.
In one moving scene, Miss Daisy finds out from Hoke that her temple has been bombed, and although she doesn’t want to believe it, when Hoke relates the story of his friend’s father being hanged, there’s a moment of quiet revelation that these two characters are more alike than different.
Nevell’s “Boolie” is less stereotypical than the son in the movie version, and however disturbed the audience might be about his beliefs, we do care about him. Nevell has great command of his character and he’s a pleasure to watch. One of his best scenes is when he’s trying to talk his mother out of going to the Martin Luther King dinner.
Adding to the overall atmosphere is the minimal setting, which never changes. It serves to emphasize the aging of the cast as time passes. And the benches (standing in for the automobile) make audience members feel as if they’re riding in the car with Miss Daisy and Hoke.
Each aspect of the production adds to its authenticity. The entire design team should be commended: Scenic Design by James Fouchard; Lighting Design by Martha Carter; Original Sound Design by Aerick Harbert; Sound Design by Kate Weeker; Original Costume and Wig Design by Jackie Rebok; and Production State Manager Karen Schleifer.
Even though Uhry’s play was first performed in 1987, neither the story or the production is dated in any way. (He has the distinguishing honor of being the only American writer to win a Pulitzer Prize, an Oscar, and a Tony.) The moment Learned, Nichols, and Nevell take the stage, they fill the theater with their presence and take us back to marvel again at the timeless impact of Driving Miss Daisy.
Laguna Playhouse Executive Director Ellen Richard says, “We are thrilled to ring in 2019 with this powerful and still vitally important play.”
As evidenced by the long-standing ovation on Sunday, it’s a “not to be missed” event.
Driving Miss Daisy will run through Sunday, Jan 27 with performances on Wednesday through Friday at 7:30 p.m., Saturday at 2 p.m. and 7:30 p.m., and Sundays at 1 p.m. There will be added performances today, Jan 15, at 7:30 p.m., Sunday, Jan 20, at 5:30p.m., and Thurs, Jan 24, at 2 p.m.