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There is a memorable moment in the film “Oh God” when the deity, played by
George Burns, shakes his head over a wealthy television preacher: “If what
he wants is to make money, let him sell Earth Shoes.” The struggle between
faith and mammon which comes with huge religious enterprises and
megachurches is one worthy of examination.

And that’s what David Rambo’s “God’s Man in Texas” wrestles with: the
positive, even saving energy such a community can provide, yet the
potential for hubris, insulation and extravagance. Now at the Sierra Madre
Playhouse, a polished, clean-lined production gives the audience food for
thought.

Dr. Philip J. Gottschall, now in his 80s, has built an entire community
around his enormous conservative church. There is a television broadcast,
school from kindergarten to college, recreational activities, annual
parades – a community at once welcoming and insular. His wife’s Bible study
group contains the political movers and shakers of the Houston area. The
take in the collection plate is in the thousands every service.

But Dr. Gottschall is in his 80s, and the board which runs the church’s
enterprises is looking for an eventual replacement. After various try-outs,
they seem to have picked Dr. Jeremiah Mears. Thus begins a struggle for the
soul of this huge institution between the man who see himself in every part
of the thing, to the man who wants to make it his own. Through it all, they
are each assisted and given certain reality checks by Hugo, a devoted
member of the church’s 12-step programs who provides the practical voice of
the common man.

Ted Heyck gives Dr. Gottschall the right mixture of pronouncement, paranoia
and earthly pride, as a man who cannot admit to his own aging, or that
anyone else could really be as right as he is. Christian Lebano’s
particular timbre of calm as Dr. Mears makes a fine balance against the
intensity of Heyck’s character. Thoughtful, devoted, but increasingly
frustrated, his demeanor as well as his lines underscore the differences in
the approach of the two men to the same topic. Paul Perri is a hoot as
Hugo, at once fragile and practical, silly and dedicated.

Director Nancy Youngblut keeps this very talky, often amusing piece visual,
utilizing the tiny SMP stage effectively and creating a sense of a huge
church out of nothing but a pulpit and the look in her characters’ eyes.
This is aided by the particularly fine (if a tad wobbly) set by D. Martyn
Bookwalter, which creates specific spaces with artful minimalism.

Obviously, this play leans a lot on sermons and talk of religion. Yet, the
interest comes from the balance of those religious sentiments with
individuals’ actions – and the purposes behind the words, when spoken. Even
audience members who do not echo the passions of those onstage will find
“God’s Man in Texas” an interesting, if not overly deep study of character
and ethics.

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My work as an actor since 1982 has often meant playing tough, assertive characters, including Captain Kolana of the Ch’Tang, a Klingon commander on Star Trek: Deep Space Nine. The episode was called “Once More Unto the Breach.” I had my own ship. I loved flying my own ship.

Age has not mellowed my inner Klingon. I like to yell. I like big choices. Although the calm, political mediator required to thrive as a theater director is not my natural metier, when a board member of the Sierra Madre Playhouse called me last December and asked if I was interested in helming the next play, I jumped on board. Since then, I have tried desperately to sublimate my inner Klingon.

David Rambo‘s wonderful play, God’s Man in Texas, is set in “the Baptist Superbowl” — a mega-church in Texas. The cast consists of three strong male characters. The board at Sierra Madre thought maybe a female perspective might be interesting.

Now Klingon Commanders, especially the elite females, have a a couple of traits that come in handy for a director. They take no flak from anyone — male, female or alien. Klingons demand respect. They also aren’t afraid to blow things apart if the occasion warrants. So I felt my Star Trek acting gig had prepared me for a return to directing this play. My only regret is that I’d be working without the ridged forehead, high hair, elevated boots with toe spikes and ray gun, but sometimes you just have to “make do.”

Immediately after reading David’s play, I went on iTunes and started researching choral music. I have always had an affinity for vocal music, and back on Deep Space Nine I learned to sing a drinking song in Klingon. I found some of these sci-fi memories invaluable in navigating the alien sub-strata of our musical universe known as “Praise Music”.

