August Wilson's latest play in his admirable series chronicling African-American life in each decade of the 20th Century actually came to embryonic life as his first play -- a short one-act -- in the late 1970s. Expanded to full length and considerably deepened, it now takes its place seamlessly and indelibly in Wilson's ambitious cycle, as Actors Theater of Louisville's current production, under ATL associate artistic director Timothy Douglas' percipient direction, demonstrates.
Set in Pittsburgh's Hilltop or "Little Harlem" district, as are many other Wilson plays, Jitney gets its name from the illegal, unlicensed cab companies that set up shop in neighborhoods underserved or avoided by licensed operators. Shining through this multifaceted character study are Wilson's concern and affection for the drivers of these gypsy cabs or jitneys as they bicker, joke, fight, drink, hope, reminisce, and despair in the ramshackle "station" that urban renewal threatens to demolish. Wilson's unhurried introduction of these people, matching the pace of cab station activity, eventually focuses on Becker (a galvanizing Charles Weldon), the strong-willed and hard-wired man who operates the business, and his conflicted son Booster (Charles Parnell), whose college achievements and promise were aborted by a murder conviction.
But every other character created by Wilson comes to vivid life in the ATL performances. Especially memorable are Doug Brown as Turnbo, a gossipy, trouble-making meddler; William Charles Mitchell as the easy-going, heavy drinking Fielding, and Johnny Lee Davenport as the well-grounded and responsible Doub. Tyrone Mitchell Henderson is hilarious and touching as Philmore, a night owl passenger overly fond of booze. The relationship of Chuma Hunter Gault as Youngblood and Pascale Armand as Rena, his live-in girlfriend and mother of his child, portends better days at the end of their rocky road.
