‘Take Me Out’ Returns to Bring Baseball, Masculinity, and Nudity Center Stage on Broadway

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‘Take Me Out’ Returns to Bring Baseball, Masculinity, and Nudity Center Stage on Broadway
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“Take Me Out” returns to bring baseball, masculinity, and nudity center stage on Broadway, via TimTeeman

that he wanted “to help create a world where future generations of baseball players don’t have to sacrifice authenticity or who they really are to play the game they love.” He said, while hating being in the closet, he had been advised to do so. “The best way to describe the hiding as an athlete is like you’re running with a weighted vest on,” he said. “It’s on all day and you can’t take it off. I’ve been gradually taking that weight off.

Usually, we are programmed to support the gay hero in this context; applaud their bravery, and be ennobled by the lesson they may teach us. But Darren doesn’t want that. Kippy says Darren being biracial made him an even more accessible symbol of a dream. Yet Darren wants his team, us, to fear him, be intimidated by him, worship him as the god he is—beyond race and sexuality, beyond any categories.

The first half of the play is a kind of parade of soliloquies and monologues—never tiresome because of Greenberg’s writing, but static, when a play about baseball should have life and drama.This finally comes via two standout performances. Jesse Tyler Ferguson plays Mason Marzac, Darren’s agent, a gay man who is more stay-at-home than partier, and—in his stuffy shirt and trousers—far from the testosterone-filled, sexy client.

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