The appeal of the play lies in its seamless blending of the personal and the political, and the down-to-earth humour avoids any sense of preachiness while delivering a powerful indictment of the genteel brutality that enforced racial segregation in the Southern states.
The political context is effectively reinforced through photographic projection and contemporary music - most notably with the spine-chilling voice of Bessie Smith.
Playwright Alfred Uhry draws on personal experience to present a perceptive account of the awkward solidarity that was forged between the prosperous liberal Jewish community and the black American civil rights movement.
The third, often overlooked, character is ably played by Phil Peleton with a sympathetic portrait of an eager-to-please Jewish merchant who clearly understands the machinery of oppression but is paralysed by the need to fit in.
The production would have benefited from a more coherent design vision but Louise Wallace's direction suggests a willingness to follow the instincts of her actors and the trust is rewarded with performances that exude a compelling sense of humanity.
Theatre review
What: Driving Miss Daisy
Where: The PumpHouse, until May 19.
