JITNEY Previews — Page 2

I saw the show Sunday night and was seated in the fourth row of the mezzanine, a bit on the side but not that far over, via TDF. The view was excellent, and it's a great vantage point to take in the wonderful set and the backdrop behind it, which evokes Pittsburgh so evocatively (my kid went to college there, so I was a frequent visitor to that city).

I think the mezzanine at the Friedman is less good for sound, as someone else had mentioned. I don't know if it's just me, but I had trouble understanding Anthony Chisholm, who is an experienced August Wilson hand and plays the alcoholic Fielding to perfection. He slurred his words because the character is drinking during the play, and I think that was my main problem. He was excellent, though, as all the actors are. It's a really marvelous ensemble, and it's always a joy to see John Douglas Thompson in particular.


As far as the play itself goes, I am an August Wilson newbie, pretty much. But Jitney didn't move me as much as the recent Piano Lesson at Signature. That play, with its layers of meaning that the family's history brings to bear, was astounding. I totally enjoyed Jitney, but it didn't hit me emotionally.

I'm really glad I saw it, though, and I recommend it highly. I hope to be able to see all the August Wilson plays at some point. My theater partner recommended I try to catch Joe Turner's Come and Gone, so I'll keep a lookout for that.

Updated On: 1/5/17 at 12:06 PM

This is definitely an early career work by an artist who was still finding his voice. There are issues in the writing--abrupt tonal shifts, occasionally tin-eared dialogue--that were largely tightened up in later Wilson works. And even some of the central characters (like Youngblood) feel underdeveloped. That said, there is a lot to enjoy and admire here, and I'm glad this is on Broadway in a terrific production from Ruben Santiago-Hudson. For my money, Brandon J. Dirden is the best interpreter of this repertory around, so I was glad to see him turn in a smoldering performance in the central role. He and John Douglas Thompson, as his father, are absolutely riveting in the final scene of Act 1, which echoes the father-son dynamic Wilson would come to explore in Fences. The supporting cast is largely strong as well; in particular, Michael Potts is a delight as the busybody Turnbo. I wasn't taken with Carra Patterson's Rena, but that is largely because the character is flat (a recurring problem throughout Wilson's oeuvre--a rather hollow understanding of, or interest in, the female experience). Despite my reservations, this is definitely a production to see.

It's 2.5 hours, give or take. Yesterday's matinee began a few minutes after 2 and finished at 4:30 sharp. Act 1 was around 1:15 and Act 2 was a little under an hour.

What a beautifully acted play...Wilson is truly one of the best playwrights of the 20th century...

Really liked Andre Holland's Young Blood...

The end of the first act is some of the best acting I've seen all season...

It's just a pleasure to watch this show...Kudos to the cast and Santiago-Hudson...

MTC has been knocking it out of the park this season...

Was there tonight and greatly enjoyed it! It's certainly a flawed play- the ending sorta comes out of nowhere, and a subplot could probably be trimmed here or there, but even so it's a lovely and very enjoyable play.

It's always a treat to see John Douglas Thompson in a show, and he again does wonderful work here. Michael Potts and Keith Randolph Smith are also excellent. Sadly, Andre Holland was out, but Stephen Tyrone Williams made a fine Youngblood (even though it's an oddly underwritten part).

Ruben Santiago-Hudson's direction is pitch-perfect, and all the technically elements are spot-on. I was very happy to see that the audience looked packed, and I encourage everyone to see it before the run ends. Just a totally satisfying night of theatre.