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‘Take Me Out,’ the Revival Strikes Deep With Bravura Performances by an All-Star Cast

The cast of Take Me Out (Joan Marcus)

Once again, twenty years later, Take Me Out, the revival for the love of baseball running at 2nd Stage, strikes a pacing home run with bravura performances by Jesse Tyler Ferguson (Mason Marzac), Jesse Williams (Darren Lemming), and Brandon J. Dirden (Davey Battle). Richard Greenberg’s dialogue in the minds, mouths and hearts of the cast never seems more acute, dazzling and dangerous in this “piping time” of Red State/Blue State, as he pumps up the themes of machismo, homophobia, religious bias, gender bias, racism, identity conflicts with color blindness, celebrity privilege, corporate hypocrisy and much more. The second act really takes off, soaring into flight after a perhaps too long-winded first act, whose speeches may have been slimmed a bit to make them even more trenchant and viable.

(L to R): Jesse Williams, Ken Marks in Take Me Out (Joan Marcus)

There is no theme that Greenberg doesn’t touch upon which is current and heartbreaking, except #metoo. That is refreshing because one’s personal rights vs. accountability to the public good are paramount to all spirits inhabiting various bodies whether male, female, transgender, or other. The importance of human rights, human decency and love are crucial in this play because the incapacity of all the characters to embody these qualities remains one of the focal points.

(L to R): Patrick J. Adams, Jesse Williams in Take Me Out (Joan Marcus)

Finally, one does hope that the success of the production will remind all lovers of baseball (the most American of games), that it is the only sport where an active major league player has not come out as gay. As a matter of personal choice and risk, of course, such a decision would be momentous as it becomes for the star of the Empires (think Yankees), Darren Lemming, superbly played by Jesse Williams.

Jesse Tyler Ferguson in Take Me Out (Joan Marcus)

Scott Ellis’ direction is spare and thematically charged. Importantly, “sound” (thanks to Bray Poor, responsible for sound design), heightens the excitement. The emphasis is on the crack of the ball on the bat and the cheering fans. The lighting (Kenneth Posner), is spare. Florescent thin blue lines, representing team colors, square off the space to suggest the players’ emotional confinement. The staging elements rightly place front and center the social dynamic, arc of development and relationships between and among the players.

Initially, team camaraderie is thrown into disarray by Darren Lemming, who drips gold from his pores and walks upright in perfection but admits to being gay. His proclamation sends ripples of “shock and awe” through his envious teammates, who worship Lemming’s “divinity,” his steely cool demeanor and very, very fat salary,

The cast of Take Me Out (Joan Marcus)

We find his teammates response to be humorous. In order not to appear femme they restrict all their male “locker-room” behaviors because they don’t want to “entice” Darren into thinking they are his sexual “kin.” Only Kippy, his self-appointed buddy and narrator who tells part of the story (the fine Patrick J. Adams), chides him for not alerting anyone before his press announcement. Afterward, Kippy humorously teases his friend that the team lionizes who he is and would love to “be him” or “be with him,” on the down low, except that he is now very public. And that would make them very public. So they must keep their distance. Darren is annoyed at this new leprosy which he never experienced or thought he would experience because he is who he is, the team’s greatest.

(L to R): Jesse Williams, Patrick J. Adams in Take Me Out (Joan Marcus)

Meanwhile, Darren’s announcement has forced all to confront where they stand with their own sexuality and sensitive male identity, which Kippy suggests reveals latent gay repression, and Darren suggests is the opposite. From the initial conflict, the Empires go through a roller-coaster of events and emotions that Darren didn’t foresee when he blithely walked between the raindrops and dropped the bomb on his team and Major League Baseball, assuming that because he could handle it, they should handle it.

When it comes to his devoutly traditional Christian friend Davey Battle (the always excellent Brandon J. Dirden), Darren has a blind spot. Instead of quietly discussing his sexual orientation with Davey, a misunderstanding ensues when Davey encourages him to be himself and be unafraid.