Southern Baptist church choirs in Texas are not traditional gospel choirs, but another animal entirely. I called up an old friend, Scot Q. Merry, who had produced music for years in Nashville and asked if he’d be my sound designer. I knew we spoke the same language, and he would understand my commander mentality. In the same vein, I enlisted D Martyn Bookwalter on both sets and lights. He’s a genius. I trusted these guys “to boldly go where no man has gone before,” even if led by a woman.

I have three powerful and scary men acting in this piece: Paul Perri, Ted Heyck and Christian Lebano. None of these guys will easily back down from a creative fight, so my inner Klingon did lead to a few confrontations. I initially wanted to be all Steppenwolfy as a director, and let the trio of men work things out a bit, but I couldn’t keep my commander’s mouth shut.

My director methodology of acting all the parts in the play led to some skirmishes. I would give the guys “bits” and “business” and “motivation” instead of letting it come out of their choices and bodies. I wanted lots of action, movement, big voices and I wanted it last week. I thank God that David Rambo came to an early run and advised me that his play can really stand up to just “sitting and talking” a bit. This has resulted in less carnage and fewer bodies flailing about.

Finally, during tech week on God’s Man in Texas, I have discovered that in spite of my yapping away and blowing up a lot of early blocking, my trusty band of brothers has learned to fly this ship as a team. A play is, after all, a bit like a battlefield, full of maneuvers and skirmishes and lines drawn. As my inner Klingon would yell, “Q’apla!”

God’s Man in Texas, Sierra Madre Playhouse, 87 W. Sierra Madre Blvd., Sierra Madre 91024. Opens Friday. Fri-Sat 8 pm, Sun 2:30 pm. Through May 18. Tickets: $12-$25. www.sierramadreplayhouse.org. 626-355-4318.

Nancy Youngblut is the recipient of an MFA in directing from the University of Georgia. She has worked primarily as an actor on stage, screen, and especially on television in more than 300 (!) commercials and, most recently on Weeds, Shameless, Bones, CSI and much more. She previously appeared at Sierra Madre Playhouse in Our Town.

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What seems to set the new rendition of Uhry’s play at the Sierra Madre Playhouse apart from some others is the essential maturity of all the characters. This Daisy is terrified of being alone and covering it with bravado. This Hoke is a shy but manly figure whose deference is more to infirmity than color. This Boolie genuinely loves his mother, “gets” Hoke, and is personally cheered by the relationship his mother has with her confidante.

Director Christian Lebano, realizing this may not be an easy show for some, has even included in the program a set of questions for people to use as discussion starters after the play is done. It’s an acknowledgement of both the touching nature, and the baggage, of this play.

Still, “Driving Miss Daisy” remains, at heart, a play about distinct and interesting individuals. Impressive actors can make this piece what they will, and this is most certainly the case here.

Mary Lou Rosato ages with great physical accuracy as Miss Daisy, moving as an aged woman would while giving a refreshing balance of crochety-ness, underlying care, and subliminal fear to the part. Even the very end – a tough element of this play which is rarely done with subtlety – has a startling truth to it, which makes it particularly human.

Willie C. Carpenter gives Hoke more than just the usual dignity, but a kind of presence which lets him look Daisy’s son Boolie in the eye. These are not equals, perhaps, but these are both men who understand that the differences in their social standing are societal more than personal. Carpenter infuses Hoke with that manliness, and – once again – accurate view of the aging process, which make him Daisy’s rock as much as Daisy’s driver.

Perhaps most surprising is Brad Reed’s Boolie. Boolie is usually played as a classic “trying-to-fit-in Jewish Good Ol’ Boy.” Reed’s new spin on the part doesn’t humor or patronize his mother, but rather walks the delicate balance between his love of and identification with her and the realities of his business life in the Atlanta of his day. He gets her. He gets Hoke. He even sometimes seems a tiny bit envious of their ability to live honestly themselves. This portrait ties the whole piece together in interesting ways: a new view, if you will, of the entire proceeding.

Kudos also go to the show’s production values. Gary Wissman’s blissfully simple set keeps the pace of the play (which is performed without intermission) moving right along. Kristen Kopp’s costumes are accurate right down to Daisy’s shoes – impressive for such a small theater. Simple polish seems to be the hallmark of the whole production.

