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Jitney Poses Old Questions to New Audiences

THE AFRO — Modern audiences are all too familiar with topics regarding racial inequities, widespread gentrification, car service regulations, senseless violence, PTSD and unhealthy relationships with parents and children, which is why it is a true testament that August Wilson’s “Jitney,” set and written in the late 1970s, is a timeless story that resonates across backgrounds, demographics and generations.

Published

6 years ago

October 8, 2019

Oakland Post

“Jitney” by legendary writer August Wilson runs at Arena Stage until Oct. 27. (Photo by: Joan Marcus)

By Micha Green

Modern audiences are all too familiar with topics regarding racial inequities, widespread gentrification, car service regulations, senseless violence, PTSD and unhealthy relationships with parents and children, which is why it is a true testament that August Wilson’s “Jitney,” set and written in the late 1970s, is a timeless story that resonates across backgrounds, demographics and generations.

An intergenerational story in itself, Wilson meshes social justice and civil rights challenges with characters, all who have their personal quirks and challenges that make them important to the storytelling of Arena Stage’s 70thAnniversary Season performance of “Jitney.”

Wilson’s words are penetrating, particularly in the sense that over 40 years later, “Jitney,” has a way of perfectly resonating with audiences.

“There are few voices that articulate the American experience with the honesty and the bittersweet beauty of August Wilson,” Arena Stage Artistic Director Molly Smith wrote in the play’s program notes.

In an exclusive interview with the AFRO, Wilson’s wife Constanza Romero Wilson explained how the play’s story lines connect with modern day audiences.

“[It’s a] lot of characters that everybody recognizes–their nosey uncle, their very stubborn or authoritative father. August wrote recognizable humans that have a lot of passion for life and they want justice in their daily lives,” said Wilson’s widow, who is a costume designer. “On the other hand, the topics that are being talked about in 1970s Pittsburgh are present today in 2019. We have cycles of young violence, young people that are aimless. They don’t have a clear path for life, and they can offer so much. And we also have disillusioned parents. And then we have young people who have fallen in love and they have a hard time starting their lives.”

Romero Wilson noted that the directing also contributes to the way modern audiences in D.C. can connect with late 1970s Pittsburgh.

“I think that a wise director directs the play so that it speaks to the modern audiences,” she told the AFRO “We’re still trying to introduce August Wilson to younger audiences, to younger generations, and it speaks as loudly now as it did then.”

Directed by multifaceted artist and performer Ruben Santiago-Hudson, who was also at the helm of the 2017 Tony-Award winning revival, “Jitney,” is an honest portrayal of people who desire to fight past challenges, celebrate triumphs, move onto new opportunities and create their own paths.

With an intricate, yet practical set designed by David Gallo, audiences are immediately welcomed into the jitney, a car service, with a desk, couch, refrigerator, ride tallying board, checkers board and chairs. It’s clear that the car service office has seen better days, newer floors and more business through the technical elements and the casts’ recognizable desire to balance desperation, frustration, hope and a yearning for more. Even through the play’s sound (designed by Darron L. West and Charles Coes), opening with original Blues music by Bill Sims Jr., audiences can understand that this play will show the bewildering beauty in pain and hardship.

The jitney drivers provide rides where taxis won’t go. Much like today’s modern car and ride share services, jitneys turned people with cars to honorable and reliable businessmen for their communities.

Despite the looming threat of gentrification and loss, watching the characters battle personal and financial frustration, celebrate beautiful moments, and seek more for their lives is what keeps audiences engaged in the storytelling of “Jitney.”

Santiago-Hudson found a way for the actors to work cohesively on stage and command the set, as if they actually experienced working in a 1970s car service office.

While it may have taken the first few minutes to adjust to the dialects, and interesting speech idiosyncrasies’ of the characters, each actor lived in the truth of Wilson’s words. These veteran artists, many of whom have spent much of their careers tackling the playwright’s words, quickly transported the 2019 D.C. audience to 1977 Pittsburgh.

Turnbo (Ray Anthony Thomas), Youngblood (Amari Cheatom), Doub (Keith Randolph Smith) and Fielding (Anthony Chisholm) are the drivers who set the tone of the life of jitney drivers, while Becker (Steven Anthony Jones), who runs the service, is an example of the man who never stops working and sacrificing. Each driver had their own stories and strong acting choices that led them to be fully developed characters, with feelings and goals.