Michael Oberholtzer and the cast of Take Me Out (Joan Marcus)

Where certain Christians are concerned, being gay is another feature of Christ’s love. Darren assumes that especially with his devout Christian friend, Christ’s love means acceptance. Greenberg holds back the mystery of Davey’s and Darren’s conversation about his being gay, revealing its importance at the end of Act II, when the stakes are at an explosive level. When we discover the identity of the individual who overhears their conversation is a witness to “the event,” we are surprised at the superb twist. Immediately, we understand the conversation happened. There is no way the “overhearing witness” would be lying. It is this conversation that becomes the linchpin of uncertainty, a tripwire to set off questions with no easy answers. There is no spoiler alert. You’ll just have to see this wonderful production to find out the importance of the witness to the conversation.

(L to R): Jesse Williams, Brandon J. Dirden in Take Me Out (Joan Marcus)

Greenberg covers all his bases with runners in this take down and resurrection of America’s “favorite past-time.” There is personal locker room talk where nude teammates “let it all hang out,” as they shower and face-off against each other, responding to Darren’s announcement and humanizing him because of it. Greenberg’s wit and shimmering edginess work best, revealing his spry characterizations in the banter between Kippy and Darren, and in the growing friendship between Darren and his new financial advisor Mason Marzac, the superbly heartfelt and riotous Jesse Tyler Ferguson. As the consummate outsider who becomes a fan, the character of Mason has the most interesting perspective on baseball, the gay community and the events that happen in real time that result in an unresolved tragedy.

Marzac, meets with cool, collected Darren after the celebrity star outs himself. Ferguson’s Marzac is humorously over the moon about Darren’s courage, his performance and the game. Darren states coming out was not “brave,” unless one thinks something bad will happen, because “God is in baseball,” and Darren is in baseball. And “nothing bad happens to Darren.” This Icarus is flying high. He takes advantage, surreptitiously, smoothly crowing about his stature which outshines his teammates and especially the awe-struck dweeby, unathletic, unbuff Mason.

Brandon J. Dirden in Take Me Out (Joan Marcus)

Of course, the conversation carries tremendous irony in hindsight, because like Icarus who gets burned and crashes to the earth, so does Darren. How Greenberg fashions this is surprising and ingenious. Interestingly, not only does Darren take the team with him emotionally and psychically, they are rewarded despite their corrupt Machiavellian machinations to achieve a win. The irony is heavenly. It is Greenberg’s device, savvy and sardonic, which speaks to theme. Sometimes when you win, it’s not a win if your heart breaks and there are no friends or teammates you can share it with because of emotional separation and alienation. So for the team and especially Kippy and Darren, the win becomes a grave loss that no one can ever appreciate, except baseball idolator, Mason.

But I get ahead of myself praising Greenberg’s irony.

Patrick J. Adams in Take Me Out (Joan Marcus)

As they discuss Darren’s financial picture, Darren clues Ferguson’s Mason in to the finer points of baseball appreciation, for example to keep “watching” the number coincidences. There’s “a lot of that,” Darren implies as Mason rattles off wondrously, “…the guy who hit sixty-one home runs, to tie the guy who hits sixty-one home runs, in nineteen sixty-one, on his father’s sixty-first birthday.” Mason is ignited by speaking to the amazing and surprisingly gay Darren.

Ferguson shines in his Mason portrayal, as he excitedly waxes over the Americanisms of the game, as pure egalitarian democracy. He emphasizes that everyone has a chance when they get up to bat. But then he states that baseball is more mature than democracy. This comment coupled with the arc of development is an incredible irony considering the team takes in a crackerjack pitcher, Shane Mungitt, who is one of the more florid Red Necks to ever appear on stage. Michael Oberholtzer’s Shane is breathtaking, a stellar, in-the-moment portrayal of a bigot you can actually feel sorry for.

Jesse Tyler Ferguson in Take Me Out (Joan Marcus)

Ferguson’s superbly rendered soliloquy about baseball opens a window into Mason’s kind, perceptive and loving nature. He effusively and humorously describes the requisite home run as a unique moment: the game stops and there is a five minute celebration of cheering time for the fans and the hitter, who rounds the bases like a king, though the ball has long spiraled out of the stadium into the universe. From watching the completely unnecessary round of the bases, Mason says, “I like to believe that something about being human is good. And what’s best about ourselves is manifested about our desire to show respect for one another. For what we can be.”