So, take a look at this “Driving Miss Daisy.” Though it remains admittedly controversial, a chance for a new window into such a piece is always useful. And that’s what this production offers: a new window, a new slant on something which has often gotten either too cosy or too disquietingly stereotypical. Whether you agree or disagree with the play or the interpretation, the discussion to follow can be a fine exercise all on its own.

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“Driving Miss Daisy” is the Pulitzer-winning play by *Alfred Uhry* about
the developing friendship between an elderly Jewish woman in Atlanta and
her African American chauffeur. Set in the years 1948 through 1973, the
issues of civil rights and race are always part of the story’s background.

http://www.artsbeatla.com/2013/01/driving-miss-daisy-event/

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These three characters could not be more perfectly cast. Mary Lou Rosato in her first Sierra Madre Playhouse appearance conveys every emotion Miss Daisy feels….As Hoke, Willie C. Carpenter lets us see both his subservience to Miss Daisy, and his firm strength of character as a man in his own right. … Brad Reed gives just the right touch to Boolie’s frustration dealing with his stubborn, albeit much-loved mother.

This sparkling play runs less than 90 minutes and has no intermission. On opening night as the lights went down on the poignant final curtain, the audience immediately rose to … a rousing standing ovation! You’ll love revisiting these iconic people, too.

Fran Syverson  Pasadena Independent  January 24, 2013

Full review at:

http://www.pasadenaindependent.com/entertainment/lets-go-driving-miss-daisy-at-the-sierra-madre-playhouse/

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The story begins in 1948, just after Daisy Wertham (Mary Lou Rosato), a feisty 72-year-old widow, has wrecked her car. Insisting that Daisy can no longer drive and must have a chauffeur, her son, Boolie (Brad Reed), hires Hoke Colburn (Willie C. Carpenter), an African American who professes to prefer working for Jews. The fiercely independent Daisy resents Hoke’s presence and refuses to let him drive her at first, but she comes to rely on him more and more as their friendship evolves.

At one point the temple Daisy attends is bombed by a racist group, and the incident prompts Hoke to recount the lynching of his childhood friend’s father. It is a defining moment for Daisy, who has unconsciously harbored some prejudice of her own but is forced to see that she, as a Jew, is a target for the same bigotry Hoke suffers.

Time passes. Then, one day in 1971, Hoke finds Daisy exhibiting signs of agitated dementia. When he manages to calm her, she gently tells him that he is her best friend. Two years later Hoke visits Daisy, now 97, at the retirement home where she resides, and in the play’s final moments the deep bond that has been forged between them is unmistakable.

The seemingly simple story plumbs issues of aging, race relations, class, and the human need for connection, all illuminated by a cast of actors at the top of their game. Rosato owns her character completely, eliciting laughs while not playing for them and subtly conveying the neediness at the heart of Daisy’s combative nature. Rosato’s expressive face communicates a world of emotions; without a word being uttered, her final moments onstage speak volumes.

Carpenter imbues Hoke with an innate dignity and kindness that command attention. He makes it clear that when Hoke stands up to Daisy, his behavior emanates from a core of self-respect rather than hostility. Both actors handle their characters’ aging process with finesse, delicately capturing changes in movement, bearing, and speech.

Reed gives a full-bodied performance as Boolie, projecting an air of tolerance and generosity. When Boolie declines his mother’s invitation to a dinner honoring Martin Luther King because it would damage his business relationships, Reed projects a cynical acceptance that has more impact than an overt display of anger.

Although it is something of a trek to the town of Sierra Madre, Los Angeles theatergoers will find this journey well worth the effort.

Presented by and at the Sierra Madre Playhouse, 87 W. Sierra Madre Blvd., Sierra Madre. Jan. 18–March 9. (626) 355-4318 or www.sierramadreplayhouse.org.

Critic’s Score: A

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Most Americans don’t think of Jews when they think of the South. But Alfred Uhry has raised the profile of Southern Jewish culture more than any other playwright. The process began with his Pulitzer-winning Driving Miss Daisy in 1987 and continued with The Last Night of Ballyhoo and Parade, both of which won Tonys. The Oscar-winning movie version of Daisy, with screenplay by Uhry, raised the profile even higher.

