Any day you have the opportunity to see an August Wilson
play, is a good day.
The two -time Pulitzer Prize winner and playwright is most
noted for his American Century Cycle (“The Pittsburg Cycle”) of 10 plays each representing a different decade in this century, from 1986 to 2007.
Amari Cheatom and Ray Anthony Thomas |
Chronicling the
African American experience was his goal. In play after play audiences are able
to have an eye opening glimps, through Wilson’s eyes, of the Black experience
in America over time. It wasn’t always pretty and it is still not.
His association with the Old Globe dates back to the early
90’s with his then director Lloyd Richards, who directed his plays for years,
and whose name was linked to Wilson’s. From my count Richards directed at least
six of the ten.
Those of us lucky enough to have been around then with his “Two
Trains Running”, “Joe Turner’s Come and Gone” and “The Piano Lesson”, opening his
pre Broadway productions, and with man himself in the audience along with
Richards, could barely contain ourselves.
Amari Cheatom, Harvy Blanks and Brian Coats as Philmore |
“Jitney”, written first in 1982, was the first of the cycle plays
written by Wilson, but was pushed back on the shelves (it now comes somewhere in the
middle of the cycle) for some time before going to Broadway, while others rose
in popularity. It is currently getting its due.
Director Ruben Santiago-Hudson brought it to Broadway (after
some rewrites) where it finally won the 2017 Tony Award for best revival. In association with The Manhattan Theatre Club, it is now on national tour stopping at The Old Globe and running through Feb.28th
“Jitney” takes place in the late seventies and explores the
effects of urban redevelopment in the ‘District’ and how it impacts the lives
of the men who drive unlicensed (jitney’s or gypsy cabs) taxies for a living. White
taxies owners would not drive into the District and Black business men could
not get official permits, ergo jitney’s.
The setting is the worn down jitney office/garage belonging
to Jim Becker (a steady as he goes-Steven Anthony Jones) who owns/manages the
garage. It’s the local hangout where hopes
and dreams are made and shattered.
Ray Anthony Thomas (seated), Amari Cheatom, Stephen Anthony Jones and Keith Randolph Smith as Doub |
Those who find the garage their home away from home, tell
their stories and try to figure out, if and when their incomes are cut off when
the city urbanizes their neighborhood, what they will do next.
Conflicts come and go; small stuff like who plays the better
game of checkers? Who will finance Feilding’s
(Anthony Chisholm) next drink?
And why was Youngblood (Amari Cheatom), who recently returned
from Vietnam and trying to better himself, so secretive around his girlfriend
Rena (Nija Okoro) who accuses him of having an affair? Could it be because of Turnbo
(an excellent Ray Anthony Thomas), a chronic troublemaker who can’t seem to
stop himself from spreading gossiping?
Shealy (Harvy Blanks) is your friendly, flamboyant (Oy those Leisure
Suits are a sight) Bookie who uses the shop’s business phone to call in his
bets. His character is more ‘caricature’ than character.
Amri Cheatom and Nija Okoro |
The activity plays out as the men come and go, shoot the
breeze …and take calls from customers wanting a pickup and to be taken here and
there. There is more than meets the eye in this busy but less frantic in pace, in
this over two plus hours of high and low drama’s, most of which deals with life
as they know it in a community they grew up in and live, all the while cementing
long- term friendships.
The tide turns when Becker’s son Booster (an excellent Francois Battiste) comes
on the scene. Just released from jail after a twenty -five year sentence for
murder, the two have an encounter that rocks us to the rafters and reaches deep
into the souls of both men shocking us out of a reverie that floats over us
when least expected.
It’s a father and son encounter the likes of which I could
never imagine. But life goes on, as we will find out at show’s end. No spoilers
here except to say that both men, standing eye to eye rose to the solemn moment
that defined how pent up hostilities can eat away at us from the inside out.
Stephen Anthony Jones and Amari Cheatom |
From the outset the banter, the talk has a rhythm and pace of
its own as only those understanding every word will attest. Yours truly had
some difficulty picking up on some of the dialogue especially Anthony
Chisholm’s Fielding. His cadences, as the alcholic looking for four dollars for his next drink, seemed overreaching and exaggerated, as was
the speed talk coming from Harvey Blank’s Shealy who was more of a ‘caricature’ than
character.
The play opens to a long and original jazz number (Bill Sims,
Jr.) that does go on seemingly without end. When the lights come up the garage
and outside businesses, the creative work of David Gallo show the shabby and
used furniture set against a wall with names and turns of drivers, a telephone,
a well worn couch, a chair or two and Becker’s desk, refrigerator and magazines; all accessories needed for a business office. Outside the dusty windows a
few cars needing work are parked and telephone wires stretch across the horizon
and that is lined with tenement buildings.
Jane Cox designed the lighting to coincide with the weather
and times of day, and Darron L. West and Charles Coes created the sound design
with Toni-Leslie James period correct costumes.
Stephen Anthony Jones and Francois Battiste |
Wilson’s works gives us a different lens (as in white) to see the world
through someone else’s eyes (as in non white). Taking us out of ourselves is a necessary step toward
understanding the ‘other’. Wilson knew this.
I would be remiss if I didn’t acknowledge our own 'King' Antonio TJ Johnson who in his past and
present life presented all the Wilson Cycle plays on stage some years ago.
Now is the chance to see the Broadway revival of a Wilson work
that will be placed firmly in the cycle along with the others.
It’s a good day!
See you at the theatre.
Dates: Through Feb. 28th
Organization: The Old Globe
Phone: 619-234-5623
Production Type: Drama
Where: 1363 Old Globe Way, Balboa Park, San Diego, CA 92103
Ticket Prices: Start at $30.00
Web: theoldglobe.org
Venue: Donald and Darlene Shiley Stage
Photo Credit: Joan Marcus
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