This is the crux of the play because after this eloquent and high-minded speech, everything falls apart. The winning streak of the Empires, the team relationships, the friendships between Davey and Darren, and between Darren and Kippy implode. And sadly, the once silent, “mind my own business” Shane unravels into a hellish state, careening into the other players with a vengeance that he may not be responsible for, given his upbringing. Thus, not even a winning season saves them from the inner reckoning they have brought upon themselves. If this is America’s favorite past time, it would be better to go back to reading.

Greenberg gives his play’s coda to Mason, who has “evolved” into a baseball aficionado. As such he is brimful of hope, yet ironically perceptive. A tragedy has occurred. However, for him the greater tragedy is that he has to wait a whole half year for the season to begin again. Baseball is that tiny thing that takes one out of the misery of life and makes it worth living, even with its tragedies. In Take Me Out, that is true for the fans. For the players, what occurs is an entirely different and terrible consequence.

Kudos to Scott Ellis’ direction and his shepherding of cast and the creative team. These include Linda Cho (costume design), David Rockwell (scenic design), and others already mentioned. Scott Ellis and the cast have delivered a profoundly humorous and vital, resonant work about a game played throughout our country, revealing that no one, regardless of how we prize sports figures, is worthy of the greatness of the game itself.

For tickets and times go to the website: https://2st.com/shows/take-me-out?gclid=Cj0KCQjwjN-SBhCkARIsACsrBz798inP5l5pUV7hZGFHOj0rWRI1spG27oalp8HyLfnArPnBlPauavsaAkcwEALw_wcB

‘Grand Horizons,’ a Ferociously Funny Vision of Senior Redefinition, Starring Jane Alexander and James Cromwell

Grand Horizons, Ashley Park, Michael Urie, Jane Alexander, James Cromwell, Bess Wohl, Leigh Silverman, 2NDSTAGE

(L to R): Ashley Park, Michael Urie, Jane Alexander, James Cromwell in ‘Grand Horizons,’ by Bess Wohl, directed by Leigh Silverman (Joan Marcus)

At last! There’s a new and improved perspective of “seniorhood” that doesn’t include steps up the ladder of infirmity and dementia: from independent living to the “Rose Court,” from memory care to the palliative slip-away into Hospice.  Indeed, as we appreciate and glory over the vibrant humor and comedic power of situation and characters in Bess Wohl’s Grand Horizons, we learn a thing or two about “old folks” and “the younger generation” in this rollicking yet profound play.

First, age is attitude. Second, the older one becomes, the more one must think outside of the box, especially out of the type found in replicated, independent living housing. Third, the closer one gets to the “end,” the more one should “rage against the dying of the light.” Fourth, one can experience in one’s later years a vision of life that is freeing, one that destroys the cages we created our entire lives: for they are a mere facsimile of living. Indeed, contrary to seniors who settle for the cardboard, cookie-cutter artificiality of existence in vegetative, pre-fabricated places like Grand Horizons, Wohl reveals that it is possible to make life-affirming changes even at the age of 80 years-old as does her protagonist, Nancy, the amazing Jane Alexander.

Michael Urie, Maulik Pancholy, Grand Horizons, Ashley Park, Michael Urie, Jane Alexander, James Cromwell, Bess Wohl, Leigh Silverman, 2NDSTAGE

Michael Urie, Maulik Pancholy in ‘Grand Horizons,’ by Bess Wohl, directed by Leigh Silverman (Joan Marcus)

The playwright’s brilliant script is cleverly paced by Leigh Silverman’s precise direction of the superb ensemble. Masters of the comedy of real, of humor springing from grounded, soulful authenticity, the actors led by Jane Alexander and James Crowmwell pop the quips, jokes, one-liners, twists and turns of phrase and mood to keep the audience laughter rolling in waves of joy. Wohl’s well-crafted writing absolutely sings with comedic grace and profound themes, sharply channeled by Silverman. These include the importance of breaking through the stereotypical concepts of aging, family, parenting, marriage, love, intimacy, individuality and autonomy.

