Review: Jitney

Writing this review has given me a much deeper understanding of Jitney than I had after watching it performed at The Old Vic last week. I can only assume that it’s because the context is very specific to the black community in Pittsburgh in the 70s, because not only was I unfamiliar with the word “jitney”, but I wasn’t aware of a jitney’s purpose.

A jitney is an unlicensed taxi, specialising in providing service to areas underserved by traditional taxis. In Pittsburgh, this was the historically black Hill District, whose heyday in the 1920s and 1930s boasted a vibrant entertainment district. In the second half of the 20th century, however, the area lost 71% of its residents due to redevelopment and economic decline.

Suddenly, the play makes a lot more sense. Even the alcoholic former tailor Fielding becomes infinitely more sympathetic in light of the injustice he has faced. The tensions between the characters are better understood in the context of not only mass geopolitical events, such as the Vietnam and Korean wars, but also the local redevelopment.

Perhaps because playwright August Wilson wrote, first and foremost, for his local audience – Jitney is the eighth play in his “Pittsburgh Cycle” – it didn’t strike me as powerfully as it could’ve. Instead, I was preoccupied with the performances of the actors themselves, most of which took until the second half to warm up and become compelling.

Having said that, Wil Johnson in the role of Becker was phenomenal. The emotionally charged scene between him and Blair Gyabaah playing Booster was masterful, conveying the pain and disappointment of a life unlived. I’d almost say it’s worth seeing the play for this scene alone. 

Jitney is playing at The Old Vic until 9 July.