August Wilson is an American playwright and often referred to as the theater’s poet of
Black America. He is best known for a series of 10 plays, collectively called The Pittsburgh Cycle, which chronicle the experiences and
heritage of the African-American community in the 20th century. Wilson was born Frederick August Kittel Jr. in the Hill District of Pittsburgh, Pennsylvania, the fourth of six children in a bi-racial family. Raised primarily by his mother, he eventually wrote under her maiden name. He enlisted in the Army for a 3 -year stint but was discharged after a year and went back to working odd jobs, until he purchased a typewriter for $10 and began to submit poems to magazines such as Harper’s. In 1968 Wilson co-founded Black Horizon Theater in Pittsburgh, where he began to write and direct. Jitney was written in 1979, but revised it extensively in 1996. He wrote the majority of his works, including his Pulitzer Prize winning Fences and The Piano Lesson in the 1980s.
The play was written in 1979 and originally produced in 1982 at the small Allegheny Repertory Theatre in Pittsburgh, Pennsylvania."Jitney" was the first of August Wilson's plays. The play was written in 1979 and originally produced in 1982 at the small Allegheny Repertory Theatre in Pittsburgh, Pennsylvania. "Jitney" was republished as a revised work as a part of Wilson's Pittsburg Cycle in 2000. The Pittsburg Cycle (also known as the Century Cycle) is a set of ten plays in different decades of 20th century America. Together, the plays are meant to capture the experiences of African Americans during those decades. Wilson was able to complete this life-long work before his death in 2005.
August Wilson's "Jitney" is set in Pittsburg's Hill District during the late 1970s. Five cab drivers of a jitney cab company have to deal with their personal struggles as the danger of their business being shut down becomes a looming threat.
Before many of the rideshare apps and options that exist today, there were Jitneys. The work is said to derive from the Louisiana Creole French word Jetn’ee for five cents or a nickel (the first fare charged for these unlicensed cabs).Jitneys initially emerged in the 1910s, when personal car ownership became more popular, and individuals wanted to earn some extra money by charging for a ride. But it wasn’t long before government agencies began cracking down on this informal transportation system, and by 1918, numbers of operating jitneys declined from 62,000 to 6,000 nationwide.
"There were a lot of jitney stations in Pittsburgh, located in storefronts with a pay phone. It was a perfect place for a play because you had a set and a community of players who work together and have created something out of nothing, having no jobs. They are generally older men who had jobs working in the steel mills and on the railroad. If they were lucky enough to have a pension, there was a need to supplement with additional income, so they drove jitneys. And I think they do it because they enjoy the company of each other; they have something to do and it's a place to belong. They are a microcosm of the community at large."
—August Wilson (Conversations with August Wilson)
Doud ------------------------- Finnie Coleman
Jim Backer ----------------- Gene Corbin
Turnbo ----------------------- Darryl DeLoach
Shealy ----------------------- Steven Higgins
Booster ---------------------- Mack Leamon
Youngblood ----------------- Kenneth Davis Jr
Fielding ---------------------- Daniel Turner
Philmore --------------------- Dachary Vann
Rena --------------------------- Nicee Wagner
ANGELA LITTLETON is an actress/ASL interpreter/director who was born and raised in New York and graduated with degrees in Theatre and Psychology from Fordham University. She has acted in plays in NY, AK, HI, OR and NM. She has played Medea; Mrs. Muller in DOUBT at The Cell; Lady Macbeth in MACBETH at The Aux Dog; Brenda in THE WAITING ROOM at Mother Road Theater; Berenice in THE MEMBER OF THE WEDDING at the Adobe Theater; the Reverend Mother, Mary Regina in Nunsense 1 & 2 at The Aux Dog. At The Vortex she’s been seen in MEDEA, AMERICAN DAUGHTER, IMMORTAL LONGINGS, and SISTER MARY IGNATIUS EXPLAINS IT ALL. Although she's better known to Albuquerque theatre audiences as an actor, she has been trained and has worked as a director as well. She's been blessed with an amazing cast and crew for this production and is grateful for this opportunity.
Cynthia Thompson (aka Cynthia Herndon) was born in Jamaica, NY and moved to Albuquerque, NM over 20 years. After all these years, she still identifies as a New Yorker. Her interest in theater was sparked while making an elective class at CNM. The homework assignment was to attend a live performance. Her first audition was really just a reason to meet people. Her onstage credits include: Little Foxes, Mo’ Jubilee, Roots Revival I & II, I Remember When, To Kill a Mockingbird, and La Cage Aux Folles. Behind the stage; The Wiz, Flossie and the Fox, The Gathering, In the Blood, The Women of Lockerbie, Caldwell’s Bomb, Cabaret, Gruesome Playground Injuries, and Jitney!
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Laura is currently finishing her Bachelor of the Arts and Science in English Literature at UNM. This will be her first production and she is honored to be part of such a show like Jitney, she relishes the privilege it is to have her first production be in company of such a strong cast. Laura studies African American Literature specifically and she understands the importance Black art has at a major level; she hopes the audiences can understand the importance of community that Wilson writes so beautifully and that has been able to be brought to life in this show. She’s grateful for everyone that comes watch and enjoys the show!