Thomas as Turnbo, the slick, nosy figure, who might come off as annoying and a troublemaker, shows that even with these less than desirable qualities, the man just wants to be accepted.

Youngblood might be hot-tempered with a smart mouth, but audiences empathize with Cheatom’s portrayal as he shows the young man’s fears and desires for greatness.

Doub-who is somewhat of the car service’s moral compass- is not just the good guy, because in Smith’s portrayal of the role, audiences can see a man who overcame a lot of trauma, who works hard to make good choices, and who wants the best for the generation behind him.

Then there’s the sweet, drunk Fielding, who, as an actor has the hard challenge of “playing drunk,”- which is difficult because people who are inebriated work to show they are not intoxicated. Chisholm’s Fielding is quite believable as he balances the drunk, old man gurgle in his voice, well-meaning actions, struggle of fighting alcoholism, and clinging to memories past.

Jones as Becker is like watching an acting workshop, as his bold clear choices show a man who is battling with secrets, feelings of betrayal, responsibility, good intentions and pain. The entire theatre shifts once Jones reveals that he is not just a good guy, but is also an unforgiving, belligerent and disappointed parent. Jones is able to simultaneously balance and portray both sides of his character until his last moment on stage.

Francoise Battiste as Booster gives audiences chills. Although his character enters later into the play, his presence immediately commands attention and lingers even when he’s gone. Watching Battiste and Jones play off one another is like watching a close tennis match, as heads move from man to man, actor to actor, hurt person to hurt person, and audiences are treated to real truths and human experiences.

Strong performances by Harvy Blanks as Shealy and Brian D. Coats as Philmore add color and comedy to the drama, and keeps audiences missing them when they’re gone.

Nija Okoro holds it down as the only woman in the cast, Rena, and she is representing for strong, intelligent, creative and well-dressed Black women. Each time Okoro stepped on stage there was a shift. Her presence required anyone in the room to pay attention to her words and empathize with her desires, and through Okoro’s honest portrayal of Rena, audiences are treated to powerful monologues and perfectly timed comedic relief.

Elements of theatricality such as well-executed and believable fight scenes (Thomas Schall) and tableaus heightened the stakes of the play and kept audiences interested in each actors’ movements.

The costumes (Toni-Leslie James) and lights (Jane Cox) were also beautiful, becoming characters in themselves, and added a value that set the mood and tone of the time period, while also appealing to the eyes of modern audiences.

“Jitney,” will have audiences considering their own ways of dealing with life’s lemons and showcases how these Black people in Pittsburgh tackled challenges- with tropes that cross demographics.

“When August wrote this play, the Black community took matters into their own hands- and it’s a story about determination. And they said, ‘Well, if taxis aren’t going to come to our side of town, we are going to start having these jitney cabs. It’s a story about self-determination,” Romero Wilson told the AFRO. “There’s so many other human stories that run through the play, that I think that there’s plenty of story lines and moments that people can relate to.”

Due to popular demand, “Jitney” has been extended to Oct. 27 at Arena Stage, 1101 Sixth Street, S.W., Washington, D.C. 20024.

This article originally appeared in The Afro.

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COMMENTARY: The National Protest Must Be Accompanied with Our Votes

Just as Trump is gathering election data like having the FBI take all the election data in Georgia from the 2020 election, so must we organize in preparation for the coming primary season to have the right people on ballots in each Republican district, so that we can regain control of the House of Representatives and by doing so, restore the separation of powers and balance that our democracy is being deprived of.

Published

2 days ago

February 10, 2026

Oakland Post

Dr. John E. Warren, Publisher San Diego Voice & Viewpoint Newspaper. File photo..

By Dr. John E. Warren, Publisher San Diego Voice & Viewpoint Newspaper

As thousands of Americans march every week in cities across this great nation, it must be remembered that the protest without the vote is of no concern to Donald Trump and his administration.

In every city, there is a personal connection to the U.S. Congress. In too many cases, the member of Congress representing the people of that city and the congressional district in which it sits, is a Republican. It is the Republicans who are giving silent support to the destructive actions of those persons like the U.S. Attorney General, the Director of Homeland Security, and the National Intelligence Director, who are carrying out the revenge campaign of the President rather than upholding the oath of office each of them took “to Defend The Constitution of the United States.”

