Driving Miss Daisy

Alfred Uhry’s 1987 play has, on the surface, a simple but poignant message, racial tolerance or intolerance is no doubt at the heart of the work. But in the hands of this excellent cast and director the play is so much more. This is a play about relationships and trust, about dignity and a willingness to change and it couldn’t be better played than by Siân Phillips, Derek Griffiths and Teddy Kempner. Kempner as the son is cleverly restrained, never resorting to a stereotypical portrayal of the good Jewish son, and even when he reveals his hand as an oppressed member of an ethic group who will play oppressor, he is convincing in his argument or at least in his need for self preservation.

Griffiths proves that he is an actor of great skill and depth, his gentle portrayal of Hoke is warm and likeable, and in the simplicity of his performance the heart of this story is exposed, no eye rolling histrionics here but real heart.

Miss Daisy is wonderfully realised by Siân Phillips. Her performance is perfectly balanced, her anger dignified and rational, even when the argument is irrational, and few could portray the slow physical decline of an elderly woman with such restrained elegance. It highlights the sad truth that physical decline in a person is as damning as mental decline, the frustration of no longer being able to do what an active mind wants to do. The relationship that the two central characters build is one of true friendship. This production does not skip the tensions of racial prejudice, they are all there, but what it does is do this with a deft hand, a lightness of touch that is also helped by a beautifully simplistic set and soundscape. All in all a production that highlights how good modern theatre can be – and without resorting to technical wizardry.

18 September

Theatre Royal Brighton

Andrew Kay

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