‘TAKE ME OUT’: The cast. Photo: Joan Marcus.

TAKE ME OUT
Written by Richard Greenberg
Directed by Scott Ellis
Through May 29, 2022
The Hayes Theater
240 West 44th Street
(212-541-4516), www 2ST.com

By David NouNou

Take Me Out is a show that is enjoyable while watching, but mind-blowing long after leaving the theater and pondering the different subject matters it tackles. I admired the show in 2002 more as a voyeur and missed out on the multiple layers upon which it is built. The central subject matter is the coming out of a beloved baseball player, who is at the top of his game, to the media, unbeknownst to his fellow teammates and without any cause or a personal relationship. Although it might have seemed a breakthrough for a major league athlete to come out as gay in 2002, just think where we are in 2022 and the alarming “Don’t Say Gay” Florida law that was just signed, banning the word “gay,” and other states trying to undo same-sex marriages. It is mind-numbing to see how far we are regressing, which in turn makes Take Me Out more progressive and relevant today.

The catalyst, Darren Lemming (Jesse Williams), a biracial center fielder for the fictional Major League team the Empires, beloved by the public as well as himself, has just announced he is gay for no apparent reason other than to free himself of the secret he’s carried on a daily basis. Now that his sexual orientation is in the open, he must navigate through life with the slings and arrows that are hurled upon him. Everything now comes under scrutiny—from an ordinary shower after a game to dealing with his teammates on a daily basis. He has the support of his teammate and friend Kippy Sunderstrom (Patrick J. Adams), who is also the narrator of the play. However, his best friend Davey Battle (Brandon J. Dirden) who plays on an opposing team, The Larks, is a holy man and revolted by what he considers Lemming’s “deviation” and “depravity.” This is the proverbial line in the sand that has been crossed.

Later, Darren Lemming also acquires a new accountant, Mason Marzac (Jesse Tyler Ferguson). The last one we are to believe has retired. Marzac knows nothing about baseball, but is enthralled that Darren has come out and has new interest in the game. Marzac has learned “that baseball is absolute. It works better than democracy. It has a definite winner and a loser.” Here is another layer for us to peel: in a democracy who wins an election and who loses?

Due to Lemming being in a slump and losses piling up, a dimwitted, racist, homophobic relief pitcher, Shane Mungitt (Michael Oberholtzer), is brought in from the minor leagues. He happens to be an orphan due to his father killing his mother and then killing himself, and is either from Arkansas or Tennessee. Now that the team begins winning, Mungitt is wanted for a press interview where he expresses his displeasure with “colored” people and having to shower with a “fa**ot.” This places Mungitt on suspension.

Due to the suspension, the team goes into a slump again. An apology letter is written and released to the public. Public sentiment wants Mungitt back, against Lemming’s feelings. With Mungitt back, this creates new revelations and consequences that will affect the lives of many. Please unravel the revelations and consequences for yourself, it will be more fulfilling. So many things come into question here, and I’m sure each viewer will have their own interpretation

Although this looks like an ensemble piece, there are four standout remarkable performances; Jesse Williams is an Adonis with a command of the stage that is riveting. His every stance, move and interaction is poetry in motion. Patrick J. Adams as friend and narrator anchors the play in his sincerity. Michael Oberholtzer as the outsider can he heartbreaking once you realize he will always be a failure in life and will always get himself in trouble.

The joker in the deck is Jesse Tyler Ferguson as Marzac, a role that won Denis O’Hare a much-deserved Tony Award in a supporting role. Where Mr. O’Hare was an introverted, nebbish “Mr. Cellophane” who blossomed while loving baseball, Mr. Ferguson is never a milquetoast but a lonely, self-deprecating accountant who falls in love with baseball once he meets Darren Lemming. As his friendship with Darren evolves, so does his flamboyance, giving the show its much needed levity.

My sincere hope is that Take Me Out will be extended beyond May 29th. With so many tourists coming to New York this spring and summer, this would be the one solid play I would recommend people to see. Its poignancy is harder hitting today than it was in 2002.

Edited by Scott Harrah
Published April 7, 2022
Reviewed at April 6, 2022 press performance.