The play’s situation is common enough. Nancy and Bill, a “typical,” retired, fifty-year married couple have taken the next steps toward their journey’s end by moving into an independent senior living community. Is it the replication of row after row of modestly, flimsily built homes in a vast similitude (Bryce Cutler’s projection design) that sets off Nancy? Or perhaps what triggers her is the whitewashed, pleasant kitchen/dining nook/living room interior of “peaceful” uniformity (Clint Ramos’ set design) though it is festooned by artificial greenery.

Grand Horizons, Ashley Park, Michael Urie, Jane Alexander, James Cromwell, Bess Wohl, Leigh Silverman, 2NDSTAGE

Jane Alexander, James Cromwell in ‘Grand Horizons,’ by Bess Wohl, directed by Leigh Silverman (Joan Marcus)

We learn later in a profound and symbolic irony, that the lovely plants don’t even have the opportunity to die bio-dynamically as a result of Nancy’s over or under watering. They just go on and on and on in lifeless “eternity.” Nancy’s eyes open to their fake permanence later in the play, after she has confronted herself, her children and Bill with the truth. Her ironic comment about their artificiality has to do with the realizations of her own growth.

The vast sterility of this community is only heightened by the play’s opening of Nancy’s and Bill’s dinner that is choreographed to reveal a mutually synchronized preparation that they execute silently with near robotic precision. Well, enough is enough in this perfect haven of deadness. I could hear Nancy’s thoughts as she looked at Bill as they, with synced movements in unison, took out their napkins, then began to drink and eat. What more could anyone their age wish want? They appear to have it all. But is this the exuberance of life we wish for?

At this point Alexander’s Nancy lets the desires of her heart explode from her lips and the train moves onto the express track and doesn’t stop until she achieves what she wants, sort of, by the play’s end. Jane Alexander’s delivery of the opening lines of conflict are spot-on humorous and ominous: “I think I want a divorce.”

Ben McKenzie, Grand Horizons, Ashley Park, Michael Urie, Jane Alexander, James Cromwell, Bess Wohl, Leigh Silverman, 2NDSTAGE

Ashley Park, Ben McKenzie in ‘Grand Horizons,’ by Bess Wohl, directed by Leigh Silverman (Joan Marcus)

The excitement of what Nancy envisions to be on her grand horizon for the future is in imagining its open-ended possibilities, even if it is merely sitting in a restaurant and enjoying a meal by herself. Clearly, she wants no more imprisonment by the chains of coupling. She wants to know her own power, strength and autonomy apart from defining herself as Bill’s wife. As the play progresses, we discover she has already established her autonomy away from her family, though she has kept it secret. Interestingly, perhaps as a long awaited response, Bill is striking out on his own in this senior community by taking stand up comedy classes and enjoying a relationship with Carla (Priscilla Lopez). We learn later that this may be his response to what he has known all along of Nancy’s secrets.

As these details are gradually revealed we enjoy watching the incredulous sons, Brian (the wonderfully funny Michael Urie) and Ben (Ben McKenzie is the harried lawyer control freak who can’t relax). Both are shattered by the announcement of the divorce. Ironically, they don’t want their parents to leave their comfortable “mom” and “dad” roles to be individuals, redefining who they want to be. They want stasis, not for their parents’ happiness but for their own comfort and assurance. Brian’s and Ben’s perceptions of their parents living apart from each other are at odds with their parents’ expectations. For Nancy and Bill divorce will be a positive experience. The sons cannot wrap their heads around this, especially that Nancy is planning to live in an Air Bnb. Their mom in an Air BnB: a horror!

Priscilla Lopez, Jane Alexander, Grand Horizons, Bess Wohl, Leigh Silverman

(L to R): Priscella Lopez, Jane Alexander in ‘Grand Horizons,’ by Bess Wohl, directed by Leigh Silverman (Joan Marcus)

Wohl takes advantage of this set-up in a refreshing way. In an ironic reversal, with the help of Jess (Ashley Park) Ben’s wife, Brian and Ben don the parental roles. They attempt to gauge what has recently happened, as they try  to square away what mom and dad must do to resurrect the bloom on their long-dead marriage. Their failed attempts are humorous. Adroitly, the actors bounce off each of their characters’ stress-filled emotions with peppery dynamism and wit.

