The revival of “Take Me Out” by Richard Greenberg which opened at The Helen Hayes Theater, in many ways does not feel as if it were written twenty years ago, given the current political climate and the conservative challenges of LGBTQ+ rights. The story about a major league baseball star surprisingly coming out in a public arena, deals with the repercussions from close, lifelong friends, teammates, and management. The reason the play has a timeless quality is because it is not political but deals with human nature and social stigma. Although most of the action takes place in the club locker room, it manages to make that space into a microcosm of society dealing with cultural geographics, racism, sexual orientation, and religion. The fact that everyone now knows a member of their team is homosexual suddenly changes the dynamics. It prompts some players to scrutinize their relationships to protect their masculinity from being threatened especially in the since they are part of a sport teeming in testosterone. This is most evident in the locker shower room scenes, where full frontal nudity is never gratuitous but extremely natural, using body language wisely to reveal the changing attitudes of the players. The keen direction by Scott Ellis emphasizes the themes and never allows the actors to indulge in broad stereotypical behavior.

Mr. Greenberg’s script is a teeter-totter, balancing comedy and drama which stays afloat with sharp, quick, and intelligent dialogue. It does take quite a few literary liberties and sometimes has trouble connecting scenes to clearly move the plot forward. This is not a play about homosexuals, with only two of the eleven male characters being gay, but more about the response and perspective of others towards that sexual status. It is a love story examining the love of friendship, love of family, love between the player and the game and love between the spectator of the all-American sport of baseball. It is full of emotion without ever being sentimental and certainly examines the human condition molded by social norms.

The cast is nothing less than superb. Jessie Williams as the baseball legend Darren Lemming who makes a personal public outing is the epitome of strength, courage and self-confidence that is shadowed by a veil of vulnerability. He is smooth, suave, and self-confident, but can erupt in fury to release pent up anger and emotion. Close friend and teammate Kippy Sunderstrom is portrayed by a level-headed Patrick J. Adams who delivers an intelligent performance that is heartfelt. Acting as somewhat of a guide through the sometimes-puzzling chain of events he always keeps his friendship with the superstar at the forefront. Michael Oberholtzer plays the dimwitted, ignorant, racist Shane Mungitt with conviction. His portrayal is so obnoxiously naïve that it borders on drawing a sense of sympathy from the audience. Then there is the remarkable Jessie Tyler Ferguson who embraces the role of Mason Marzac, the newly assigned gay financial advisor to superstar Lemming. Socially inept and an outcast from the gay community he subtly reveals his secret crush on Mr. Lemming but more importantly his developing love affair with the game of baseball. He is insecure but never maudlin, vulnerable but never surrenders to his misgivings and by the end of the evening you want to take him home. He is delightful. The remaining cast shines and always exhibits a sense of natural behavior.

This is a revival that should not be missed, especially for the generation that was too young to see the original production. It still delivers a punch and teaches a few good lessons while still being an amazing evening of entertainment.