He also wrote screenplays for films made by Pathé Exchange and Paramount Pictures, and was a writer for the 1937 CBS Radio program Living Dramas of the Bible.
[2] He then attended the McKinley Manual Training High School in Washington D.C., where he was a First Sergeant in the United States Navy's Cadet Corps.
[3] In 1903, he was the president of the Young Washingtonians' Pleasure Club, an organization for youth in Washington D.C. which put on music and dramatic performances.
Robinson also introduced government statistics about the Goat Alley neighborhood which at that time had the highest murder rate of any community in the United States.
George Jean Nathan wrote it was "probably the most acute transcription of the Negro yet made visible in our native dramatic literature.
[22] Goat Alley has left a mixed and complicated legacy when it comes to the issues of race and racism in relation to the American theatre.
[25] In this sense, Goat Alley has been praised for its role in challenging racist casting practices and opening the door to black performers in the dramatic repertory.
[23] In spite of this positive achievement and its well-meaning goal of racial uplift, Goat Alley included themes of Social Darwinism which propagated racist stereotypes,[13] and played into the controversial and often negative politics surrounding birth control, eugenics, and the black urban poor during that period of American history.