First, and before I misplace it, here is a link to the episode of Theater Talk that featured the Tony-award winning cast of Jitney in 2017:
This one is also good:
It was interesting the way we focused our discussion on relationships, the peripheral relationship between Turnbo and Rena, the complex and layered relationship between Becker and Booster, and the evolving, dynamic, almost dance-like relationship between Rena and Youngblood. Relationships are such an essential, human thing, always transforming, always reflecting the environment that surrounds them, for good or ill.
We could have easily spent the whole class period on Becker and Booster’s father-son relationship, Becker’s deep disappointment in the mistakes that his son made and the consequences of those mistakes, the hopes that Becker placed in Boomer, and the energy he attempted to transfer to the future where Boomer might have more and better opportunities than he had. But I also think that at some level, Boomer’s “acting up” and the decisions he took that incarcerated him was a rejection of the pressure he felt from his father, and a not so subtle decision that he was going to live his own life, not the one Becker tried to transfer over to him. At the play’s end, Boomer starts toward the door to leave the jitney office, but the phone rings, and after a negligible hesitation, Boomer goes over and answers the phone, “Car service” as the light fades to black. I think that motion and action symbolize that there is hope for Boomer and there is hope for the jitney operation.
There is of course a lot to be said about Youngblood and Rena. One thing we didn’t discuss today was the tenderness of emotion Becker displayed in his conversation with Rena and Youngblood. Becker says towards the end of Act 2 Scene 1,
When you look around you’ll see that all you got is each other. There ain’t much more. Even when it look like there is…you come one day to find out there ain’t much more worth having.
Here we see that despite the gruff Becker displayed towards his own son, he never stopped developing as a father, never gave up on his own emotional development, and we are left wondering if one day he might overcome his great disappointment and be able to show a similar level of affection for Boomer that he clearly has for Youngblood. Alas, Becker’s potential for development is arrested on the factory floor so we will never know. As Vonnegut would say, “so it goes.”
We will see more of this relationship dynamic in Ma Rainey next week.
Week 1 of my collaborative close read study group on August Wilson’s Century Series. The first play was “Jitney.”
1. First class went well. But we jammed together introductions and close read discussions in this first meeting and we ran out of time. I had hoped for 8 group members but we ended up with 18. 25% of the members are retired attorneys who know all about unpacking language!
2. Implementing “The Community is the Curriculum” from #rhizo15 was/is a big hit. There are two high school english teachers in the group who have taught Wilson’s plays. There is a college professor who actually knew and was acquainted with August Wilson.
3. Not everybody was able to access the Google Group where I had stashed a lot of background material. We hope to remedy that by 1) getting everybody a gmail account so they can access the group and 2} mirroring the group on a publicly accessible blog site here:
4. Versioning presented a slight hiccup. Members had three versions of the play, so page # references didn’t align and we lost a minute or two in each presentation trying to get everybody on the same page (literally!).
5. It was interesting the way the group immediately seized on drawing general principles from specific instances in the play through the close reading process. (The play is about a small black community in 1970’s Pittsburgh but the group decided that the principles were/are universally applicable).
6. Next week is “Ma Rainey’s Black Bottom.” Will be posting notes here weekly and thinking about ways to move the course to a bigger virtual audience.