In California, the primary comes in June 2026. The congressional races must be a priority just as much as the local election of people has been so important in keeping ICE from acquiring facilities to build more prisons around the country.

“We the People” are winning this battle, even though it might not look like it. Each of us must get involved now, right where we are.

In this Black History month, it is important to remember that all we have accomplished in this nation has been “in spite of” and not “because of.” Frederick Douglas said, “Power concedes nothing without a struggle.”

Today, the struggle is to maintain our very institutions and history. Our strength in this struggle rests in our “collectiveness.” Our newspapers and journalists are at the greatest risk. We must not personally add to the attack by ignoring those who have been our very foundation, our Black press.

Are you spending your dollars this Black History Month with those who salute and honor contributions by supporting those who tell our stories? Remember that silence is the same as consent and support for the opposition. Where do you stand and where will your dollars go?

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Why Black Parents Should Consider Montessori

BLACKPRESSUSA NEWSWIRE — I have found that there are some educational approaches that consistently provide a safer, more enriching, and more affirmative environment for Black children. The Montessori method, developed by Italian physician Maria Montessori and introduced to the U.S. in the early 20th century, is one such approach.

Published

3 days ago

February 9, 2026

Oakland Post

By Laura Turner-Essel, PhD

As a mother of four children, I’ve done A LOT of school shopping. I don’t mean the autumn ritual of purchasing school supplies. I mean shopping for schools – pouring over promotional materials, combing through websites, asking friends and community members for referrals to their favorite schools, attending open houses and orientations, comparing curriculums and educational philosophies, meeting teachers and principals, and students who all claim that their school is the best.

But keep in mind – I’m not just a mom of four children. I’m a mom of four Black children, and I’m also a psychologist who is very interested in protecting my little ones from the traumatic experience that school can too often become.

For Black children in the United States, school can sometimes feel more like a prison than an educational institution. Research shows that Black students experience school as more hostile and demoralizing than other students do, that they are disciplined more frequently and more harshly for typical childhood offenses (such as running in the halls or chewing gum in class), that they are often labeled as deviant or viewed as deficient more quickly than other children, that teachers have lower academic expectations of Black students (which, in turn, lowers those students’ expectations of themselves), and that Black parents feel less respected and less engaged by their children’s teachers and school administrators. Perhaps these are some of the underlying reasons that Black students tend to underperform in most schools across the country.

The truth is that schools are more than academic institutions. They are places where children go to gain a sense of who they are, how they relate to others, and where they fit into the world. The best schools are places that answer these questions positively – ‘you are a valuable human being, you are a person who will grow up to contribute great things to your community, and you belong here, with us, exploring the world and learning how to use your gifts.’ Unfortunately, Black children looking for answers to these universal questions of childhood will often hit a brick wall once they walk into the classroom. If the curriculum does not reflect their cultural experiences, the teachers don’t appear to value them, and they spend most of their time being shamed into compliance rather than guided towards their highest potential, well…what can we really expect? How are they supposed to master basic academic skills if their spirits have been crushed?

Here’s the good news. In my years of school shopping, and in the research of Black education specialists such as Jawanza Kunjufu and Amos Wilson, I have found that there are some educational approaches that consistently provide a safer, more enriching, and more affirmative environment for Black children. The Montessori method, developed by Italian physician Maria Montessori and introduced to the U.S. in the early 20th century, is one such approach.

The key feature of Montessori schooling is that children decide (for the most part) what they want to do each day. Led by their own interests and skill levels, children in a Montessori classroom move around freely and work independently or with others on tasks of their own

choosing. The classroom is intentionally stocked with materials tailored to the developmental needs of children, including the need to learn through different senses (sight, touch/texture, movement, etc.). The teacher in a Montessori classroom is less like a boss and more like a caring guide who works with each child individually, demonstrating various activities and then giving them space to try it on their own. The idea is that over time, students learn to master even the toughest tasks and concepts, and they feel an intense sense of pride and accomplishment because they did it by themselves, without pressure or pushing.

I think that this aspect of the Montessori method is good for all kids. Do you remember the feeling of having your creativity or motivation crushed by being told exactly what to do, when to do it, how to do it, and why? The truth is that when presented with a new challenge and then given space, children actually accomplish a lot! They are born with a natural desire to learn. It is that spirit of curiosity, sense of wonder, and excitement to explore that Montessori helps to keep alive in a child. But that’s not the only reason that I think Black parents need to consider Montessori.

