Rounding Third

In Round Third’s small American town, a Little League baseball team includes two boys whose fathers coach the players. Brusque Don, veteran head coach, comes on as a man who owns all (us audience “players” too) and the game. His opening talk insists winning is everything. When modest businessman Michael stumbles in late, he’s made assistant coach. Still he has his say — that playing ball must primarily make each player happy. Don and Michael are obviously an Odd Couple.

Blue-collar Don contrasts with better educated Michael both physically and psychologically.  Michael isn’t as physically imposing as Don, who’s dressed more appropriately for sports coaching.  Don’s real job isn’t as lucrative as Michael’s but not minimal either. The kids’ game is the most serious thing in Don’s life. Michael (who hates Don calling him Mikey) is simply making a new attempt to help his son acquire modest sports ability. And maybe friends.

Each man, however differently, wants to boost his son’s position in the world as he views it. In Florida Studio Theater’s production, Nicholas Mongiardo-Cooper clearly shows Don’s frustration both with his son’s recent greater interest in musical comedy than baseball and what he considers Michael’s ignorance of how economic and social opportunities come in the real world. Timothy C. Goodwin’s Michael thinks Don wants to torture him and the boys with strictness about a game “that’s supposed to be fun.”

Because of each actor’s ability, under the astute direction of Jason Cannon, to bring Don and Michael’s similarities to light, we may see hope for the future for them and their sons.  In any case, all their troubles are not, we learn, with each other.

Everything happens under Jim Hunter’s good lighting in the simplest of sets: a grassy field set off by a wood-like fence. Background consists of huge shifting, colorful pictures of baseballs, bats, pitcher’s gloves in various array and on benches, in fields, etc. Designer Brian Dudkiewicz has also pictured outside clouds, a scoreboard or two, and a very realistic rain.  Props downstage create a place to eat and drink and, more often, a locker-room.  

Lea Umberger provides appropriate dress for the men.  She even equips them characteristically: In the rain scene, Don wears a big poncho and rain hat; Michael sports a huge umbrella. Of course, Thom Karp’s sound design takes us out to the ball ground’s action and cheering as well as to varied types of talk inside.  Several crew members deftly move props on and offstage at scene shifts.  Though uncredited in the program, they deserve to share in the general applause for a very pleasing production.