Milwaukee Rep’s Lineup Puts ‘Toni Stone’ at Bat

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Photo: Michael Brosilow

Milwaukee Repertory Theater - "Toni Stone"

Milwaukee Repertory Theater - "Toni Stone"

You’ve probably never heard of Toni Stone, the first Black woman to play professional baseball, but you’re certain to be inspired by her legacy in Toni Stone, now playing at the Milwaukee Repertory Theater.

The play, written by Lydia R. Diamond and ably directed by Tinashe Kajese-Bolden, focuses on the life of Toni Stone, who played with the Indianapolis Clowns starting in 1953. This memory play weaves back and forth through Toni’s life, including her years growing up as a tomboy in St. Paul with a passion for baseball. She became a trailblazer when, as a young woman, she played on several teams before getting her launch into the Negro Leagues.

The play is based on Martha Ackmann’s book, Curveball: The Remarkable Story of Toni Stone.

Stone displays no internal search for her identity; it’s clear that, from childhood, she is in love with baseball. Her love affair also is reflected in the set (by Tony Cisnek), which features a nondescript baseball diamond, bleachers and floodlights authentic to the period. Much of the show’s atmosphere is provided by subtle but brilliant lighting design (by Thom Weaver), accented by Kara Harmon’s 1930s era baseball outfits.

Colorful Teammates

In addition to the memorable Kedren Spencer as Toni Stone, the play also introduces her colorful male teammates. They include Milwaukee actor Dimonte Henning, Enoch A. King, Sekou Laidlow, Eric J. Little, Lau’rie Roach, dane troy and Geoffrey D. Williams. Each of the male actors has a chance to share the spotlight with Toni. Sadly, some of their connections are derogatory and even move into areas of sexual harassment. While Stone considers herself as merely another baseball player, the men on her team often view her in an entirely different manner.

Playwright Lydia R. Diamond gives us a Toni Stone in her entirety, warts and all. To say that she’s not a “smooth talker” is something of an understatement. She can always be counted on to speak her mind. She can be blunt and, at times, insensitive.

Sometimes, Stone is oblivious to the overtures made to her as a woman. She is puzzled by an older man (played by Sekou Laidlow) who wants to buy her drinks at a nearby bar, so seeks the council of her best friend, a prostitute named Millie (played in a head scarf and colorful robe by Enoch A. King). Millie knows only too well what these gestures mean. Still, Stone isn’t comfortable with the arrangement unless their conversation sticks to baseball statistics or the most well-known players of the time. (Theatergoers who may be unaware of Toni Stone’s contribution to baseball will undoubtedly know more about the sport’s greats such as Jackie Robinson and Hank Aaron.)

Mimic the Movements

Throughout the show, male team players take on numerous side roles. In addition to playing Millie and Alberga (who eventually marries Toni), they slip into other roles: the Clowns’ white owner, a group of white rednecks who heckle the team with racial slurs, and a meeting of white baseball team owners.

When playing “white” characters, the men tend to stiffen their gestures and posture. But as baseball players for the Clowns, the men move rhythmically, almost sensually, to movements choreographed by Dell Howlett. While the players never actually play a full game, they mimic the movements of stretching and practicing their swing.

The play doesn’t shrink from the social issues of the time. When playing in the Jim Crow-era South, the team sometimes rushes hurriedly for the bus if it beats the all-white local team. They can’t always find hotel rooms (this is how Stone meets Millie, who puts her up for the night at her brothel). On any ball day, Stone begrudges the fact that she’s forced to go to the other end of the field to change into her uniform or use the bathroom. More contemptibly, her salary lags behind what is offered to male players.

So there are many elements of Toni Stone that will resonate with other women, especially women playing in male-dominated sports, and women trying to break into any male-dominated career field.

It’s not necessary to have a love of America’s pastime to appreciate all that Toni Stone has to offer. Anyone who has followed their dream by beating impossible odds will find something to admire in Stone’s achievements.

The play moves smoothly through scenes in Stone’s life, but it isn’t always clear what year or location is being featured in a particular scene. Also, without showcasing a climactic ball game, the show lacks a certain amount of dramatic storytelling. At times, there is far more “telling” and not enough “showing.” Even the ending is somewhat mysterious. After being forced by her husband to give up baseball, Stone is seen returning to the field and being welcomed by her former teammates. Is this scene only happening in Stone’s imagination?

The Milwaukee Repertory Theater production is being produced in conjunction with the Alliance Theatre of Atlanta. When the production closes in Milwaukee, it will move to Atlanta in February.

Toni Stone continues through Jan. 30 at the Quadracci Powerhouse Theater. Please note that patrons must show proof of Covid-19 vaccination or a recent, negative COVID-19 test. Masks are required indoors. For tickets, visit MilwaukeeRep.com, call 414-224-9490, or visit the box office at 108 E. Wells St.