Review: CASTLING - A WORLD PREMIERE at Penguin Rep

Penguin Repertory Theatre's unwavering dedication to showcasing innovative plays shines brightly in its newest production, Castling. This delightful comedy, penned by Anthony T. Goss and skillfully helmed by Daniel Boisrond, exudes a gentle ambition. While the script possesses a few rough edges, the cast's captivating synergy and undeniable charisma elevate the piece, transforming any minor imperfections into charming idiosyncrasies.

The play's opening instantly plunges us into the world of Mr. D's Tire Shop .  The strategic maneuvering of the plot is instantly captivating and the profoundly human narratives woven into each calculated move is delightful and has you rooting for the characters as they face individual and collective challenges large and small.   Though the storyline treads familiar ground, the quartet of superb actors' palpable chemistry elevates every interaction, imbuing each scene with considerable emotional power.  

Gentrification's devastating impact on a community forms the dramatic core of the play, profoundly illustrating its uneven effects across residents in diverse life stages.   A hostile acquisition threatened their venerable workplace, forcing them into a desperate struggle to avert catastrophic consequences. 

Juney Smith, whose credits range from A Different Man to Lethal Weapon 2, gives a quietly compelling performance as the 30-year veteran owner of the tire shop.  His resilience and understated authority created the emotional bedrock of the play.

Lamar K. Cheston, (NAACP Award–winning Black Angels Over Tuskegee), delivers a charming and humorous performance as the Don Juan of the shop whose pursuit of the beautiful Kashayna Johnson, (a Helen Hayes Award nominee), radiates warmth and comic grace, effortlessly drawing laughter without sacrificing heart.  David Roberts, a winner of the AUDELCO Award for Best Lead Actor in a Dramatic Play, infuses his role with a sharp wit and emotional clarity that grounds the production as a new father trying to deal with problems on the home front while his ability as a provider is under threat.

Under Daniel Boisrond’s direction, the ensemble feels natural—no caricatures here. Performances breathe, connect, and create a feeling of intimacy that draws the audience into the play’s world. Even when the script occasionally leans into predictability, the actors’ magnetic presence holds us in the moment.

And while Castling has real emotional pull, it is not without its rough edges. The storyline, centered on tire-shop workers whose daily chess ritual binds them together, skirts well-worn dramatic beats. At times, the banter feels more like rhetorical declarations than spontaneous discourse—characters proclaiming rather than conversing, which slightly undercuts the human connection the production mostly achieves. .Yet these imperfections serve more as signs of a play still in development than fatal flaws, and the uniformly wonderful performances of the cast will leave you smiling. 

On opening weekend—August 15–17, 2025—audience reaction confirmed the production’s charm: laughter, sighs, and a hushed hush during pivotal scenes proved that Castling reaches beyond being merely staged—it becomes a shared experience.

Castling succeeds because it centers on human connection. With its superb ensemble, gentle humor, and thematic heart, this world premiere from Anthony T. Goss—rendered with care by Daniel Boisrond and brought vividly to life by a gifted cast—is an admirable theatrical offering the entire family can enjoy.

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