On & Off Broadway

‘Jitney’

A Review by Elyse Trevers

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The average adult spends a third of the day at work, often seeing more of his co-workers than his relatives. So it’s not surprising that some workers bond like a family. With well-crafted dialogue, playwright August Wilson establishes a family of cab drivers in Jitney, one of Wilson’s Century Cycle plays.

Deftly directed by Ruben Santiago-Hudson, Jitney is set in a worn-down gypsy cab station in Pittsburgh, Pennsylvania, in 1977. Each of the men contributes to the rent of the station and drives his own car as an unofficial, unlicensed taxi cab driver.

The place is managed by Becker (a marvelous John Douglas Thompson), the father figure who sets the rules and metes out punishment for infractions. Ironically, the big conflict in the play occurs between him and his natural son, Booster. Booster is released from prison after killing a girl who falsely claimed he raped her. Originally sentenced to death, he serves 20 years when his sentence is commuted.


Turnbo (Michael Potts) is a meddlesome, garrulous fellow, whose major conversation consists of gossip. He’s generally a comic character until pushed too far. The youngest of the group, Youngblood (Andre Holland), represents the future. The drivers feel proud when Youngblood announces that he’s bought a house for his girl and 2-year-old son since it’s a victory for all of them. A couple of locals add to the family dynamic; Shealy, who uses the station phone for his numbers operations, and Philmore, a customer who works at a local hotel.

The play features strong performances, especially from Potts, whose whining and gossip are humorous, and Thompson, whose strength and presence are powerful.

Jitney offers some insightful one-liners, instructive advice from Becker and Doub. Racial issues are suggested but are not the crux of the play. When Youngblood blames the white people for some of his problems, Doub, the former Korean War vet, played with warmth by Keith Randolph Smith, tells him, ”The white man ain’t paying you no mind.” When the government gives notice that it is knocking down the building destroying the station and other local businesses, it is not perceived as a racial issue, just a bureaucratic one. The men opt to stay together to fight the city; in their unity, they find strength.

Despite bickering and gossiping, there’s genuine care, concern and tenderness between the men. It’s unusual to see theatrical displays of camaraderie and bonding in an all-male environment. (I kept contrasting the cabbies to the men of Mamet’s Glengarry Glen Ross.) Even when Becker threatens to dismiss Fielding, an alcoholic, it’s obvious that Fielding will remain.

Jitney is a story about men working hard to make a living to provide for themselves and their loved ones. Along the way they create a work family. This was a heck of a weekend: a contentious presidential inauguration, a massive women’s march and then the theatrical intimacy and strength of men caring about one another. Jitney made us feel uplifted and a little less helpless as it reminded us of the power of family.