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[amazon_link id=”B000QXDHTM” target=”_blank” ]Take Me Out[/amazon_link] is a play by Richard Greenberg and is the story of the baseball team the New York Empires, but specifically about the coming out of star player Darren Lemming.

At Dobama, Lemming was very ably played by local actor Michael May. May is a fairly big–read strong–African-American man and my mind was invariably drawn to Barry Bonds as a model for the star-power incumbent in the character of Lemming (do lemmings really commit suicide?). Lemming is encouraged to come out by his close friend from the rival baseball team the Satellites, Davey Battle (played by Jimmie Woody), even though Davey doesn’t know at the time that’s what he’s encouraging Lemming to do. Davey is a Christian, God-fearing man who has a wife and three kids.

Lemming’s coming out is poison to the Empire clubhouse a fact that is discussed immediately in the play by Lemming and Narrator slash Shortstop Kippy Sunderstrom (played strongly by Phil Carroll) Just how much the clubhouse is poisoned is made very clear right off the bat (no put intended) by a series of short encounters with the Empire roster: when Lemming encounters Martinez (played by Javar Parker) and Rodriguez (played by Vincent Martinez) neither one will talk or even acknowledge him; Jason (played by Shaphan David Seiders) the awe-struck catcher who is confused about Lemming’s sexuality; and then there’s Toddy (played by Joe Gennaro) who comes right out and calls a spade a spade–saying that he knows Lemming is looking at his ass when he showers. The trouble in the clubhouse infects the team’s play and their many-game lead in the division goes on a downward slide to a half-game–taking the morale of the team right along with it. The coming out has personal implications for Lemming as well, as his accountant drops him and so do many of the sponsors for his endorsement packages. This results in Lemming getting a new financial manager, Mason Marzac (played extremely well by Caleb J. Sekeres), who is not only awe struck by the famous baseball star, but quickly learns the game and develops an inspired passion for it. With the morale plummeting, the only thing that stops the Empire’s slide is the hardly believable addition of a closing pitcher from class AA. This pitcher, Shane Mungitt (played with remarkable character by Baldwin-Wallace theatre major Fred Mauer) not only stops the slide, but if you believe the playwright provides the team with wins as well. The only drawback? Well, Shane is a thinly-veiled version of the Rocket, John Rocker, whose famous tirade about riding the 7-train in New York ran thus: its like ‘you’re riding through Beirut next to some kid with purple hair, next to some queer with AIDS, right next to some dude who just got out of jail for the fourth time, right next to some 20-year-old mom with four kids. It’s depressing.’ Only the character of Shane ends by saying, ‘taking a shower with a faggot.’ This new level of tension takes care of what was missed by Lemming’s coming out–that is, it alienates everyone in the clubhouse. Shane is suspended, but how long can you suspend a winning closer? Not long apparently, and after a few games suspension and a stuttering, heartfelt, soft-in-the-head apology (written, as we find out later, by Kippy), Shane is right back where he was: closing games. The quick re-instatement doesn’t sit well with Lemming who feels that he was the biggest target of Shane’s racially and homophobically fueled tirade, and leads to a scene between Lemming and the manager, Skippy, (played by Gregory K. White) that I felt was forced, ironic, and insincere–namely, Lemming charging that Shane is a disruption to the clubhouse. The tension rises to climax when Davey comes into the clubhouse before a game and has it out with Lemming about his being ‘perverted,’ to which Lemming responds, ˜drop dead.’ A fateful comment. The anger over the falling out with his so-called best friend leads Lemming to force himself onto Shane in a menacing shower scene–an action by Lemming whose sole intent is to revolt and scare Shane. The unpredictable event that transpires from this is that Shane, in a fit of homophobic rage, when he finally gets in to do some relief work, throws his first pitch right at Davey’s head and kills him–recalling the fate of [amazon_link id=”1566635519″ target=”_blank” ]Ray ‘Chappy’ Chapman[/amazon_link] the Cleveland Indian shortstop who is the only baseball player ever killed during a game–and that by a New York Yankee’s pitcher (Carl Mays). Chapman is buried in [amazon_link id=”0738532304″ target=”_blank” ]Lake View Cemetery[/amazon_link]. Enough on the history lesson though, as the fateful death of Davey is believed to have been the murderous intentional act by Shane; and believed by Lemming to be the result of his own action of grabbing Shane in the shower. The death, of course, falls hard on Lemming, who hours before the event told Davey to ˜drop dead.’ And Lemming turns to phone conversations with Mason for consolation and support; in contrast to Kippy, whom Lemming has moved away from (if he was ever close to him to begin with). After the smoke clears, Kippy and Lemming go and talk to Shane, presumably at a police station where he is being questioned about the intent behind his pitch. Much is revealed: the actions by Lemming in the shower; Kippy’s role in ˜coaching’ Shane’s letter; and that Shane is in-fact, a homophobic racist through and through. The revelation of Kippy’s role in Shane’s apology drives a wedge between Kippy and Lemming that appears to be a trenchant break. The Empires go on to win the World Series, driven presumably by their hatred of each other and fueled by an obsession to forget the season’s mess. And in the final scene, Lemming invites Mason, the financial manager with whom he has been talking long into the night, to go to the World Series party with him¦and they kiss. Presumably all has gone to hell, but Lemming has finally found something that he can stand behind and someone to love.

