Playhouse Merced’s production of “Driving Miss Daisy” by Alfred Uhry, set in 1948 to the 1970s Atlanta, Georgia with the civil rights movement as a backdrop, portrays what happens when two people from distinctly different ethnic and social backgrounds are thrown together in an employment relationship.
As the story begins, Daisy Werthan (played by Connie Stetson), an elderly, white Southern woman of Jewish decent, is compelled to hire an African American driver, Hoke Coleburn (played by Dennis Brown), after she accidentally backs her car through a garage and her son, Boolie Werthan (played by Jim Kocher), insists she stop driving herself.
Hoke explains to Boolie on an interview that although he is an experienced driver with excellent credentials, it’s difficult for an African American to get a job.
Boolie seems sympathetic, but the fact he and Hoke’s former employer are buddies actually clinches the deal.
Hoke, happy to have a job as a chauffeur or any job at all, is eager to please but Miss Daisy, who resents having to rely on anyone, especially an African American, treats him like an annoying nuisance.
However, Daisy soon realizes she has something in common with Hoke. After a particularly exasperating conversation with Miss Daisy in which Hoke feels insulted, Hoke tells her that their relationship should stay within the boundaries of business (she needs a driver and Hoke needs a job). This comment resonates with Miss Daisy, since she prefers all her relationships with the help to be at arm’s length.
But that is not what happens, over time. Their relationship changes over a series of scenes. An example is when Daisy discovers Hoke has taken one of her cans of salmon. She makes a fuss and insists that Boolie fire Hoke for stealing, but Hoke arrives unexpectedly, apologizing to Miss Daisy for eating her salmon the day before. He has brought a new can of salmon to replace it.
The ingrained prejudice and resistance she feels eventually dissolves as Hoke continues to earn her trust. As the two become accustomed to each other’s ways and personalities, playwright Uhry shows a new dynamic which is a major shift in the theme of the play.
The two move toward friendship and acceptance.
When a storm results in a power outage and icy roadways, Miss Daisy is isolated alone at home. Without being asked, Hoke braves the dangerous storm to bring Miss Daisy her morning coffee, a gesture she adores. In this moment, her sentimental and introspective side is displayed.
Not only does Daisy begin to overcome her prejudice as she continues to depend on Hoke, but Hoke begins to appreciate the new relationship he has with his boss.
Although Miss Daisy is evolving, the racial tension of the era is revealed when she decides to attend a dinner where Martin Luther King, Jr. is a guest and has an awkward moment discussing it with Hoke.
As Hoke continues to drive Miss Daisy throughout three decades, the two experience the breakdown of segregation, the rise of the civil rights movement, and the death of Dr. King, the leader.
Interspersed with moments of personal growth is comic relief in the form of Hoke’s amusing reactions to Miss Daisy’s prejudice and stubbornness. These comedic moments allow the audience to understand the strongest inner workings of the characters.
What will happen as time goes on? Will Miss Daily at last be able to accept Hoke and acknowledge the importance of their friendship in her life?
To find out, it is best to see the play.
During an interview with the Times after the show, Playhouse Merced Director Kitsy Olson described one of the things she enjoyed about the play.
She said, “The play is poignant and well-written. Almost everyone can identify with some aspect of it.”
Olson especially identifies with the theme of aging because she was the caretaker for her grandparents.
Playhouse Merced’s “Driving Miss Daisy” runs through March 31 at the venue located at 452 W. Main Street in Merced.
For further information, those interested can contact the box office at 209-725-8587.