'Jitney' at the Beck Center is Not to Be Missed

For those of us who survived the fashion disasters of the 1970s—wide collars, gigantic lapels and such—it was a forgettable decade. But compared to the '60s, when civil rights demonstrations and the assassinations of three of our most promising political leaders took place, things seemed calmer on the surface.

Still, there were many hopes and dreams being quietly crushed in urban areas, particularly in Black communities. And that is the time and place addressed by Jitney, the early landmark play by the renowned August Wilson.

In this sensational production, staged in the intimate confines of Beck Center's studio theater, a cast of eight men and one woman brings the audience inside the office of a jitney, an unlicensed taxi service. That is where the owner Becker and his drivers flow in and out of the door when calls come in for short drives to the grocery store, doctor appointments, or whatever.

Each phone call concludes with the jitney employee telling the caller the color of the car to look for, since the drivers use their own cars for these neighborhood jaunts. And that is exactly how personalized this two-act play feels, with each character showing his or her true colors.

All their multiple entrances and exits are accompanied by the sprightly tingle of a bell attached to the door, joining the music of Wilson's words. And under the superb direction of Jimmie Woody, these characterizations gleam so bright you might have to wear eclipse shades.

The leader of this ragtag crew is jitney owner Becker (Darryl Tatum) who serves as a strong social linchpin for his regular drivers. Turnbo (Bryant Lyles) is a good-natured noodge with a mean streak who delights in tormenting "Youngblood" (Aamar-Malik Culbreth), the hair-trigger young Vietnam vet who is trying to carve out an existence for himself, his girlfriend Rena (Thailand Hodge) and their baby.

Also picking up fares is frequently-drunk Fielding (a quietly hilarious Royce Ruffin) and Doub (Pete Robinson) a World War II vet who still harbors hope for himself and his community. But that kind of hope is in short supply since the block where their office sits is in peril, since it's scheduled for demolition to make way for an urban renewal project.

There is also personal trauma afoot since Becker's 39-year-old son "Booster" (Patrick D. Warner) is being released from a long prison stay for a violent crime. And the cast is rounded out by Shealy (Kym Williams) who runs his numbers operation through the jitney's phone lines and Philmore (Greg White), a doorman who frequently uses the taxi service.

This talented ensemble performs with such smoothness and precision, the constant comings and goings are never distracting. By the second act, you look forward to who might be appearing next since each character is riveting in his or her own way.

There is plenty of laughter generated in Jitney and it all arises naturally from the portrayals, not relying on gags or punchlines. When Fielding lovingly sips from the bottle stowed in his coat pocket, and when Turnbo's eyes glimmer as he sees another opportunity to torment Youngblood, the amusement is genuine and well-earned.

But more than that, the heft of Wilson's play resides in its ability to capture the challenging yet often joyous lives of multiple generations of Black people in the Hill District of Pittsburgh as they deal with economic and social tumult. This is an early piece in Wilson's ten-play cycle covering the 20th century in that Black community and it throbs with their genuine fears and hopes.

In short, this production is not to be missed.

Jitney
Through May 5 at the Beck Center, 17801 Detroit Ave., Lakewood, beckcenter.org, 216-521-2540.

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