With a cast that looks–and acts–as if they were born for the roles, the Dramatic License production of "Driving Miss Daisy" brings style and grace to a suburban shopping mall, and its presence is a plus for civilization. Alfred Uhry's comedy, with serious moments here and there, much like blueberries in a muffin, is a sweet-natured tale that is coming up on its final weekend.
For several reasons, I was unable to attend on the opening weekend, but it was nice to see an almost-full house for a Sunday matinee yesterday. The use of small spaces to promote and perform the arts in malls in Crestwood and Chesterfield helps spread St. Louis' acting wealth around, and small companies who perform there deserve praise just like the mall owners who make the space available.
Then story involves the title character, a wealthy, elderly Jewish woman (a delightful Sally Eaton), her son Boolie (B. Weller, underplaying with grace) and Hoke, her African-American chauffeur (Dennis Lebby) is a good look at mid-20th century America. It covers some 25 years in their lives (1948-1973), from the time just one more driving accident, destroying more than the usual mail box, makes her uninsurable.
Daisy, a retired school teacher, was born poor but her family prospered in the midst of Atlanta's rise to become the major city of the post-World War II south. She has enough money, a house, a maid and a seat in a Reformed temple. She thinks she's rather liberal, but is typical of the Atlantan of the period. Boolie, running the comfortable family printing business, belongs to the Chamber of Commerce, and though he knows it's wrong, he will not rock the boat.
Hoke understands, too, knowing his place and his role, and fighting quietly against being there.
Eaton's Daisy is a perfect aging mother, crochety and fierce, distrusting Hoke and the maid, scorning her daughter-in-law for putting on airs, frightened of the changes she can feel in the air. Weller, who loves his mother and understands her, and nicely shows the frustration that grows in his dealings. He and Hoke conspire lovingly against Daisy, slowly dragging her into the slightly less-segregated second half of the century. Lebby, who has played the role several times before, handles it stylishly. He's polite and in control, accepting small slights because he knows how to make the necessary compromises, but when he finally has his back to the wall, he strikes sparks. All three offer exciting performances.
Annamaria Pileggi's direction brings out all the nuances in Uhry's play, which works well on the small stage. Daisy's frocks, and Weller's checked trousers, reflect the time and place very well. It's a good play, with then ability to provide humor, and also to look beyond the laughs to see the tears.
Driving Miss Daisy, by Dramatic License Productions, continues through March 27 at Chesterfield Mall.