‘TAKE ME OUT’: Jesse Tyler Ferguson & Jesse Williams. Photo: Joan Marcus

‘TAKE ME OUT’: Jesse Williams & Brandon J. Dirden. Photo: Joan Marcus

‘TAKE ME OUT’: Michael Oberholtzer & cast. Photo: Joan Marcus.

‘TAKE ME OUT’: Jesse Williams & Ken Marks. Photo: Joan Marcus

‘TAKE ME OUT’: Patrick J. Adams & Jesse Williams. Photo: Joan Marcus.

‘TAKE ME OUT’: Jesse Tyler Ferguson. Photo: Joan Marcus.

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‘OUR MOTHER’S BRIEF AFFAIR’: Linda Lavin & John Procaccino. Photo: Joan Marcus

OUR MOTHER’S BRIEF AFFAIR
By Richard Greenberg
Directed by Lynne Meadow
Through March 6, 2016
Samuel J. Friedman Theatre
261 West 47th Street
(212-239-6290), http://ourmothersbriefaffairbroadway.com/

By Scott Harrah

Linda Lavin should have a patent on “how to play a Jewish mother” because no one does it better on the stage. Ms. Lavin has portrayed strong mothers in countless roles and she’s certainly at the top of her game in Richard Greenberg’s paper-thin new drama. In fact, Ms. Lavin is so outstanding in both her command of the stage and razor-sharp delivery of lines that we almost overlook Mr. Greenberg’s hollow, uneven narrative.

The premise of the story is simple yet convoluted. Ms. Lavin plays Anna Cantor, a widowed Long Island woman who’s supposedly near death. The problem is, Anna has told her kids that she’s “dying” many times before. Twins Seth (Greg Keller), an obituary writer, and sister Abby (Kate Arrington), a California librarian, have traveled to mom’s bedside in New York.

Anna drops a bombshell: She supposedly had an affair back in the 1970s with Phil (John Proccacino) while Seth was a teenager studying music at Juilliard. The plot thickens when Anna reveals that Phil was actually involved in an infamous national security scandal back in the 1950s –or was he?

Seth and Abby aren’t sure if Anna, suffering from Alzheimer’s, is telling the truth or making the whole thing up. Most of the play’s tension is based on the two children trying to determine why their mother is revealing this now, as she’s supposedly dying. Nearly all the action centers on episodic flashbacks of Anna and Phil’s surreptitious meetings circa 1973, with Seth and Abby popping in to ask their mother questions about her alleged affair. While the dialogue is crisp and snappy at times, with Ms. Lavin firing off Yiddish words and phrases with aplomb and getting many laughs from the audience, everything grows tiresome and repetitious.

Narrative point-of-view and a story’s setting are crucial in any stage play. In a film or novel, flashbacks can work well because there are no constraints on time and place, but using them on the stage is tricky indeed. Mr. Greenberg spends far too much time relying on Anna’s flashbacks to advance the action.

The characters of Seth and Abby aren’t terribly interesting either. Both are twins and gay, but we learn little about them other than how Seth can’t find love and Abby, who has a child, feels her relationship with her partner is becoming routine and dull. Perhaps there would be more of a solid drama here we if knew more about the twins’ back story and what makes them tick.

Lynne Meadow does her best directing the cast, and again Ms. Lavin is exquisite, but no director could “fix” a drama with this many structural issues. Our Mother’s Brief Affair might be more satisfying as a 90-minute one act, but as is, it’s a tough slog to sit through, especially since act two is completely unnecessary. Ultimately, this is one tepid “affair” that’s mostly forgettable.

Edited by Scott Harrah
Published January 22, 2016
Reviewed at press performance on January 21, 2016

‘OUR MOTHER’S BRIEF AFFAIR’: Linda Lavin & John Procaccino. Photo: Joan Marcus

‘OUR MOTHER’S BRIEF AFFAIR’: Greg Keller & Linda Lavin. Photo: Joan Marcus

‘OUR MOTHER’S BRIEF AFFAIR’: Kate Arrington & Greg Keller. Photo: Joan Marcus

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