Milwaukee is somewhat foreign to the concept of gypsy cabs. These unlicensed cabs, sometimes called "jitneys," transport residents in neighborhoods where more established cab companies refuse to go. Such cabs were found in Pittsburgh's Hill District in the 1970s, and that is where we find the characters who populate Jitney, August Wilson's early masterpiece.
Jitney isn't perfect; it still has rough stretches of stilted dialogue, despite Wilson's tinkering over the past 30 years. However, it's a noteworthy milestone in Wilson's much-honored career. It's also a "don't-miss" production in the current Milwaukee theater season.
In Jitney, one observes the themes and relationships that Wilson will revisit in many of his later (and more popular) plays, such as Ma Rainey's Black Bottom and Fences. It is an intensely personal work, and the audience is instantly drawn into the hardscrabble world of jitney drivers. The drivers have their own hierarchy, their own code of loyalty and their own sense of fairness. Rule violations aren't often tolerated. The man who tries to "steal" more than his share of trips is soon put in his place. (Sadly, it doesn't seem to matter that these short jaunts usually net the driver only a meager tip.) The characters are richly drawn, as Wilson explores the experience of African-American men in the 20th century. There's Turnbo (Chuck Patterson), a hot-tempered busybody who provides much of evening's laughter; Youngblood (Marcuis Harris), the aptly-named youth who strives to improve his life and the lives of his girlfriend and baby; and Fielding, the alcoholic who hangs onto the distant memory of a wife who left him more than 20 years ago.
Becker (Herb Downer), the cab service's longtime owner, keeps these renegade drivers in line. He reluctantly reveals the fact that the business' future is in doubt, as an urban renewal project may soon raze the buildings on their block. He knows his crew depend on their meager wages and tips for survival. Understandably, they are upset by this news. They look to Becker for a solution, and he lifts their spirits with a plan to fight the city bureaucracy. Another subplot involves Becker's son, Booster (Jonathan Adams), a strapping man of nearly 40 who has just been released from prison. He served a 20-year term for killing a white woman who had wronged him. In a beautifully crafted scene, Becker and his son give vastly different perspectives on the crime.
As Becker, Herb Downer presents a moving, tearful portrayal of a father who feels betrayed by his son's impulsive act. As Booster, Jonathan Adams is equally adept at presenting his side of the story, speaking as a black man who stood up for his rights. Although Jitney ends on a hopeful note, it does not offer a resolution in this father-son conflict. The father's sudden death puts an end to the debate.
This production benefits immensely from two elements: Timothy Bond's deft direction and from the talented cast, who seem to speak directly from their hearts. Although the actors who portray Becker, Booster and Youngblood are given the most opportunity to flex their acting chops, one must also give particular notice to Timothy McCuen Piggee. In his smaller role as Fielding, Piggee brings the character vividly to life. We are as surprised to learn about his former career as a tailor to the stars as we are embarrassed to see him groveling to keep his job as a jitney driver. It is a memorable portrayal.
The production is also enhanced by Scott Bradley's Broadway-caliber set. He emphasizes the faded, gritty reality of this down-at-the-heels neighborhood. He's got it exactly right, from the jitney office's stained furniture and the barely discernable lettering in the window, which gives the audience clues about the past lives of this doomed storefront.
