Stepping onto the stage at The Old Fitz Theatre, King James brought a full-court press of emotion and nostalgia, bouncing between the highs of LeBron James’ career and the bittersweet nuances of the friendship between two devoted fans. Like a well-aimed three-pointer that rattles the rim before landing inside, Rajiv Joseph’s play captivates with moments of brilliance while occasionally wavering in its execution.
It is 2004, and Matt (Aaron Glenane), a Cleveland bartender in financial straits, is desperately trying to sell his season tickets to the Cavaliers’ home games. Against the intimate setting of a wine bar, designed by Ian Kanik, with its painted stone walls and prominent Cleveland Cavaliers mosaic, Matt struggles to make a crumpled newspaper three-point shot into a trash can, setting the tone for the play’s blend of comedy and pathos.
Enter Shawn (Tinashe Mangwana), a fledgling writer who has just sold his first story. Despite offering less than Matt’s asking price for the tickets, the two strike a deal based on their shared devotion to LeBron James. This sparks a tentative friendship that the play revisits at pivotal moments in LeBron’s career: his controversial move to the Miami Heat in 2010 — a decision seen as treasonous by the friends — his return to the Cavaliers in 2014, and the team’s championship win in 2016.
These transitions, marked by the use of real game commentary and press release recordings and Priyanka Martin’s vibrant lighting scheme, occasionally leave the audience grasping for context, especially those less familiar with the nuances of American basketball culture. Michael Toisuta’s sound design and Kanik’s scenic design nevertheless cleverly mark time through evolving cellphones and ringtones.
While newcomer Tinashe Mangwana delivers a performance that is both powerful and heartfelt, drawing from his own experiences to enrich his portrayal of Shawn, Aaron Glenane truly embodies his role as both producer and actor, making King James a significant achievement. Glenane’s portrayal of Matt is a tour-de-force. His ability to simultaneously convey insecurity through nervous tics and conceal this under a smooth layer of congeniality is incredibly compelling, despite being overwhelming at times in such an intimate space. His physicality and direct engagement with the audience effectively transmits Matt’s bottled-up anxiety, using it to drive the tension in the play.
Glenane’s energy contrasts beautifully with Mangwana, who brings a measured intensity and guardedness to Shawn, although his deliberate and self-aware movements often feel too restrained. However, Mangwana shines in the second act, where Shawn opens up and becomes more playful. Glenane and Mangwana’s evolving dynamic is a testament to their skillful performances, although minor accent slips occasionally disrupt the immersion.
Joseph’s script subtly weaves in the racial dynamics between Matt, who is white, and Shawn, who is African-American. He allows these tensions to surface naturally through everyday interactions – from their choice of clothes to Matt’s appropriation of AAVE and Shawn’s careful avoidance of it – building up to an ‘inevitable’ climax. However, this feels underdeveloped for viewers unfamiliar with the racial nuances singular to the American context.
Despite these specific cultural references, King James transcends its American setting. The universal themes of friendship, loyalty, and personal growth are palpable, particularly in the second act. The interactions in the early years of Matt and Shawn’s friendship are occasionally too slight, leaving the emotional weight to the latter part of the play. King James delivers a mix of laughter, camaraderie, and introspection, set against the backdrop of the drama and excitement of the world of basketball. Under Bali Padda’s direction, Glenane’s dynamic performance and Mangwana’s nuanced portrayal offer both heartfelt moments and room for deeper connection with its audience. Don’t miss this unique blend of humor and heart that makes King James a triumph on the stage.
King James is running at The Old Fitz Theatre until June 29. Tickets can be found here.
