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The Spokesman-Review Newspaper
Spokane, Washington  Est. May 19, 1883

Diner Theater Broad Range Of Black Society Circa 1969 Portrayed In Warm, Witty Studio Theatre Production ‘Two Trains Running’

“Two Trains Running” Through Nov. 11, at the Firth Chew Studio Theatre

The same two groups - Studio Theatre and Onyx Theater Troupe - collaborated last year in the first August Wilson play ever produced in Spokane, “Joe Turner’s Come and Gone.” When I heard they were going to continue their Wilson cycle this year, I could only hope this year’s offering would be as good.

Forget it. It’s better.

For one thing, “Two Trains Running” is a better script. Not that “Joe Turner” was any slouch, but this one is warmer, funnier and wiser. All of it takes place in the confines of a diner in Pittsburgh, but Wilson manages to squeeze a broad range of black society, circa 1969, into that little diner - everyone from ex-cons to upwardly mobile black businessmen.

For another thing, this production is tighter and more focused than the earlier one. The realistic set by Nik Adams has everything but the aroma of biscuits. Before long, we feel like we know all of the people in it.

Wilson clearly loves all of his characters, and soon, we do too. All of them are decent people trying to get by in a difficult world. In today’s highly-charged racial atmosphere, maybe that alone is worth emphasizing.

Everybody in this ensemble does a consistently fine job of bringing these characters to life. H.W. Tony Anthony presides over the entire play as Memphis, a man of stubbornness and grit; Frank P. Graham brings swagger and style to the role of Wolf, a numbers runner; Percy Happy Watkins is like a favorite uncle as Holloway; Yolanda L. Everette-Marshall is wary and sharp as Risa, the waitress; Bobby “D” is charming and impulsive as the ex-con Sterling; Peter A. Urio is perfect as the deluded old Hambone, who says nothing but “I want my ham” for reasons explained later in the play; and Bryan R. Jackson is savvy and shrewd as the funeral home director, West.

I can’t say the acting is the slickest I’ve ever seen. There are a few more ummms and ahhs than usual. But it didn’t bother me, because the meaning behind the dialogue always seemed crystal clear. Director John G. Phillips should share the credit for this.

Wilson’s realistic sitting-aroundthe-diner dialogue rang true from beginning to end. It is funny throughout, filled with bickering and banter, but it is also wise. These characters are smart, the kind of smart earned through centuries of hard times and slavery.

I wondered if this was one of Wilson’s themes, and I was sure of it after I did some brief subtraction on my calculator. The characters speak of a magical wise woman, Aunt Esther, who lives down the street. She is supposedly 349 years old.

My calculator tells me that makes her almost exactly as old as the black experience in America. They draw on Aunt Esther for strength, and she provides it.

, DataTimes ILLUSTRATION: Color Photo