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 were 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 have overcome his great disappointment and been 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.
Jim Becker, the well-respected manager of the jitney station. In his 60s.
Doub, a driver, cautious and slow going, a Korean War veteran
Fielding, a driver, an alcoholic, formerly a tailor who clothed Billy Eckstine and Count Basie.
Turnbo, a driver, notorious for being a gossip
YoungBlood (Darnell Williams), a driver. Recently returned from Vietnam, working several jobs to provide for his family. In his late 20s.
Rena, YoungBlood’s girlfriend and the mother of his young son, Jesse.
Shealy, a flamboyent bookie who uses the jitney station as the basis of his operations.
Philmore, a local Hotel doorman and a frequent jitney passenger.
Booster (Clarence Becker), Becker’s son, who has just completed a 20-year prison sentence for murder. In his early 40s.