A revival of Driving Miss Daisy opens Friday at Sierra Madre Playhouse. Mary Lou Rosato plays the aging widow Daisy Werthan and Willie C. Carpenter portrays Daisy’s chauffeur Hoke Coleburn.

Rosato attended New York’s fabled Juilliard School.“Shakespeare and the classics is truly my background,” asserts Rosato, who won a Drama Desk Award for The School for Scandal. She now also teaches acting and is the co-head of BFA Acting at CalArts, where her teaching focuses on the dramatist from Stratford-upon-Avon. The slim Rosato is five-feet-six but appears to be taller — “I’m a walking optical illusion,” she quips.

Her on- and Off- Broadway Shakespearean credits include A Midsummer Night’s Dream, Measure for Measure, Merry Wives of Windsor, Hamlet and Henry V. In LA, she played Kent in the CalArts Center for New Theater production of King Lear, at the Brewery in 2002. Rosato is also no stranger to Uhry’s plays, having portrayed Salome in the first Broadway production of The Robber Bridegroom in 1975 (Uhry received his first Tony nomination for Bridegroom).

She relocated to Los Angeles in the 1990s, and her LA stage credits include Changes of Heart at the Mark Taper Forum in 1996, 2004’s The Peach Blossom at REDCAT, The Clean House at South Coast Repertory in 2005 and the 2009 production of Euripides’ Medea starring Annette Bening at the Freud Playhouse. Rosato’s screen credits include the 1995 Al Pacino indie Two Bits, the 1989 Brooke Shields vehicle Brenda Starr and a recurring role on the Titus sitcom.

Willie C. Carpenter is one of those actors whose face is recognizable, even if fans may not know his name. After being laid off from a factory job in Dayton, Ohio, he applied for a grant that enabled him to attend Ohio State University, majoring in broadcast journalism. After graduating, the 29-year-old “decided to roll the dice,” as he puts it, pursuing a modeling career in New York. Following his third audition, the residual bug bit after Carpenter landed a national spot in a Head and Shoulders commercial. He went on to make a living doing principal and extra work in TV and print ads, ranging from a Navy recruitment spot to commercials for Microsoft, Prudential, Walmart, Applebee’s, Plavix, a barbecue sauce and an investment firm.

He also pursued an acting career. His stage credits include The Musical Comedy Murders of 1940 at Circle Rep and on Broadway, the Preston Sturges play A Cup of Coffee Off-Broadway and in 1992 at the Pasadena Playhouse and Mr. Rickey Calls a Meeting at the Old Globe in San Diego and the Pasadena Playhouse. He toured with Leslie Uggams in Blue.

Over the years the New York-based Carpenter has appeared in recurring roles on the sitcom The Wonder Years and the police procedural Reasonable Doubts, plus spots on Cosby, General Hospital. He played what might have been daytime TV’s first African American ghost in the soap opera The Guiding Light. He plays a four-star general in several episodes of the new NBC White House sitcom 1600 Penn. Carpenter’s big-screen roles include a homeless vet in John Wu’s 1993 Hard Target and a police inspector opposite Will Smith in 1997’s Men In Black.

As for acting techniques, Carpenter has an ecumenical approach, saying, “I use all of them. I use whatever works.”

David Ogden Stiers and Mary Lou Rosato in The Acting Company’s 1973 production of “The School for Scandal.” Photo courtesy Juilliard School

Rosato, too, has a smorgasbord attitude: “I don’t adhere to any one person. The way I was trained was you cobble together your process… You adopt certain ways of looking at the text and character. I’ve had a taste of every technique there is; many of them have become very meaningful to me…I myself can feel when I’m completely concentrated on the role and going after what I have to do on the stage…When you’re an actor you don’t just work on it for a certain amount of time then leave it alone. If you’re working on a role it follows you to sleep at night. It lays in the bed with you and it gets up in the morning.”

Both thespians can draw on some Southern roots to bring their characters alive. Carpenter was born in Alabama before being raised in Dayton. “When I picked the script up, I know these people,” he says. “These are my people. This is where I come from.”

