HOLLAND, MICH.–When it comes to major social issues and changing people’s hearts and minds, relationships always trump rallies. The rallies and protests and national discussions are important, but when people really change is when they make a connection with someone who is of a different culture or circumstance from their own.

It’s what Alfred Uhry captures so well in Driving Miss Daisy. A wealthy, elderly Jewish woman and a hard-working African-American are brought together in Atlanta, Georgia in the 1950s and over 20 years build a relationship that leaves both of them changed.

Hope Summer Rep is presenting this classic in their DeWitt Theatre. Directed by Jon Cranney, it is a production that invites its audience into this heartwarming story and gives the plenty of time to process these three very real people and how they experience the changing world around them.

Boolie insists that his mother, Miss Daisy, get a chauffeur after she wrecks her new car. The mostly older audience took slight umbrage at the insinuation that 72 was old, but mostly with self-deprecating laughter. Boolie hires Hoke, who has as his task to assist the fiercely independent woman. Both, his by nature of being African American, hers by nature of being Jewish, aren’t fully accepted into the world of Atlanta and this forces them to examine their relationship.

Cranney really does a fine job at managing the moments and he isn’t afraid to have characters on stage alone or not speaking. He gives the audience a chance to become acquainted with the character’s real selves—the selves they show when no one else is around.

Also, thanks to the help of the “gas station attendants” (also known as stage hands) Brian Kim and Devin Richard, he is able to keep the car moving around in a more creative way than is often presented with this show. We see it from the front, the side, and even the mangled mess when things go awry. It’s a creative choice and one that keeps the audience engaged—whether they’ve seen the show or not.

One area where the actors might have benefited from a little more direction was getting them to pause for laughter. There were many times the audience responded to what was going on on stage and the actors didn’t know how to hold for it and lines were missed.

The crux of “Driving Miss Daisy” is the relationship between Miss Daisy and Hoke. Lois Markle does a beautiful job with Miss Daisy. She is clearly difficult to deal with and yet there is plenty to like. Markle captures Daisy’s independence and the complex motivations that drive her. She shows us her strength before revealing Daisy’s vulnerability.

Warren C. Bowles is Hoke and his portrayal is a delightful one. He has an air of subservience, but he is quick to show you he is far more than that. He’s got a backbone, he’s able to stand as equals to those around him and he is eventually able to get others to accept his equal standing because of his persistent character.

The actors did have a few awkward moments on opening night where some lines got jumped and they struggled a little to proceed, but they kept the story going and made sure the important information was out.

Mischa Aravena was Boolie, Daisy’s son and a local businessman. He managed to portray a mostly-enlightened good old boy who treated others well and clearly loved his mother and respected the chauffeur. Aravena did very well with the Southern accent and the attitude he took toward Daisy.

As always, Hope Summer Rep’s “Driving Miss Daisy” had high production values. It is something HSRT does very well. Joseph P. Flauto’s scenic design was sweeping and open, allowing the actors plenty of room to play out their exchanges. Projections on the back of the tall set helped set scenes as did Tyler Knowles’ excellent sound design. Knowles provided an unobtrusive soundtrack of music, car noises, horns, and crowd background.

Costume Designer Andrew Vincent kept his actors in ever-changing costumes, especially Miss Daisy. They reflected the changing decades while still keeping to the style of the individual characters.

“Driving Miss Daisy” continues to be a moving show. It captures a piece of America and in the very authentic and personal relationship of two people, creates a metaphor for our country and how it has evolved. Cranney brings out that metaphor with a light, skilled hand, making this production a touching one that both inspires and challenges.

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