Since its debut in 1987 Alfred Uhry’s Driving Miss Daisy has been celebrated as a masterful exploration of human connection, prejudice and resilience. The play, which earned Uhry the Pulitzer Prize for Drama, chronicles the evolving relationship between Daisy Werthan, an elderly Jewish widow, and Hoke Colburn, her African-American chauffeur, over 25 years in the racially charged South.
Yet, as society’s understanding of race, privilege and intergenerational dynamics deepens, so too does the interpretation of this iconic work. The new local production by the Emerson Theater Collaborative (ETC) examines the play through a modern lens, peeling back the layers of its characters and themes to find fresh relevance in today’s world.
A fresh approach
“When you revisit a story like this, you’re not just retelling it, you’re interrogating it,” says Director Camilla Ross, for whom Driving Miss Daisy isn’t simply about a friendship that transcends race and class. Instead it’s a window into the complexities of human relationships and the unspoken hierarchies that define them.
“Daisy’s initial treatment of Hoke isn’t just a product of her time; it’s reflective of deeply ingrained societal structures,” Ross explains. “Our production aims to challenge audiences to confront those dynamics and see how they resonate today.”
As Miss Daisy, Joan Westmoreland brings her own insights to the role. “Daisy isn’t just a caricature of Southern prejudice,” she says. “She’s a woman grappling with aging, independence and her place in a rapidly changing world. Her relationship with Hoke forces her to confront those fears, often in ways that are uncomfortable, but deeply human.”
Joel ‘Tony’ Diggs (Hoke) views his character as a pillar of quiet strength. “Hoke’s dignity is unshakable, even in the face of disrespect,” Diggs notes. “He’s not just enduring Daisy’s biases, he’s teaching her, in his own way, about respect and humanity.”
When Driving Miss Daisy premiered, its themes of reconciliation and mutual understanding resonated in a world still reckoning with the legacy of the civil-rights movement. The 1989 film adaptation, which won four Academy Awards, cemented its place in popular culture. In recent years the play has faced scrutiny for its depiction of race relations, some critics arguing that it oversimplifies systemic racism and places the burden of education on marginalized characters like Hoke.
The ETC production addresses these critiques head-on by amplifying the play’s subtler tensions. Ross and her team delve into the nuances of power dynamics, emphasizing moments where Hoke asserts his agency and challenges Daisy’s assumptions. “This isn’t a story about a white savior,” Ross asserts. “It’s about two people navigating their own limitations and learning to see each other as equals.”
History in the present
Set between 1948 and 1973, the play unfolds against a backdrop of seismic social changes, from desegregation to the civil-rights movement. The production situates these historical events not as distant milestones, but as lived experiences shaping the characters’ lives.
“For Hoke, the systemic barriers of Jim Crow are not abstract concepts, they’re daily realities,” says Ross. “By grounding the play in its historical context, we can better understand how those realities persist in different forms today.”
This perspective is reinforced through post-show panel discussions hosted by Arizona Humanities Scholar Jay Ruby. Featuring local leaders and educators, these panels invite Prescott audiences to reflect on the play’s themes and draw connections to contemporary issues. Each discussion promises a unique opportunity to engage with history, foster empathy, and inspire meaningful dialogue.
ETC’s innovative approach extends beyond the stage. Opening night features a “Sights, Sounds, and Samplings” Southern dinner, curated by Ross and Chef Barry Barbe, offering attendees a culinary immersion into the play’s cultural setting. “Food is such an integral part of Southern identity,” Ross notes. “It’s a way to connect audiences to the world of the play before the first line is spoken.”
Why it matters today
At its core, Driving Miss Daisy is a story about transformation—both personal and societal. It asks audiences to consider how far we’ve come in addressing prejudice and inequality, and how much further we have to go. “The play challenges us to look at our own relationships and biases,” says Westmoreland. “It’s not just about Daisy and Hoke, it’s about all of us.”
For Director Camilla Ross, the message is clear: “If we can see ourselves in these characters, we can start to change. And that’s the power of theatre; it holds up a mirror to society and asks us to do better.”
Prescott audiences are in for an experience that’s as thought-provoking as it is immersive. Whether through the richly layered performances, the historical insights shared in post-show panels, or the Southern-inspired opening-night dinner, Driving Miss Daisy promises to be a cultural event that lingers long after the curtain falls. Don’t miss this chance to engage with a classic story that speaks powerfully to today’s challenges.
Driving Miss Daisy will play February 21-23 in the Hazeltine Theatre, 208 North Marina Street in Prescott. For tickets visit the-hazeltine.com.
Photos by Larry Kane