Rosato’s father was from Alabama, and she was raised in Miami. “Driving Miss Daisy is a very interesting play,” she says, “because it’s got comedy and some moments that are painfully real. So walking back and forth over that line is really an interesting process for an actor because you have to find what’s the tone of this piece?… Alfred Uhry is incredibly precise and minimal in his writing. He doesn’t overwrite the words at all. Sometimes a little ‘what’ — what do you mean? It’s all that’s there in the text and it looks so plain — but it isn’t; it’s deep.”

Rosato saw Atlanta-born Dana Ivey play Daisy Off-Broadway in 1987. Rosato also has big shoes to fill in regards to the character’s screen incarnation — those of Jessica Tandy, the three-time Tony winner who nabbed the best actress Oscar for the 1989 film. Rosato remains undaunted by “try[ing] to forget all of the wonderful ladies” who previously incarnated the indomitable Daisy.

Morgan Freeman originated the role of Hoke in its 1987 Off-Broadway production and went on to receive an Obie for the theatrical version and a best actor Oscar nomination for the 1989 screen adaptation of Daisy, which won the best picture Oscar. What’s it like getting into the driver’s seat where Freeman sat?

“Well, it’s frightening,” confesses Carpenter. “This play frightens me more than anything else I’ve done…I never saw Morgan do it on stage but I actually auditioned for that when it first came out.”

The 80-minute, three-character play is challenging to mount. Rosato says, “It’s a bit of a marathon part. You’ve got to travel in the role — it’s got instant changes… you’ve got to be mercurial.” During the course of the play Rosato says her “physicality… and voice changes” as Daisy, who starts the one-act as a 72-year-old, then ages 25 years before the curtain closes. Rosato previously played characters older than her own age, such as Euripides’ Hecuba and Bertolt Brecht’s Mother Courage. Hoke is somewhat younger than Daisy. “They age along together,” Rosato says.

Rosato describes Daisy as being “liberal” but “a product of her times” with “lots of belle-ish qualities.” She has “a desire to be independent, on her own and not lose anything that will keep her from being in charge of her own life,” which sets the stage for the matron’s conflict with Hoke, who is hired by Daisy’s son Boolie (Brad David Reed) to help Daisy to get around. “She tries to get rid of Hoke because she wants to be on her own,” explains Rosato. “She tries to sabotage him, tests him, she pushes him, tries to get him out of her life in the beginning part of the play. Hoke has a warmth, tenaciousness and understanding…that lets him stay, that keeps him grounded in that life. He can weather anything Daisy throws at him.”

Carpenter’s take on Daisy and his character’s relationship with her is “it starts out, I don’t want to say adversarial, [but] she doesn’t want this guy to drive. She doesn’t want anybody driving her — she wants her independence and she’s fighting it…I promise her son, no matter what, I’m gonna hold on, no matter what she says. And she fights and she fights it, and pretty soon we get to know each other and she realizes I’m not who she thought I was and we become friends.” In a moment of understatement, Carpenter adds, “She’s not easy.”

Rosato says Daisy and Hoke’s relationship “goes through so many different kinds of changes that from the very top of the play until where they end up, it’s a process of a developing friendship… A mutual respect happens. They come from such different experiences and backgrounds… She’s an educated woman, she’s a retired school teacher and becomes Hoke’s teacher, she starts teaching him how to read. That’s a really big transition in their relationship… Yet there are seminal things about the relationship that begin to allow them to see each other as very similar.”

How might the relationship between Daisy and Hoke, who are both widowed, have evolved if they didn’t live in a segregated society with apartheid-like taboos about race, as well as class and age, and had met earlier in their lives? “It certainly seems like they’re an old married couple,” muses Rosato. “They talk with each other with great freedom. Yes, I agree; there’s such complexity to what happens to their relationship. It turns on just a word in the text; it’s really beautifully written… Whether they’re attracted to each other — they’re beyond that kind of excitement. The depth, that thing that goes beyond, that connection is there.”

Carpenter believes, “We deal with each other like an old couple. Which is basically what we’ve become,” as humanity and perhaps even love triumph over racism.

Stitched into the tapestry of Uhry’s saga is the tapestry of the Jewish and African American experiences. “The point is made that they have a lot in common,” Rosato notes. “Both have been ostracized and marginalized in lots of ways. People don’t understand them — people always do that to people they don’t understand, they keep them at a difference. And sometimes it makes their lives pretty awful and miserable.” The action of the play begins in 1948, “right after the war” – which also happens to be the year the State of Israel was born.