The most talked about feature of this play is undoubtedly the spectacle of flopping penises. After all, a majority of the play’s action takes place inside a locker room: and what to athletes do in there? I have heard and read much debate regarding the point of the showers and the shower scenes: i.e. is a working shower just spectacle? Is it too much realism? Does the shower distract from the play, that is, do audience-goers say ‘oh, wow, wonder how they got that set up?’ and stop concentrating on the action of the play? Are those naked men really necessary? Personally, I’m going to have to come down on the side of ˜yes,’ it is necessary. And here’s why: first, during a highly charged exchange that starts between Kippy and Toddy (in the shower, of course) Kippy remarks that in the shower they are now all overly conscious of their nakedness, they have conversations during which they make very sure that they make eyecontact and when they aren’t talking, no one even looks at another person. They are so afraid of being labeled gay that they are ashamed, self-conscious, and modest. It think this comment by Kippy taps the audience feeling as well, and reflects, indeed, makes the connection between the effect on the locker room that Lemming’s coming out had and the audience’s own queasiness with seeing all the naked men. The showers are necessary because, frankly, seeing naked men mime a shower would be very odd. Regardless, the decision was a good one.

Speaking of which, time for kudos. [amazon_link id=”B000QXDHTM” target=”_blank” ]Take Me Out[/amazon_link] was directed by Scott Plate, who many of you may have seen in Dobama’s production of Thom Pain: based on nothing. It would be hard to argue that Plate didn’t to a fantastic job in that role and fundamentally changed the perception of [amazon_link id=”155936291X” target=”_blank” ]Eno’s [/amazon_link]character. Here, Plate does a solid job of directing. The set design, which presumably he had some say in, was very well done; the choreography of all the field events; of course, the shower scenes; and the management of the actors in a large space that clearly required more strength of voice and stage presence than a smaller venue would have required. The tension builds where it should and is released were it should. The pace of the play is good and well-managed, as there are some perilous points where the play could have dragged to a halt if not managed correctly. The stage itself, designed by Jeff Herrmann, was a marvel. Yes, it was a baseball diamond made from white tape; but there is something viscerally satisfying about a baseball diamond, as Mason remarks at a passionate point in the play. What is perhaps amazing on both Plate and Herrmann’s part is the ease with which the stage design they used allows for movement between a space conceived as a locker room and space conceived as a baseball diamond for play. It reminds me of the almost ethereal set in Death of a Salesman, the manner in which reality and fantasy blend together. And indeed, the movement through time, memory, past and present are enhanced by this set and this approach to the play. The lighting was handled by Jeff Lockshine and worked very well to set the moods of vibrancy, when required, or the solemn blue of sorrowful remembrance. The baseball outfits were handled ably by Aimee Kluiber and the sounds of balls hitting bats, phone calls, and other elements by Richard Ingraham.

In terms of the play itself, [amazon_link id=”B000QXDHTM” target=”_blank” ]Take Me Out[/amazon_link] is an issue play. Mostly, of course, an issues play about gays in sports and sports as a microcosm of America. There are more issues than this, of course: personal isolation, God and religion, our responsibility to the most vulnerable among us, etc. And in this regard it works in a pretty standard pattern of pairings: this character’s for this, this character’s against it, the characters have it out; tensions build over time and eventually abate or resolve, etc. Structurally, the play is a three act play with each act ending on a high note, or with a ˜hook.’ This may or may not serve the purpose of bringing people back from smoking outside. Although, I think the play was good and of sufficient strength that people should have come back. The main formal functional device for the play is Kippy as narrator (and Phil Carroll’s handling of it reminded me terribly of Matthew Broderick); and I’m not sure how I feel about the narrator as a device. I actually have two concerns with it: first, I don’t trust Kippy as a character, which makes me distrust him as a narrator; second, I don’t know if I like the narrator in a play period. The narrator sets a very odd tone in the dynamic with the audience–is the narrator a person with his own set of ideas, is it the author talking to me, what’s the real angle here?

