Arena Stage: Jitney

I am on a quest to see the complete works performed on stage by a select handful of playwrights.  Of course, Shakespeare (I've seen 16 of his 37 works).  Also Lillian Hellman, Tennessee Williams, Athol Fugard, Paula Vogel and August Wilson.  Specifically, Wilson's Pittsburgh Cycle (a.k.a Century Cycle).  Ten plays written as a snapshot for each of the decades of the 20th century.  Written between 1982 and 2005 (the last one completed just before his death), they were not written in chronological order.  In fact, "Jitney," which represents the 1970's was the first play to be completed in the cycle.  It is also the only one that Wilson returned to and reworked.  The version I saw today was that 1996 revision.

You all know, when I see something I like, I am not shy about telling you.  The moment I entered the theatre and encountered the set, I was blow away.  It's an extraordinary staging with tremendous detailing and a sense of depth beyond the boundary of the acting space like nothing I've ever encountered.  Through plate glass windows, you see actual automobiles parked on the streets. 

 I know, I know, I know---I AM a set SLUT!  I just love a good stage set.  (Insight: I taught stage design for two years at my alma mater under the direction of the head of the Drama Department as an Independent Studies option for Theater Majors--turn over a rock, and no telling what might pop up!)

Also noteworthy, there was not a single actor in this production who I had ever seen before.  The only other time that this happened at Arena Stage was when I attended another amazing production, the play "Moby Dick".  Then it was because that production originated in Chicago at Steppenwolf Theatre, and basically came to Arena lock stock and barrel.  Reading the program, I discovered that the origins of this production were similar.  Arena is the first stop for what is basically a remounting of the 2017 Broadway production of "Jitney" under the direction of Ruben Santiago-Hudson who also directed it then.  In fact, many of the original cast members returned to reprise their performances. 
One more reason for this production's cohesion and nuanced intensity. 

To date I have only seen two other productions from Wilson's Pittsburgh Cycle.  One was nice, basically 'meh' in many ways.  The other was electrifying.  Well, at least, until now.  This one raised the bar substantially.  Every single actor was Tony Award worthy.  As an ensemble, they were not only a well oiled machine, but also fresh--every moment feeling authentic. 

They were so freaking good that I even found myself so intune with their performances, that I also had space to admire the actual structure of the play.  Now, sometimes when my mind wanders like this, it's a reflection of some degree of boredom.  In this instance, the polish was so perfectly rendered, that without missing a beat, I could also contemplate the reflection.  The play that I sort of poo-pooed, was his second in the series.  Knowing this was his first, I didn't come with out-sized expectations.  About halfway through the first Act, I starting thinking, "What the hell happened between writing this play and the second one?"  Later, when I learned that he'd revised it extensively in 1996--I knew what had happened.  Pity he didn't live long enough to tweek "Ma Rainey's Black Bottom," as well.

Within Wilson's vision for "Jitney" and genius as a playwright, you see how every scene within each act holds a classic rising plotline to an epiphany.  Each of which builds to the next scene.  Every character inhabits their own arc, and interacts with each other character in an intricately woven tapestry that intersects moments of mirthful comradery with stark alienation.  Never judging, not preaching, just laying it out there.  All this and reverberations of the generational angst, Vietnam War residue, ERA cultural paradigm shifts, the first inklings of the death of racist redlining that were all part of the 1970's

...  A tour de force of historic imperatives presented with all the power and mundanity of the air we breath.  Honestly, I believe that if August Wilson were still among the living, he would see this realization of his vision and feel as profoundly satisfied as I was.  Darlings, I walked out of Arena Stage with the conviction that I had just been to church.