Robert Brustein presents a review in which he expresses that Driving Miss Daisy is an "experience of considerable power and sensitivity."

New American plays, banished from New York's main stem, are cropping up in out-of-the-way quarters in modest productions. I belatedly popped in on two such works of reputation, both of them set in the South. My seat was warm for only one act of Robert Harling's Steel Magnolias at the Lucille Lortel Theatre an excruciatingly cute concoction in the Beth Henley manner about a bunch of gabby women in a beauty parlor trading artificial wisecracks (sample: ' Tm not crazy I've just been in a bad mood for forty years"). At the John Houseman Theatre, however, Alfred Uhry's Driving Miss Daisy, which might sound equally unappealing in bare outline, proved to be an experience of considerable power and sensitivity.

It was also exquisitely acted and directed...