The shining moments, are those when Mason is on stage, and I began to think that the character Mason was transparently channeling Greenberg, who is gushing about baseball. Mason gushes about the true democracy of the game (the leveling of everyman and yet everyman gets his shot, his moment at the plate, as well as the strict enforcement of the rules for everyone); the symmetry and numerology in the game (the perfect diamond, the pattern of 3 and its square and cube). These moments are truly beautiful, in my opinion and are shining testaments to baseball. There are truly inspired words here about baseball invoking for me a love of the game and the deep place it holds in our country’s life and history. The not so shining moments are the crude portrayals of some players, especially those who seem uncomfortable personally or morally with homosexuality. These people are portrayed as willfully loud bible thumpers or morons or outright racist homophobes. At its worst I would suspect the playwright of unabashedly associating all that is good with those who are gay or support gay people and all that is bad or stupid with those who are heterosexual. If one wished, one could examine the characterization of each player in Greenberg’s line-up to see how this all falls in line. Of course, the play is more complex than this, and the many other characters show the diversity of not only modern baseball, but, by implication, the complexity of veiwpoints in America today.

I could expand the tarp I’ve just thrown a bit and suggest that Greenberg goes hard on most all sports players (or, at least, baseball players). Now I’m quite certain that sports have their unique allotment of morons, but the portrayal here was often ridiculous. I found it equally interesting that the player chosen to be most representative of this brand of idiocy was the catcher portrayed as Jeff Spicoli-esque (for you young folks–or old–that’s a reference to [amazon_link id=”B003PUQ5CO” target=”_blank” ]Fast Times at Ridgemont High[/amazon_link], bud!). The catcher position being quite possibly the most intellectual of all positions on the field: after all, the catcher must be intimately familiar with each batter and know pitch counts, direct the pitch choices, know weaknesses, pitch patterns, dissemble for the umpire, call signals for defensive alignments, and act as a [amazon_link id=”B0010YSD8Q” target=”_blank” ]psychologist[/amazon_link] to wound-up pitchers (pun intentional). Instead, Greenberg’s catcher is a moron and the shortstop (Kippy) is the genius. Except, Kippy’s presumptive arrogance is his undoing: he takes it upon himself to ‘interview’ Shane, the upstart AA pitcher (who pulls a closer from double-A anyway?); to presume to know his heart and provide him with the apology he doesn’t believe; to assume that he can plumb the depths of Lemming, much like [amazon_link id=”0802132758″ target=”_blank” ]Rosencrantz and Guildenstern[/amazon_link] attempt to play on Hamlet as a pipe.

Ultimately, I think I’m going through a phase and find that I’m looking for experiences in both my own writing and in that of others–or in performances as the case may be–that are less obvious in their meaning. That is not meant to be a put down or to say that plays that are driven and intentionally meaningful are bad or to be frowned upon, but most of my own first plays were heavily guided by this principle and were plot driven, intensely polarized in that characters squared-off and met on an ideological battlefield and truth was arrived at somewhere in between the two sides. Issue plays. Tension here, a little laughter here to lighten it up, something profound here–almost like making a soup: a dash of pepper, a bit of salt, some meat. But I’m trying to step away from recipes and move, perhaps, straining the metaphor, moving into grazing–or would it be a buffet?–you know, just try this over here, and then move along over to here and see what comes up, see what it all tastes like, hopefully it doesn’t poison me or make me too sick. I directly blame Mike Geither for this, blame being a lighthearted term in this case, as the encouragement to seek deeper waters and to really let things flow (from my unconscious and from my pen–fingertips–keyboard) came from him. Too many of my plays were driven to an end; this is not to say that there was no room for exploring the worlds that were created, but the end result is still pretty common and recognizable, as is the feel of the piece itself. It *feels* theatrical, put on, poised and purposeful; not spontaneous or energized: vital.

In the end, I think [amazon_link id=”B000QXDHTM” target=”_blank” ]Take Me Out[/amazon_link] is a good play and I would recommend it. I don’t feel that it is a must see play–one that demands your viewing it; but it is a solid play with some very fine moments.

Keeping in STEP with today’s theater students

Joella Blount smiles her broad smile. Well, I was thinkin’ about goin’ to the Army. But I don’t think I am anymore. I plan to work for a while and I want to save up money to go to college. Her smile broadens and she laughs at the irony: that she has been considering joining the army and yet the training program at the Cleveland Public Theatre’s STEP program is wearing her out.

