Her Majesty's Theatre. 17 May 2013
Such is the skill and power of Angela Lansbury and James Earl Jones that for 90 extraordinary minutes, there is no reality other than the theatrical world of their creation.
On the stage of Her Majesty's, there's a fairly basic set and some simple back projections and yet one is transported to a microcosm in Atlanta, Georgia.
In itself, Driving Miss Daisy is a bitter-sweet tale which taps into a range of universal themes - from the cruelty of age through class consciousness to the complexities of race relations. It's been an award-winner as both film and stage play.
Playwright Alfred Uhry delivered it as a comedy drama so the audience laughs its way to a misty ending.
James Earl Jones, in this tight touring production, is the masterful bearer of most of the droll humour. His timing is impeccable, his deadpans delicious.
His character, Hoke, is a black battler who talks his way into a job as the driver of the feisty 72-year-old Miss Daisy, a retired schoolteacher. He is somewhat imposed upon her by her devoted businessman son after she has had one car crash too many.
Hoke breaks down her reservations and, as the years quietly roll on, shared experiences bond driver and employer. Commonalities emerge. When her synagogue is bombed, Daisy recognises that, like Hoke, she as a Jew is subject to prejudice. She becomes fascinated by Martin Luther King but botches her efforts to share her empathy with Hoke.
The relationship develops awkwardly but sweetly. In her 90s and failing, she admits to Hoke that he is her best friend. There's not a dry eye in the house.
Miss Daisy evolves as a gloriously credible totality in the skin of Angela Lansbury. The octogenarian plays down to 72 and up to 97 with consummate ease. Mannerisms, posture and expression age as scenes, and years, roll forth. Age becomes her.
The car which brings the pair together is cleverly devised on a revolve, which defies Her Majesty's poor sightlines and enables the stars to be well seen against the images of places they visit which are projected large on a grainy backdrop.
Everyone is miked and the sound is flawless. The fine old Atlanta house is indicated by a stately staircase and Miss Daisy's comfy armchair. Son Boolie's office desk whizzes discreetly in and out for his scenes, he being nicely defined by Boyd Gaines. He's an accomplished actor whose performance sits as a comfortable complement to those of his distinguished onstage elders.
Audiences have booked to see the stars at work and they are magnificently rewarded. Angela Lansbury and James Earl Jones take them to another time, another place, another world with such engaging excellence that those 90 minutes seem to have slipped away in a magical trice.
It doesn't take any clacks to have the audience on its feet in a fever of ovation.
Samela Harris
When: 17 May to 2 Jun
Where: Her Majesty's Theatre
Bookings: bass.net.au
