Hartford Stage, Hartford, CT
January 23 – February 16, 2025
by Shera Cohen
The trains in “Two Trains Running” are never seen, only sometimes heard. The play’s title is symbolic, hinting at Robert Frost’s poem “The Road Not Taken”. Life is full of choices; most neither good nor bad, they just are.
The simple diner of late-1960’s Pittsburgh serves as the neighborhood home for its owner, its one and only employee, and five regulars. Each character has known the others for many years, seeks their opinions, while heeding few. Into this mix, comes a stranger; a younger man recently released from the penitentiary.
Photo by T. Charles Erickson |
Director Gilbert McCauley places his characters purposefully as duos, or teachers to all present. Dialogue is natural, segueing from one to another. Without being static, McCauley has created a special place onstage for each character; rarely does one cross to another.
For this first play of the HS 2025 season, Artistic Director Melia Bensussen has selected a marvelous cast.
Godfrey L. Simmons, Jr. portrays the lynchpin of the group, Memphis. As the diner’s owner, his story is the most important. The patrons react to Memphis’ pie-in-the-sky dreams, because none have any of their own.
Rafael Jordan exudes a breath of fresh air. As newcomer Sterling, he enters the mix as unassuming, optimistic, and smart all at the same time. While nearly all actors are seated, Sterling is all over the place.
The one female in the cast is Taji Senior as Risa, waitress and the diner’s Jill of all trades. Risa’s backstory remains hidden until Act II. Senior’s no-nonsense sober woman holds her own as confidant, friend, or caretaker.
Lawrence E. Moten III’s set draws audience members into the diner, almost seated on one of the empty stools. However, if the raked stage and windows with slanted borders are designed to look realistic for sight lines, it doesn’t succeed as planned. Yes, the audience wants to see every inch of staging, but not at the expense of realism.
“Two Trains Running” is a striking important play. The pace brings it in at 2 hours and 40 minutes. Omitting entire sections of dialog is recommended. Cutting is often done to Shakespeare’s masterpieces. It’s doubtful that August Wilson would mind.