I don't know what to say honestly, other than "Driving Miss Daisy" was one of the most thought-provoking and poignant theatre experiences I've been privy to. In fact, I wish I was older so that this wasn't merely the second time I've had the privilege to watch Carmen Decker master the stage.
Indeed; she knows how to work an audience - she was gauging the laughter and using the set, her voice, her body, the props, and the other actors to breathe life into her role. Ms. Decker is not only engaging and human - she's also just damned fun to watch. Unpredictable and cantankerous, she's everything I was hoping to see and more. I can't say enough good things about Ms. Decker - you just have to see her for yourself.
James Bowen as Hoke, the driver her son Boolie hires for her after she destroys her garage and wrecks her car, also believably built this friendship with Miss Daisy over the course of 25 years. I genuinely cared about both of these people - they both carried a bit of spirit and both sat firm in their own sort of code of ethics. Mr. Bowen assumed the rigors of age with an ability that gave me pause to watch as well - he became more bent with time, walking with a bit of a limp, and none of it seemed artificial at all. What a talented actor, and what a great performance.
The last member of the cast, playing Boolie, was Bruce Bennett. I had to laugh during the talk-back after the show when one patron said she'd never seen Mr. Bennett so calm on stage - she said when she saw him she expected bursts of energy, mime and other comedic antics that Mr. Bennett has been known for. To his credit, he acted as an anchor for the show; while the focus of the production did center around the relationship that built between Hoke and Miss Daisy, Mr. Bennett's respect and, I think genuine affection for Ms. Decker, was a beacon in the play as he played the straight man for her to shoot one-liners at and be cranky with...in one scene she seems to reach up (as tiny as she is) to kiss Mr. Bennett's cheek (who is rather tall, particularly in comparison to her) - but instead she knocks her head into his and departs. I loved it - he shook his head, and it seemed like a natural thing for a loving son to do - to accept his mother for who she is and all of her quirks. His character never tries to change her - he merely loves her, and Mr. Bennett's performance as Boolie genuinely portrays a son who does care for his mother and worries for her - it is just as authentic as the relationship that Ms. Decker and Mr. Bowen create.
Such delights abound in this play - little gestures, vocalizations, hesitations, and the attention to detail were minute; I can't say enough good things about these actors. They remained impeccably in character throughout the show.
The only thing that I seem to disagree with other people who have seen the show is that I really didn't care for the set. It seemed ponderous, with decoupage pictures attached to the floor that created a bit of a lip, and thus an uneven surface to walk on. I noticed parts of it were peeling up, and from where I was sitting I couldn't tell that it was in the form of a "friendship quilt star." I don't see how this concept fits into the show. I also didn't care for the ragged edges around the floating set pieces; if Miss Daisy was wealthy then I wish the set had been a bit more elegant to reflect her stingy yet refined tastes. There was also a gate in the background with the Star of David on both posts; no Jewish person at that time would have advertised their faith - particularly since one of the scenes in the show involves violence at a temple. It looked more like the gates to a cemetery, leading me to believe it was the foreshadowing of Ms. Daisy's death. But - she doesn't die at the end of the show - so again, I'm left wondering what the gate had to do with the story.
In my opinion, it seemed that the set designer tried to force a concept to work onto a show when it just didn't. The light designer, however, did a wonderful job lighting specific parts of the set for specific scenes without a lot of light overflow, and the actors always stayed in their light (some actors don't seem to sense the light and wander from it - and others just instinctually seem to know where that line is). The sound design was also lovely, and fit in well with the story - it was appropriate and at times, very moving.
The only other show I saw Ms. Decker in was "Unnecessary Farce," and I fell in love with her then - I'm glad she came back to Boarshead to perform in "Driving Miss Daisy" - what a treat for Lansing; go and make your reservations now. Seriously. This is a show that you just shouldn't miss.
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