Joella will be a senior this coming school year and this is likely her last year in the Student Theatre Enrichment Program (STEP). She also has the lead role of Keisha in CPT‘s production of [amazon_link id=”1408126702″ target=”_blank” ]Chalk Circle[/amazon_link], in which the fate of a child prince is divided between the biological mother, the queen, who callously abandons him, and the adoptive mother, a servant girl, Keisha, who gives him love and protection.

To those with no experience in the theater, putting up a play may not seem like all that much work. But to the students in the STEP program this summer there’s no doubt about it: it is work–good work–but the young actors still must spend an intense five to seven hours every weekday to stage their play. Each day begins with a demanding round of exercises, stretches, and running activities, and ends with rigorous rehearsals which include an excruciating repetition of carefully choreographed scenes.

The process of generating material for the play starts early in the summer and is slowly and meticulously guided by Raymond Bobgan, Education Director, [now Executive Artistic Director] and Chris Seibert, Director of Education.

One of the first material elements generated for the [amazon_link id=”1408126702″ target=”_blank” ]Chalk Circle[/amazon_link] was a series of spontaneously generated motions with a wooden stool. Each young actor created three actions with his or her stool, and later certain of these were formalized and then incorporated into the final performance. In fact, the final performance features a stunning utilization of the stools as musical instruments, props for swinging and tossing, and a harrowing scene in which stools are dynamically moved elliptically, like the tread on a Caterpillar bull-dozer, as Joella walks across the stool-tops; her character, Keisha, threading the top of a mountain peak.

“I just enjoy how they fit an action, like the action that we do with the stools, how we started off just messing around with it and they incorporated that into the play, I just love the way they do it,” says Anthony Brooks, who plays the part of Simon, a young warrior whose love for Keisha is in conflict with his service to the queen.

Another element of the play that is generated early on is the text or script. Prompted by Chris Seibert, the students are fed single words or single sentences in carefully designed stream of consciousness writing exercises. During these sessions, each participant generates material from his or her own life and experience and, very like the activities with the stools described above, the written material is incorporated as part of the play.

For Gina Ferguson, playing the part of the queen, this style of creating a script presents an opportunity to shine. “[We are given] a line or something to write down, you write and you think–this is never gonna get put in the play, this is never gonna get put in the play, and then it might turn out to be one of your own lines, then it’s like, ‘I wrote this,’ so it’s exciting, knowing one of the first lines in the play is something I wrote. So, it’s like–it feels good seein’ something that I wrote in the play. So it encourages us to keep writing and just be open and don’t stop.”

Taking advantage of the skilled eye of Raymond Bobgan, Director of Blue Sky Transmission and Assistant Director in the Tony Award-winning production of [amazon_link id=”B004NVH1N6″ target=”_blank” ]Death of a Salesman[/amazon_link], the play utilizes a startling array of movements, materials and props, which, besides the stools, include activities with flags, vocal performances, choral arrangements that are very like the strophe and antistrophe in Greek theater, and precisely choreographed dance: each element building to create an aesthetic theater that is very fulfilling and highly engaging.

“Out of the many years that I’ve been doing theater, I’ve never seen anything like this. The movements are so timed and detailed, the people are dedicated to the point where, thankfully, every day, faithfully they’re doing something, changing something, adding new ideas–So, seeing these guys come out here, the movement with the stools, the eye contact, the camaraderie on stage between them, it’s just amazing, it’s magical–it’s 100% art; it’s what art is,” says Quinton Perry, a veteran of the STEP Program and an assistant to Chris and Raymond.

Would you tell me, please, which way I ought to go from here?

[amazon_link id=”1408126702″ target=”_blank” ]Chalk Circle[/amazon_link] has several iterations in literature, and it is difficult to pinpoint which is the origin. The Chalk Circle is both a Chinese tale and a biblical story of Solomon from 1 Kings 3: 16-28. The Chalk Circle for STEP is based on a combination of the Chinese tale and [amazon_link id=”0806501944″ target=”_blank” ]Bertolt Brecht[/amazon_link] [amazon_link id=”1408126702″ target=”_blank” ]Caucasian Chalk Circle[/amazon_link]. But the adaptation is wholly that of the STEP participants, made all the more real by the choreographed creations, vocal arrangements, and student writings.

