Jitney, by August Wilson, was recently produced by Theatre Morgan and showcased at Morgan State University's Carl Murphy Fine Arts Theatre.
Set during the 1970s in Pittsburg, Pennsylvania, Jitney is the story of several struggling African-American struggling to earn livings as jitneys while coping with the issues impacting their lives. The protagonist, known simply as Becker (Roscoe Orman), owns the jitney service which has been been located in the same place for 18 years. He learns that the city is planning to condemn and demolish all the property on his block. Becker conceals that information for two weeks from the drivers,Turnbo (Grant Chism), Fielding (Grant E. Harvey), Youngblood (Brian Jamal Marshall), and Doub (Keith Snipes) until one of them inadvertently learns about it and tells the other men.
While the men are trying to decide what they will do when the place closes, Becker's son, Clarence (Jerome Banks-Bey), is released from the penitentiary after serving 20 years for a murder conviction, during which the two had no contact. Becker blames Clarence for the mother's death saying that Clarence's original sentence to the electric chair was more than his mother could bare. Clarence holds no grudge against his father and wants to reconcile, but Becker stubbornly refuses, calling his son "Mr. Murderer," and telling him he is "unfit to live in society."
Further complicating the situation are the dynamics of the other men's personal lives. Fielding is near alcoholic who tries to hide his drinking. Turnbo is liar and gossip, always in every body's business and continuously starting confusion. Youngblood is Vietnam veteran working two jobs to provide for his son and the child's mother, Rena (Erin Stevenson). He wants to surprise her with the deed to a new home. However, Rena thinks Youngblood is spending so much time away from home because he is seeing another woman, and Turnbo feeds her insecurity.
Shealy (Massimo Delogu) and Phillip (Gordon G. Torney), friends of the drivers, frequent the headquarters. Shealy, despite repeated reprimands from Becker, uses the establishment as the office for his number running business. Philmore frequently needs jitney services as he slyly circumvents the issues with the women in his life. Doub, Becker's partner for twelve years and long time friend, is the voice of reason and the peacemaker in the group. Before the men can enact their plan to challenge the take-over of the property, Becker is suddenly killed in an accident. Much to Clarence's chagrin, he and his father never reconcile.
Overall, the production was superb. The actors delivered dialogue and performances that were rich with the subtleties and dynamics that evoke emotion from an audience. Shealy added humor as he repeatedly talked about the woman who still loved him even though they had not seen each other in 22 years. Becker's refusal to reconcile with his son was painful and difficult to accept. Brief appearances and the a cappella harmonies of the young Doo-Wop Boys (Tamauri Forest, Royal Simms and Jordan Lunsford), added charm and the youth dimension to the production. With more training, experience, and the maturation of their voices, they have a fine future in show business.
Costuming was believable and the set design was good, but there were some minor problems with blocking. There were a number of times during the production when backs were turned to the audience as actors turned to listen to or acknowledge someone else on stage. Perhaps that is an old school rule of theatre that no longer applies; it was nonetheless, quite distracting. There were also instances when actors were obscured behind someone else as they delivered lines. In its entirety, the production upheld Theatre Morgan's tradition of delivering outstanding presentation, and honored the work of the distinguished the playwright.
August Wilson is renowned for his ability to capture the essence and sanctity of African-American culture. His work reveals the plight of average, hard working men and women struggling against poverty and racism, and embracing the sorrows, bitterness, joys and triumphs of life. His body of work includes: Radio Gulf (2005); King Hedly II (2001); Gem of the Ocean (2004); Jitney (2000); Seven Guitars (1996); Two Trains Running (1992); The Piano Lesson (1990); Joe Turner's Come and Gone (1998); Fences (1987); and Ma Rainey's Black Bottom (1984). Wilson received seven New York Critics' Circle Awards, a Tony for Fences, and two Pulitzer Prizes for Fences and The Piano Lesson. Wilson joined the ancestors October 2, 2005 after succumbing to liver cancer.
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