Brian’s neediness is easily identifiable throughout and is integral to his character as a theater teacher who creates 200 characters in The Crucible so “no kid will be left behind to feel left out.” It is Brian who is so dislocated by his parents’ future divorce, he worries about where he will spend Thanksgiving which is six months away. His sensitivity exceeds his parents’ emotionalism. The dichotomy is hysterical, yet heartfelt.

Michael Urie, Grand Horizons, Bess Wohl, Lee Silverman, 2NDSTAGE

Michael Urie in ‘Grand Horizons,’ by Bess Wohl, directed by Leigh Silverman (Joan Marcus)

Ben’s eczema flares as he attempts to take control of where each of his parents will live. And then there is Jess providing the counseling so Nancy and Bill can return to their once affectionate times with each other. With Ben and Brian looking on with hope at Jess’ powers, the results that follow are riotous. As their visit with Bill and Nancy to persuade them not to divorce lengthens, Jess begins to look at her relationship with Ben differently as he reverts to Bill and Nancy’s son. Where has her husband gone or is this just hormones because she is pregnant?

The resistance of the younger generation to the divorce is a powerful obstacle which the parents find impossible to answer to their children’s’ satisfaction. It provides conflicts among the characters from which Wohl tweaks and teases thematic tropes. What are the phases and stages of our lives? How do we define them apart from cultural stereotypes and familiar roles that appear to offer comfort, but are actually binding and nullifying? What price do we pay to create our families and sacrifice for children with expectations that are unreasonable, or worse, false? From parenting to aging, no one can provide a guideline for what to do that will resonate completely with our individual lives. Every family, every person in that family is different. We fail, but perhaps it is worth it because we learn and if we are open to it, we heal.

Nancy’s desire for a divorce sets the entire family roiling except for Bill, who appears to remain calm. Of course Wohl is always pushing the envelope to get the maximum surprise and intrigue from her characters, who remain interesting and intensely human.

James Cromwell, Jane Alexander, Grand Horizons, Bess Wohl, Leigh Silverman, 2NDSTAGE

James Cromwell, Jane Alexander in ‘Grand Horizons,’ by Bess Wohl, directed by Leigh Silverman (Joan Marcus)

The audience’s gales of laughter organically spring from Nancy’s revelations that she has pursued her desires and dreams despite the intrusions of raising her two sons and making a home for her husband Bill. Indeed, the mother they believed she was, is not who she presented herself to be. She had another love. And when she expresses the importance of her closeness and intimacy with this lover to Brian (Urie brings down the house with his responses to her sexual descriptions) in the hope of explaining why she is leaving Bill, he cannot cope with understanding that his mother is perhaps a woman first.

This is something many children have difficulty with unless the parents, with good will and flexibility, help them to understand love, sexuality and intimacy. Bill and Nancy never considered going into these discussions with Brian and Ben because they never went there with each other. It is a telling irony that catches up with all of them at this juncture.

Clearly, Nancy runs deep as does Bill, who is a cypher that Wohl reveals by the conclusion, when we learn that both Bill and Nancy have kept intimacies and secrets to themselves. Yet, they do love one another. The humor and pathos come when we note how difficult it is for Ben and Brian to understand their parent’s particularities when they believed the packaged family meme that “togetherness is happiness.” That meme when they admit it, satisfied none of them, least of all their parents.

All of this eventually tumbles out after Brian, Ben and Jess visit, stay and don’t leave until Bill and Nancy politely tell them to go and reassure them that they are going to be all right. By the end of the play, Wohl opens the door to hope. Even if they live apart, maybe Bill and Nancy can begin to see each other outside of the roles that threatened to box them in “til death did them part.”

Grand Horizons is a mixture of uproarious fun and thoughtful poignance. Shepherded by Leigh Silverman’s vision the actors deliver, with sterling performances by Alexander and Cromwell and with high marks for McKenzie, Urie, Park and in secondary roles as Tommy (Maulik Pancholy) and Carla (Priscilla Lopez). Additional kudos to the creative team:  Clint Ramos (scenic design) Linda Cho (costume design) Jen Schriever (lighting design) Palmer Hefferan (sound design) Bryce Cutler (production design).

Grand Horizons runs with one intermission at Second Stage Theater, The Helen Hayes Theater on 44th Street between 7th and 8th until March 1. For tickets and times to this LOL production CLICK HERE.

 

 

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