Regarding Jews and blacks, Carpenter states: “Those two groups in America have aligned themselves. The whole ’60s — I mean the guys going to the South, those white boys [slain civil rights activists Michael Schwerner and Andrew Goodman] were Jews. And people were fighting for the same thing — some kind of equality, some kind of just treatment. It’s been a historical connection.”

Rosato describes her co-star as “a really wonderful man, he’s got such a patrician stateliness about him. He’s so dignified looking — he’s got a soft Southern accent, he has that gentility. It’s very appealing, his demeanor. I really loved, responded to it right away. He’s got a very wry smile and of course, he’s a wonderful actor. Doing some of these scenes and watching him go to those very deep places — very, very compelling for me. He’s totally available in that respect; he’s a natural, a really, really good actor. As far as Willie inhabiting the role of Hoke I can see him so clearly as being the exact person Daisy would have to accept into her life. There’s something about him that she can absolutely be with. Boolie didn’t put somebody into her life she couldn’t deal with; he put somebody there she couldn’t say no to.”

In turn, Carpenter, who was interviewed about nine days before Daisy’s premiere, says working with Rosato “is wonderful. We have this wonderful play here, and if I can just pull up my end here…There are four of us; there’s another guy who’s covering me [Mitch Ward, who plays Hoke on February 1, 9 and 17]. And Christian [Lebano] is a wonderful director. This collaborative thing is starting to happen. It’s getting a little” — Carpenter nervously sucks his breath in, then adds, “for me, it’s like, okay, it’s almost go time. As I said, this play is more intimidating than any of the other stuff I’ve done.”

There have been numerous paternalistic productions about race relations in which white characters, not members of the work’s oppressed minority group, are the preeminent protagonists. “Well, that was the reality,” Carpenter ruminates. “Who can get the thing done and move things forward?…it used to bother me that the white character had to come and rescue the black characters.” He cites one example that particularly irritated him — the 1988 movie Mississippi Burning, which made FBI agents appear to be the heroes of the civil rights movement.

Both co-stars feel Driving Miss Daisy “is about equals,” as Rosato points out. “Miss Daisy, no matter how imperious and stuck in her ways, the process of the play puts them on absolutely equal footing. They become not only friends but equals. They are absolutely eyeball to eyeball and heart to heart. There’s no daylight between them; they understand each other and are close.”

Carpenter echoes the sentiment, stating “they sort of get on an equal level. I’m still her driver, but we’ve become friends… For [Hoke], it’s a great job… It was right after the war, there were no jobs… When the play begins I’m 60 years old… I’ve been driving a milk truck throughout World War II… Hoke is not a demeaning character. People have to do what they have to do to make a living. In The Help — who else is offering you a job?” He adds, “The road that we travel, where we start out and end, she tells me I’m her ‘best friend.’ It’s true…”

The arc of this quarter century-long Atlanta-set story includes the civil rights movement. Just as a friendship evolves between Daisy and Hoke, a greater tolerance, amity and improved race relations also transcend the entrenched animosity of a no-longer-segregated South. The rise of African American equality has driven away an apartheid that’s gone with the wind by the time Driving Miss Daisy’s curtain falls. Appropriately, the Sierra Madre Playhouse production is opening during the month of the 150th anniversary of the Emancipation Proclamation — and on the weekend preceding the holiday commemorating another famous Atlantan, Martin Luther King Jr.

Driving Miss Daisy, Sierra Madre Playhouse, 87 W. Sierra Madre Blvd., Sierra Madre, CA 91024. Opens Friday. Fri-Sat 8 pm, Sun 2:30 pm. Through March 9. Tickets: $25. sierramadreplayhouse.org/Daisy/. 626-355-4318.

*** All Driving Miss Daisy production photos by Maia Madison

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The War of the Worlds is an episode of the American radio drama anthology series The Mercury Theatre on the Air. It was performed as a Halloween episode of the series on October 30, 1938, and aired over the Columbia Broadcasting System radio network. Who was the performer who directed and narrated this historic radio broadcast?

Go to our Second Stage section to hear a sample of LRP and get tickets for their December 16th Holiday performance!

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