A green dusty couch stands to the right side of the stage, partially obscuring a cluttered desk with a flickering lamp. Across to the left, a table with mismatched chairs sits with a game of Checkers already spilled across it. The colors are muted, worn and natural except for the brilliant red of a Coca-Cola vending machine. The staging is simplistic, but real; setting the scene for the true heart of the performance: the actors and characters.

Within the span of two and a half hours, nine distinct characters came to life on the stage of Penumbra Theatre in Saint Paul. Each one was intertwined within the setting, Pittsburgh Hill District in 1977, when regular cabs refused to travel there: the birthplace of jitneys.

Within the office of Becker’s jitney operation, the lives and stories of each character—both the major actors and the more minor—are told in scenes spanning a mere week of time.

Jitneys were unofficial and unlicensed buses, the term jitney being short for jitney bus. The term jitney derives from the slang gitney, a term for a small coin, particularly a nickel.

“I thought the play was done amazingly. It gave life to people that had flaws and dreams as well as misgivings over what they could actually accomplish in a white world,” sophomore Taylor Littlefield said.

Becker, who is the boss of the jitney, is the glue that binds a medley of clashing characters from the chronic gossip Turnbo, the alcoholic Fielding, longtime driver and veteran Doub, to youthful, fiery Youngblood. Each character interweaves, developing within dialogue ranging from heartfelt to impassioned to playful.

The drama of the play is “dynamic” and “powerful,” according to a group response in the Nov. 3 post-play discussion. Yet, interspersed throughout is a relatable, down-to-earth humor that shows each character with their own quirks and wit.

The performance of “Jitney” is part of the 40^th anniversary season at Penumbra entitled “Still We Rise” and was chosen for being August Wilson’s first major work after his move to Saint Paul in 1978 as a symbol of their beginnings and their continued commitment to their mission. Some original actors, aged into new roles, returned to the stage to perform “Jitney” again.

“To see this play by August Wilson done in Penumbra where it was first brought to life by some of the original founders of Penumbra was an honor and eye-opening,” Littlefield said.

Within the overarching mission of Penumbra, “Jitney” is one of many plays that attempts to put a spotlight on voices and stories that they believe don’t receive enough attention.

A letter from co-artistic directors, Lou Bellamy and Sarah Bellamy, said, “Forty years ago a group of artists dared to dream of a place where their voices could be heard…they imagined a place where the African-American Experience would be recognized, validated and valued.”

“Jitney,” with a cast of African-American characters, gave attention to the nuances of culture.

“We always do work as if there are only black people in the audience. We don’t do that to exclude anyone, but to really tell an authentic tale,” said post-play discussion facilitator H. Adam Harris.

The theatre group’s reverence and seriousness in handling tales well means their meaning and messages can promote real consideration and thought for audience members.

“It made me think about how sometimes I can feel really beat down by my setbacks and think the world is out to get me. Yet, as a white woman I can know that other than fighting for equality with white men, I have the privilege to not have as many layers of systematic oppression holding me back in this world,” Littlefield said.

The entire play presented an experience both heartwarming and sorrowful, but most importantly one that connected characters to audience so that everyone in the room gasped, sighed and laughed together whether seated in the audience or standing on stage.

Penumbra Theatre is performing “Jitney” through Nov. 13.

Ticket dates and pricing can be found on their website: https://penumbratheatre.org/.