Seeing Jitney @ Arena Stage week was an unforgettable experience. It was my first time seeing Jitney on the stage, after reading it at least a half dozen times for three sessions of the OLLI study group.
The stage/set was astounding, multidimensional, reflecting the passage of time through highlighting and darkening the skyline through the windows and on the background scene. The music opening each scene took the play to a new audio level, a nice blend of old blues and 70’s period jazz tunes. The ensemble cast had such a chemistry, with their well-rehearsed lines and with their spontaneous and improvised gestures between the lines. Finally August Wilson’s poetry wove it all together and made it into a total work of art. Might sneak back for a repeat!
I have to mention here an amazing thing the cast did at the end of Act 2 Scene 3. Booster comes into the station not knowing that his father is dead. When Doub tells him, Booster hits Doub in the face, then the folks in the station wrestle Booster down to the floor. In a bit of director’s license (I later discovered in conversation with the cast that it was Ruben Santiago-Hudson’s idea and they worked on it for nearly an hour in rehearsal), all the folks in the station did a laying of the hands on Booster. It was a very powerful and a very spiritual gesture, a transference and a healing, something Toledo in Ma Rainey might have called an African conceptualization. While the play directions say “the lights fade to black,” in actuality the lights were trained on Booster and the hands of the station guys spread about Booster on the floor, in a way that only their hands and Booster were illuminated. Then the lights stayed there for a few moments before fading to black. Ah, I wish i could have taken a photograph!