“Mr. Rickey Calls a Meeting” may center on Jackie Robinson, but this is no run-of-the-mill sports story. We’re not watching Robinson climb up the leagues, or holding our breath as he steps up to the plate; instead, we’re dropped into the room where the benefits and costs of Robinson’s place on the Brooklyn Dodgers are weighed by some of the most prominent Black men of the time.
Staged at Karamu House under the direction of Jimmie Woody, “Mr. Rickey Calls a Meeting” is a pressure cooker of a drama that explores the nuances of breaking baseball’s color barrier.
In 1946, Jackie Robinson led the International League with a .349 batting average and was integral in helping his team, the Montreal Royals, secure a minor league World Series title. There’s little question as to Robinson’s talent, but to be the first Black American to integrate Major League Baseball, Robinson’s success requires more than just talent; he needs support. So believes Branch Rickey, the owner of the Brooklyn Dodgers. Thus, he invites Jackie Robinson, boxer Joe Louis, actor and activist Paul Robeson and Bill “Bojangles” Robinson to his hotel room for a meeting to discuss Jackie entering the major leagues. Over room service and threats, the men debate the benefits and pitfalls of publicly supporting Jackie forever altering America’s favorite pastime.
While all of the aforementioned men were influential historic figures, this titular meeting featured in Ed Schmidt’s 1989 play is entirely fictional. The nature of the script being an exploration of a “what if” scenario does somewhat lessen the gravity of the show’s outcome; history tells us that Jackie will wear a Dodgers jersey in 1947 regardless of what plays out in this hotel room. Yet, the arguments voiced and the sentiments expressed during the 90-minute, no-intermission production are still worthwhile explorations into the nuances that would accompany Jackie’s historic and controversial joining of the MLB.
Helping propel the show forward is a constant, practically pulsating tension. When Mr. Rickey asks that the gathered men show their public support of Jackie as representatives of the Black community, not everyone is eager to accept his proposal. While Bill and Joe are ready to sing Jackie’s praises to the media, Paul is convinced that integrating into white baseball leagues will lead to the death of the Negro leagues. He also suspects that Jackie and future Black players will not receive fair compensation.
Many of these men have excelled to the tops of their fields despite having to overcome wanton prejudice, racism and inequity–and they’ve each developed a backbone in the process. This means that the debates that ensue are heated indeed. There are moments of quiet camaraderie and reflection, but there is no shortage of yelling and plenty of arguing over one another as issues close to the heart are thrust into the open for all to weigh in upon.
Helping give the narrative weight are the impassioned performances and realistic designs. Audiences are greeted by Richard H. Morris, Jr.’s set design of a posh hotel room replete with elegant details, from the wooden trim to the vast cityscape outside the windows to the stained-glass transoms above the doors. Wall sconces are realistically lit by Logan Chapman, while designer Richard Ingraham provides a steady sound of a rainstorm that further sets the mood. Inda Blatch-Geib dresses the men in impeccable suits and ties fit for the forties.
Playing a bold and brash Branch Rickey is Brad Southard. As Rickey, Southard embodies the air of a good ol’ boy businessman who isn’t used to being told no. Rickey’s advocacy for Jackie isn’t driven just by potential profits, but by a recognition of talent and a striving for change, which is a refreshing sentiment.
Playing the man of the hour and a half, Jackie Robinson, is a very likable Drew Pope. While Jackie Robinson was known for being someone who didn’t shy away from altercations, this script presents a more reserved Robinson–one who is willing to heed the “hold your tongue between your teeth” advice of Branch Rickey. In the role, Pope is often collected and professional, but still passionate.
Actor Ananias J. Dixon embodies World Heavyweight Boxing Champion, Joe Louis. While he is supportive of Jackie, Louis is plagued with his own problems and therefore finds the gathering in Rickey’s hotel room to be a strain on his time. Dixon fluctuates from agreeable and charming to hard-edged and dangerous as Louis grows more and more frustrated with the group’s collective indecision.
Also suffering from vices and outside pressures is Bill “Bojangles” Robinson, played here by an amiable Bryant Lyles. Lyles provides ample comedic relief with his easy-going air and initially bright outlook, but this, too, proves able to shift into something more desperate and dark at the flip of a switch.
In the role of the main antagonist Paul Robeson is a stoic Corin B. Self. As a steadfast advocate for equality, Paul poses the most objections to Jackie’s promotion because of what it might mean for other Black baseball players. With a deep voice and a no-nonsense attitude, Self gives Paul’s arguments weight.
Playing the only non-historical figure, bellhop Clancy Hope, is a playful Avery LaMar Pope. Thrust into the middle of a starstudded meeting, the young Clancy is awed by the celebrity that surrounds him, often leading to humorous interactions as he struggles to find his footing among the powerful, arguing men.
“Mr. Rickey Calls a Meeting” may not be a conventional sports tale–and it’s a fictional one, at that–but it does delve into important nuances. Although these conversations may have never happened, the sentiment behind them remains a worthwhile exploration.
“Mr. Rickey Calls a Meeting” runs through Oct. 18, 2026, at Karamu House, 2355 East 89th Street, Cleveland. Visit karamuhouse.org or call (216) 795-7077 for tickets, $23 – $48.
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