Fostering a love of learning is great. But more importantly, I think that Montessori students excel at learning to love. It begins with Montessori’s acknowledgement that all children are precious because childhood is a precious time. In many school systems, Black children are treated like miniature adults (at best) or miniature criminals (at worst), and are subjected to stressful situations that no kids are equipped to handle – expectations to be still and silent for long periods, competitive and high-stakes testing, and punitive classroom discipline. It’s easy to get the sense that rather than being prepared for college or careers, our children are being prepared to fail. Couple this with the aforementioned bias against Black children that seems to run rampant within the U.S. school system, and you end up with children who feel burned out and bitter about school by the time they hit 3rd grade.

In my experience, Montessori does a better job of protecting the space that is childhood – and all the joy of discovery and learning that should come along with that. Without the requirement that students “sit down and shut up,” behavioral issues in Montessori classrooms tend to be non-existent (or at least, the Montessori method doesn’t harp on them; children are gently redirected rather than shamed in front of the class). Montessori students don’t learn for the sake of tests; they demonstrate what they’ve learned by sharing with their teacher or classmates how they solve real-world problems using the skills they’ve gained through reading, math, or science activities. And by allowing children a choice of what to focus on throughout the day, Montessori teachers demonstrate that they honor and trust children’s natural intelligence. The individualized, careful attention they provide indicates to children that they are each seen, heard, and valued for who they are, and who they might become. Now that’s love (and good education).

As a parent, I’ve come to realize that many schools offer high-quality academics. Montessori is no different. Students in Montessori schools gain exposure to advanced concepts and the materials to work with these concepts hands-on. Across the nation, Montessori schools emphasize early literacy development, an especially important indicator of life success for young Black boys and men. Montessori students are provided with the opportunity to be

successful every day, and the chance to develop a sense of competence and self-worth based on completing tasks at their own pace.

But I have also learned that the important questions to ask when school shopping are often not about academics at all. I now ask, ‘Will my children be treated kindly? Will they be listened to? Protected from bias and bullying? Will they feel safe? Will this precious time in their lives be honored as a space for growth, development, awe, and excitement? Will they get to see people like them included in the curriculum? Will they be seen as valuable even if they don’t always ‘measure up’ to other kids on a task? Will they get extra support if they need it? Will the school include me in major decisions? Will the school leaders help to make sure that my children reach their fullest potential? Will the teacher care about my children almost as much as I do?’

Consistently, it’s been the Montessori schools that have answered with a loud, resounding ‘Yes!’ That is why my children ended up in Montessori schools, and I couldn’t be happier with that decision. If you’re a parent like me, shopping for schools with the same questions in mind, I’d urge you to consider Montessori education as a viable option for your precious little ones. Today more than ever, getting it right for our children is priceless.

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LIVE from the NMA Convention Raheem DeVaughn Says The Time Is Now: Let’s End HIV in Our Communities #2

Set against the backdrop of the NMA conference, Executive Officers from the National Medical Association, Grammy Award Winning Artist and Advocate Raheem DeVaughn, and Gilead Sciences experts, are holding today an important conversation on HIV prevention and health equity. Black women continue to be disproportionately impacted by HIV despite advances in prevention options. Today’s event […]

Published

1 week ago

February 3, 2026

Oakland Post

Black women continue to be disproportionately impacted by HIV despite advances in prevention options. Today’s event is designed to uplift voices, explore barriers to access, and increase awareness and key updates about PrEP, a proven prevention method that remains underutilized among Black women. This timely gathering will feature voices from across health, media, and advocacy as we break stigma and center equity in HIV prevention.

Additional stats and information to know:

● Black women continue to be disproportionately affected by HIV, with Black women representing more than 50% of new HIV diagnoses among women in the U.S. in 2022, despite comprising just 13% of women in the U.S.

● Women made up only 8% of PrEP users despite representing 19% of all new HIV diagnoses in 2022.

● Gilead Sciences is increasing awareness and addressing stigma by encouraging regular HIV testing and having judgment-free conversations with your healthcare provider about prevention options, including oral PrEP and long-acting injectable PrEP options.

● PrEP is an HIV prevention medication that has been available since 2012.

● Only 1 in 3 people in the U.S. who could benefit from PrEP were prescribed a form of PrEP in 2022.