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Dachary Vann was last seen as Father/Ensemble in The Yellow Boat at the Vortex Theater. Other notable credits include: Samantha Jones (pronounced Honés) in Sex and the Burque with Jensen Entertainment, Lay Our Scene with &Sons Theatre, Orcus in She Kills Monsters: Virtual Realms (&Sons Theatre and Ad Astra Theatre), Dose in This Is Modern Art (Duke City Reparatory Theatre), Paris in Romeo and Juliet (New Mexico Shakespeare Festival), Avery in The Flick (Aux Dog), Hud in Hair (Musical Theatre Southwest), Corin in As You Like It (Vortex), Max in Hir (Vortex), and Fairy Valet to Titania in A Midsummer Night's Dream (UNM).
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From; Milwaukee, WI
Education: MBA
Background: His first stage performance was during High School with the Hansberry-Sands Theatre Company as the character Walter Lee Younger in the play “A Raisin in the Sun”. Presently, he is performing in August Wilson’s “Jitney” as the character Fielding.
Jack Champagne is a local educator and community organizer. He graduated from the University of Pittsburgh and the University of Pittsburgh School of Law
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I first took the stage as a child in Montgomery, Alabama. Years later, Albuquerque re-invigorated my love of acting. After decades of performances, Othello, Lincoln in Top Dog/Underdog, my favorite play!Even had the opportunity to be directed by Ernest Dickerson during my pursuit of a SAG card. After many odd roles in television and film. I'm on AAPAC's stage again, doing August Wilson?! Directed by my stage wife?! Dreams do come true.
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Military Veteran, blues musician, and educator, Dr. Finnie D. Coleman teaches at the University of New Mexico where he is the Past President of the Faculty Senate. He is married to UNM’s Dr. Dora Careaga and is the father of Finnie Santiago Careaga Coleman (Amy Biehl High School) and Anelé Careaga Coleman (U Miami, Frost School of Music).
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I have been on stage doing song, dance and guitar since my teens. Many shows at Popejoy, The Little Theatre, the Vortex and many more genres. I am excited to perform in a play based in my hometown. Written by a man who is revered there. These characters feel so familiar I would like to be a part of bringing this warm, tough, tale to audiences.
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Nicee (Nicky) Wagner is thrilled you came to the show! She is deeply honored to take her place amongst such a tremendously talented cast and crew. Nicee was last seen this year at the Vortex Theater as Teenage Greek Chorus in ''How I Learned to Drive,'' and as Camae in ''The Mountaintop,'' at the Adobe Theater. When she's not on stage, she works professionally as a voiceover artist, having most recently provided the voice of Cammie Lewis and the narrator in the upcoming YouTube audio series ''The Modern Immortals.'' She is also elated to be making her film debut later this year. As you watch the show, Nicee asks each of you to reflect on the social issues this play presents, and how/why they are still relevant today. Thank you so much for coming!
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Kenneth Davis Jr (understudy Youngblood) hails from Austin, TX. This is his third production in the Albuquerque following roles in Dreamgirls (MTS) and RENT (Tom Collins). Kenneth was involved in various independent productions as well as being the founding member of the Spectrum Theatre Company, Austin’s first premier black theatre ensemble.
Riley Lewis - Lights and Sound design
Mattie Roos - Set design and painting
Thane Kenny - Set builder/carpenter
Claudia Mathes - Prop designer
Ayana Cole- Fletcher - Costume designer
Special thanks to:
Shannon Flynn and Quarantine Productions - UNM
Dahl Delu - The Adobe Theatre
Help African American Performing Arts Center (AAPAC) by going to NMAAPAC.com or call (505)222-0785 to become a member or donor.
Mission
As the only African American Performing Arts Center and Exhibition Hall in the Southwest United States, we promote an environment for creativity, community engagement, and artistic excellence and expression. We aim to inform, educate, and provide exceptional arts and culture experiences for the city of Albuquerque.
Vision
Our VISION is to become New Mexico’s central destination to experience and explore the art, culture, and history of all peoples of African descent.
Objectives
The spirit of our programming shall be inspired by the following objectives.
Celebration of Heritage
We celebrate black excellence and embrace the rich cultural heritage of our community, honoring local traditions while also embracing outside the walls of the African American community to expand our creativity.
Artistic Excellence
Strive to be a beacon of artistic excellence, showcasing a diverse range of performances including plays, musicals, dance recitals, concerts, and experimental works for established and emerging artists.
Inclusivity and Diversity
We embody a welcoming space for people of all backgrounds, ages, and abilities. We actively seek out diverse voices and stories, promoting inclusivity both on stage and behind the scenes.
Community Engagement
We espouse deep roots within our community, offering outreach programs, educational workshops, and opportunities for local artists to collaborate.
Collaboration and Partnerships
We actively seek out partnerships with other arts organizations, educational institutions, and community groups to foster collaboration and cross-pollination of ideas.
African American Performing Arts Center (AAPAC) Board of Director and Staff;Newton Robinson, Executive DirectorJohn W. Smith, PresidentDonna Owens, Secretary-TreasurerCate Stetson, Board MemberDennis Owens, Operations ManagerTammy Young, StaffKristin Bell, StaffSusan Dorn-Dixon, StaffPhil Arnold, StaffShawn Pitts, StaffChris Owens, StaffNina Montoya, StaffAgain, thank you for coming and be safe on your drive home
African American Performing Arts Center (AAPAC)
Board of Director and Staff;
Newton Robinson, Executive Director
John W. Smith, President
Donna Owens, Secretary-Treasurer
Cate Stetson, Board Member
Dennis Owens, Operations Manager
Tammy Young, Staff
Kristin Bell, Staff
Susan Dorn-Dixon, Staff
Phil Arnold, Staff
Shawn Pitts, Staff
Chris Owens, Staff
Nina Montoya, Staff
Again, thank you for coming and be safe on your drive home