THE FIRST
A Musical
Book By Joel Siegel
With Martin Charnin
Music By Bob Brush
Lyrics By Martin Charnin
Rights: Samuel French, Inc. / French’s Musical Library
254 West 54th Street
New York, NY 10036
Cast:
Males:
38
Females: 1 lead, 7 ensemble
THE FIRST is an account of Jackie
Robinson in 1947, the year he joined the Brooklyn Dodgers as the first African
American admitted to major league baseball. Robinson endured prejudice at the
hands of baseball fans, the baseball establishment and the majority of his
opponents and teammates. Ironically, in a story that only exists because of the
existence of racism, Jackie Robinson was eventually accepted because ability is
colorless. His story is a valuable example of courage and determination, but it
is equally as valuable due to the relationship between himself and his wife,
Rachel Isum. Rachel traveled with Jackie throughout his first season in the
majors and withstood the onslaught against her husband and herself. Not
discounting the efforts of Branch Rickey and the sacrifice of Leo Durocher,
Rachel was the principal reason that Jackie persisted. THE FIRST is an
entertaining musical about a true pioneer in the world of sports and equal
rights, but I recommend it as well as a story that exemplifies the best qualities
of love through adversity. Given today's grim statistics, misinformation and
pessimism about marital relationships, THE FIRST offers students a template for
success. It is also a marvelous example of the transcendent nature of
character, both good and bad, proving that character is not determined by race,
creed or color.
THE FIRST employs forty-six actors,
most of whom sing and dance, and, notwithstanding some denigrating dialogue, it
affords boisterous fun in the manner of DAMN YANKEES. The baseball players must
be athletes and dancers, since the throwing, catching, and running the bases
are performed both realistically and stylistically. There are two “baseball
ballets,” one performed by the Brooklyn Dodgers and one performed by the Negro League’s
Kansas City Monarchs called
“Dancin’ Off Third.”
ACT ONE: SCENE THREE
Comisky Park, Chicago. The Kansas City Monarchs
are playing the Chicago American Giants. It is the ninth inning, with the
Kansas City monarchs at bat. The following action is entirely choreographic:
MUSIC: Dancin’ Off Third
A bat crack is heard, and Jackie Robinson comes
streaking around the bases, stopping at third base. The third baseman and
Jackie eye each other, warily. Junkyard Jones, the pitcher, returns to the
mound. Jackie dances off third, trying to rattle the pitcher. Junkyard shakes
off several signs from his catcher, all the while watching Jackie. Jackie takes
a long lead off, Junkyard checks him, forcing Jackie back to third. Junkyard
takes a long wind-up and pitches, but no ball leaves his hand. Jackie races for
home, slides, and is tagged out by the catcher, who miraculously has produced a
ball.
Umpire:
OUT!
Jackie: Out!? Are you blind? He never threw the
ball. The pitcher has got to throw to throw the god-damned ball. And he never
threw it. HE never threw the ball.
Umpire: (Never breaking stride.) I said, “Out.”
Robinson. This game is over.
The
“fans” are a powerful, nefarious force. Before they succumb to Jackie's winning
ways, they supply the venom that makes Jackie's efforts appear futile, although
nothing is more disheartening to Jackie than the ignorant contemptuousness of
his own teammates.
Although historical by topic, I do
not think of THE FIRST solely as an historical piece, because it is an abiding
rendition of human nature. However, in its reference to Jackie's relationships
and experience in the “Negro League,” the play is certainly historical. It
alludes to the confinement of black players to a league defined by color, and
the disadvantages they suffered in every category of opportunity. Such
disadvantages are poignantly evident when a few of Jackie's former teammates
accompany him onto his wondrous major league field.
THE FIRST is inspiring, but the
payoff doesn't come easily, which makes the show more engaging than the average
musical. After students witness the initial “breakthrough,” they will endure an
exercise in patience before they are rewarded. THE FIRST is nothing if not
accessible, so the journey will be stimulating, and the outcome is less a
matter of history than it is a testament to love, equality and victory through
good work and good character.