Two Trains Running is a profoundly political play that explores the impact of the black power movement on economically disadvantaged urban areas, such as Pittsburgh's Hill District. The play highlights the persistent issue of white oppression against African Americans and the black community's response during the 1960s. The area surrounding the restaurant is undergoing major redevelopment, likely driven by social changes following the civil rights movement. However, the legal rights and privileges gained by African Americans in the 1950s and 1960s do not appear to aid the city's most impoverished residents. A feeling of tragedy and despair overshadows even temporary successes, like the city awarding Memphis thirty-five thousand dollars. Memphis remains separated from his wife and harbors a dangerous plan to return to Mississippi to reclaim his land. Sterling seems destined to return to prison, his relationship with Risa appears unlikely to endure, and Wolf and Holloway's futures are just as bleak as they were at the play's start.

Various religious and political groups, loosely or directly associated with institutions like the Nation of Islam or figures like Malcolm X, provide ways for the community to unite and organize. Sterling echoes black power slogans, and other characters participate in African American community initiatives to varying extents. By the play's conclusion, even Memphis feels a sense of connection to Hambone, who represents unwavering resistance to white exploitation. Despite this, all the characters remain doubtful about the effectiveness of individual organizations and movements, seeing no tangible benefits from them.

In Wilson's play, characters express their frustrations and tackle their issues through various methods, sometimes including political action. Frequently, they resort to gambling in the numbers game or turn to supernatural beliefs—or both—in search of hope and solace. Wilson portrays these pursuits similarly, emphasizing how they further impoverish already struggling Black individuals.

Memphis and Wolf believe the numbers game occasionally offers players brief moments of prosperity, while Risa contends it is simply a way to squander money. Wilson also associates religious and supernatural comforts with financial waste, as Aunt Ester advises her clients to throw money into the river, and Prophet Samuel might have taken advantage of people for donations. Despite their drawbacks, spiritualism and gambling provide the poor Black community with a way to cope on a daily basis.

Wilson's main goal in highlighting these practices might be to underscore the absence of productive or effective outlets for the desperation among the urban Black poor. These practices may reflect, rather than cause, the dire circumstances of African Americans in Pittsburgh's Hill District.

Wilson's characters grapple with a complex mix of resentment, anger, despair, and a sense of duty in their interactions with powerful institutions. He examines and highlights these diverse perspectives. For example, Memphis believes he alone is responsible for securing his own freedom, whereas Holloway acknowledges that white oppression of African Americans is a persistent reality. Other characters exhibit a combination of personal and institutional loyalties, often linked to racial dynamics. While Wolf seems at ease working for a white-controlled gambling organization, Sterling feels defeated and looks to movements like Black Power for support. Risa and Holloway primarily find comfort in religious beliefs, which appear to shift focus away from issues of justice. At the heart of the play is the exploration of how personal freedom intersects with societal forces. Wilson seeks to illustrate the limited opportunities available to individual Black people within a system marked by ongoing inequality and instability.

At the heart of Two Trains Running lies the stark economic challenges of urban existence and the imperative to safeguard African American culture within these constraints. August Wilson,...

August Wilson’s play illuminates the economic struggles faced by African Americans through a series of unfulfilled and broken contracts. At the heart of the narrative is Memphis, who finds himself at odds with the city government over a clause that threatens to undercut the fair price of his property. Memphis asserts his own counter-clause, highlighting the pervasive nature of economic exploitation. In a broader sense, the play revisits Memphis's past, notably the loss of his farm when a contract clause annulled the sale upon the discovery of water on the land. This personal tale of shattered promises is not isolated, as another character, Hambone, echoes similar grievances, having remained unpaid due to a breached agreement. The systemic nature of these injustices is poignantly expressed by Holloway, who captures the essence of inequality: “If it wasn’t for you the white man would be poor. . . . He give you three dollars a day for six months and he got him a railroad for the next hundred years. All you got is six months’ worth of three dollars a day.” Through these narratives, the play questions the integrity of the social contract, suggesting that the abolition of slavery did not equate to economic freedom for African Americans, but rather, unveiled a new form of financial bondage.

Two Trains Running stands out for its unique episodic structure and its rich tapestry of characters, each contributing to a broader narrative tapestry. In this play, August Wilson deftly employs symbolism through select figures to not only unify the dramatic elements but also to delve deeply into the African American experience. Central to this symbolic exploration is the character of Hambone, an African American everyman who tragically dies without ever receiving his deserved recompense. His dialogue may be sparse, yet his presence is profoundly significant. Hambone is not merely a symbolic representation; he serves as a dynamic dramatic device that propels the storytelling and frames the economic discussions woven throughout this memory play. Observing Hambone's daily ritual, for instance, prompts Memphis to recount his own life in Jackson and spurs Holloway to articulate his thoughts on economic oppression.

This symbolic thread extends beyond Hambone to encompass other characters like Memphis and Sterling, who similarly await what is rightfully theirs. Memphis echoes Hambone’s plight, asserting that he, too, has been deprived by white society. Despite Memphis’s initial rejection of Hambone, by the play's conclusion, he mirrors Hambone’s actions, highlighting their shared struggle. Sterling, on the other hand, aligns with Hambone through a shared affinity for rhythmic chants and recognizes the power derived from Hambone’s unwavering sense of purpose. Sterling’s bold act of stealing a ham at the play's end further cements his connection to Hambone, serving as an impactful dramatic device that underscores his alignment with Hambone’s plight and his own quest for dignity.

Aunt Ester, despite never making a physical appearance on stage, holds a pivotal role as the unseen prophetess in Wilson's exploration of economic reality and African American culture. Her presence resonates through the lives she touches, offering something far more valuable than material wealth: a profound connection to tradition. Holloway observes that Aunt Ester's wisdom provides a spiritual remedy to the community's economic struggles. Her mythical age of 349 years symbolizes a life that encompasses the entire African American journey, reaching back to its ancient African origins.

This connection to heritage and the past offers a path to fulfillment, as evidenced by characters like Memphis, Sterling, and Holloway, who find satisfaction in her counsel. Their stories contrast sharply with that of West, whose refusal to heed Aunt Ester's guidance leaves him entrenched in a hollow philosophy centered on money and mortality. Through Aunt Ester, Wilson weaves a narrative that underscores the indispensable role of spiritual and cultural tradition in overcoming the shackles of economic oppression.