Theatre . . .
By Claude Reed, Jr.
The First
Martin Beck Theatre
NYC
Director:
The First recounts the events lead
ing up to Jackie Robinson's breaking
into baseball's major leagues and the
ordeal of racism that he had to endure.
The year was 1947, when Blacks were
viewed disdainfully whether in the
North or South. The nation had a seri
ous love affair with the game of base
ballthe "national pastime." In fact,
fans and supporters were so 'into' this
sport that baseball became synony
mous with patriotism. However, a se
vere contradiction existed Blacks
were excluded from participating in
major league baseball with white
players.
Although many whites conceded
that Black baseball players were ath
letically good (even superior) the white
consensus of all but a few was that
Blacks did not possess the mental
stamina to function under the pressure
of "organized" competition. Scouts
from major league teams had seen
Blacks play whenever they chose to
watch a game between teams in the
Negro League. They saw the awesome
skills of such legendary players as josh
Gibson and Satchel Page. Many of
these Negro League baseball players
compiled remarkable records that re
flected not only skill but stamina. Ne
gro League teams regularly played two
games a day not just an occasional
double-header. But the stigma of men
tal "laziness" persisted, so most of
these great players were destined to
never play on a major league baseball
diamond.
This double standard, however,
bothered one man to the extent that he
became obsessed with ending the in
justice. The man was Branch Rickey,
president of the then Brooklyn Dodg
ers. Mr. Rickey knew well of the prow
ess of Black baseball players and had
no reservations in admitting to their
often astonishing athletic feats. He was
a total realist and was also cognizant
that a special kind of Black man was
needed to handle the adversity in store
for the first Black to wear a major
league baseball uniform.
Clyde Sukeforth, a Dodger scout had
told Branch Rickey about an excep
tional baseball player named Jackie
Robinson. Jackie had all of the attri
butes necessary to make it in the
majors. The first 4-letter man at
UCLA, a military veteran and a fine
scholar, Jackie Robinson had the es
sential elements athletically, compe
titively and intellectually. He also had
something that catalyzed these ele
ments . . . courage.
As The First unfolds, a touching sto
ry is conveyed giving insight into the
strength of resistance Robinson and
Rickey faced and the strength they
demonstrated in redirecting resistance
to acceptance. Jackie Robinson was in
sulted by fans, members of opposing
teams and even by members of his
own team. Dodger manager Leo Du
rocher and short-stop Pee Wee Reese
were Jackie's only early team allies.
Regretably, the relationship between
Robinson and Reeese was not fully
developed in the play, but this over
sight does not take away from The
First's overall impact too greatly.
With Blacks today losing their
awareness of the important legacy of
our past, The First rekindles our mem
'ories and reiterates the value of know
ing from where we have come. This is
more than just Jackie Robinson's story,
but a story with a vital lesson for us all.
It is a story of superior skills, but more
importantly, superior character, which
has ever greater meaning today than in
1947.
Candida
Circle in the Square
NYC
Director: Michael Cristofer
Candida marks the Broadway return
of Joann Woodward after a 17 year
absence. And once again (as with a
number of B'way offerings this season)
the play's star- is also its main attrac
tion. For those who are fans of Joanne
Woodward, she will not disappoint
you. Ms. Woodward delivers as fine a
performance as the George Bernard
Shaw script allows. Unfortunately,
there is little else to cheer about.
This play was first produced in 1894
and was one of two plays which
brought initial fame to Shaw as a dra
matist. Technically, Candida is solid
but its most severe problem is a time
dated plot. With better than average
performances by all of the cast,
throughout the play one seems to ex
pect something more to happen that
would give real impact to the actor's
efforts. But by the three-act play's con
clusion it is an emotional letdown to
realize that Ms. Woodward has re
solved a conflict that in 1894 was deep
but runs much too shallow in 1982.
Michael Edward-Stevens and Lonette
McKee in a scene from'The First".
Catherine Hepburn in "West Side WaJtz."
14