The Acting Company’s recent production of August Wilson’s Two Trains Running, presented by Hancher Auditorium in collaboration with Riverside and the Englert Theatre and performed on the latter’s stage March 28 and 29, is a solid and heartfelt rendition of one of Wilson’s most meditative plays. Even in Iowa City, not exactly synonymous with the pulse of urban America, the production manages to capture the tension, dreams and frustrations of its characters with authenticity, while echoing the timeless relevance of personal struggles perpetuated by systematic injustice.
Set in a diner in 1969, the play depicts a group of regulars navigating the uncertain waters of life amid societal shifts during the civil rights movement. The production, directed by Lili-Anne Brown, delivers an intimate experience, allowing the layers of Wilson’s dialogue to breathe. While some moments are undeniably affecting, this production is not so much a revelation as it is a well-executed interpretation of a work that still holds a mirror up to today’s world.
The character Memphis is considered the play’s beating heart, and actor Michael A. Sheppard does a strong job portraying his struggle against both personal demons and societal pressures. The performance never veers into melodrama, but instead exudes a palpable sense of weariness mixed with an indomitable hope.
Similarly, Risa (DeAnna Supplee) and Sterling (James Milord) shine. Their scene alone together in the diner is particularly remarkable, a rare moment in theater in which a character’s embrace becomes the audience’s release. It’s a simple but deeply human moment that stands out in a show brimming with tension and unresolved longing.
The set design, crafted by Tanya Orellana, is another notable success. The minimalistic approach is perfectly suited to the tone of the play — no frills, just the stark realism of a diner that could be anywhere in the United States. The color palette mirrors the struggles of the characters: muted tones with a few bright pops, reflecting the fleeting moments of joy amidst their grind through life. The draped backdrop shifts, presumably unintentional, with the actors, yet evokes this passage of time and the changing world outside. It’s subtle yet effective, contributing to the play’s quiet but unstable atmosphere.
One of the more impressive aspects of the production is the seamless transitions between scenes. The day-to-day rhythms of the characters’ lives — a repetitive cycle of work and rest — are captured with near cinematic precision. The pace never drags, and the transitions, often between emotional highs and lows, flow with surprising ease. This, of course, is a testament to the director’s ability to capture the simplicity and routine of working-class life, serving as a familiar framework for the personal dramas unfolding.
In 2025, Wilson’s Two Trains Running remains an unnervingly relevant piece of theater. The play’s commentary on gentrification, economic disparity and the systemic inequalities of race in the U.S. is not just a historical reflection, but a continued reality. In a world still grappling with those same issues, this production feels less like a period piece and more like a mirror, showing us how far we’ve come — and how far we still have to go.
While the performance overall is strong, it doesn’t quite ignite the electric spark of revolutionary theater. But perhaps that’s fitting. Wilson’s work, after all, often asks us to sit with the quiet ache of life’s unfulfilled potential. It’s a well-executed, thought-provoking production that certainly hits its mark.