For Raymond and Chris the choice of the play is as much about fitting the subject with the young actors as it is about choosing a ‘literary’ piece of theater. And the wisdom of their choice shows: the Chalk Circle touches a chord with the students, who see in the struggle of the young prince to discover his true identity a theme that is painfully familiar to them as young adults.

Todd Siwik, who plays both a doctor and lawyer in Chalk Circle agrees: “I think the whole question of ‘who am I?’ That’s probably what the play’s on. It’s [a question] a lot of people have, or what they want to do in life, where they came from, and the play has a lot to do with that.”

“It reminds me of the movie [amazon_link id=”B000M9BPEY” target=”_blank” ]Big Fish[/amazon_link],” says Quinton, smiling from under his New York Yankees hat. “It’s the story of a boy trying to learn exactly who his father is.”

Tyler Slaughter, who plays the prince as a grown young man, feels that the story resonates with him, too. “I guess what you can say with me, like, with my character trying to find his way, and trying to figure out where he came from; I’m somewhat trying to just figure out what I’m going to do with my life, you know? How am I gonna catch the bus tomorrow or somethin’ like that, that is just tryin’ to find my way.”

Theater has the power to transform lives

The STEP Program at CPT is now in its twelfth year, and has grown from a summertime program to a year-round, long-term theater program for at-risk teens. Throughout the year students from all over Cleveland come to CPT to learn the craft of theater from professional artists.

The benefits of the program are well-documented. Five years ago, the U.S. Department of Education and the National Endowment for the Arts generated Champions of Change, a report that summarizes education research from across the country. This report, available online through the Arts Education Partnership (http://www.aep-arts.org), demonstrates that arts programs make a significant impact in bridging the gap in academic and job performance between children in inner-city disadvantaged school systems and those in more affluent programs. The report also showed that low-performing students demonstrate significant growth in achievements after becoming involved in arts programs.

Fittingly, the STEP Program is itself a sort of Chalk Circle. Like Keisha picking up the abandoned prince, STEP provides marginalized students with an opportunity and a chance at artistic fulfillment and expressive participation. But more than that, it provides participants with a sense of community that may be lacking elsewhere.

“I have enjoyed being a friend–to mainly everybody, like when they’re sad or something I can come to them or they can come to me and we can cheer each other up, give each other hugs, or words of encouragement. And my scene partners, we could go over our lines, go over our things together, that’s what I really liked,” says Joella. And the strength and opportunity for friendship is a sentiment that is echoed by nearly all the students who participate in the program.

But to focus exclusively on the educational benefits of the STEP Program is to trivialize the role that each student plays as a professional actor, for each young performer takes his or her role very seriously, with a dedication in time and energy that even a corner-office CEO in Key Tower would admire.

“I like how they tell me to do it over again, it gets me more energized and, you know, sometimes it’ll get me real tired and exhausted but I keep going–it’s understandable, ’cause I see that they want the play to be perfect,” says Samantha Robinson, who plays opposite Todd Siwik as the second lawyer and doctor.

Coming to a theater–or a park–near you

The Cleveland Public Theatre provides Cleveland residents with many opportunities to see the plays that STEP puts up. The Chalk Circle alone will have nine performances at nine separate locations throughout the city: seven at public parks and two in downtown Cleveland. The final performance of [amazon_link id=”1408126702″ target=”_blank” ]The Caucasian Chalk Circle[/amazon_link] is Friday, September 2^nd, [2005] at Public Square during InGenuity Cleveland (http://www.ingenuitycleveland.com), A Festival of Art and Technology.

By taking theater on the road, the STEP program aggressively asserts not only the importance of having its productions seen, but the importance of bringing theater to the community, to making it available in the places where people live and work and play. Often nowadays, there is a disconnect between what people think theater is: a highbrow form of entertainment often following a wine and cheese tasting, and the reality of a theater that can relate to their everyday lives.

The STEP program actively confronts this notion by using the actions and words of its students to create its plays and by choosing subjects that are of material importance to every person in the community: Who am I? Where I am I going? What does this life I’m living mean?

“I think a lot of people can relate to it,” Joella says when asked why people should come to see Chalk Circle. “If there’s somebody and they’re kind of lost in who they are–maybe they can come to the play and it could give them ideas, like what should they do if they wanna know. And plus it’s a bunch of teens–and I know a lot of people are saying that teenagers are just problem-causers, you know, they just cause problems–but we show that it’s not really true, there is some teens out there that like to do something with their summer, instead of just hanging out with their friends. They made a commitment to be here, to perform in front of them, so that they can enjoy themselves, and we can enjoy ourselves.”

But perhaps more importantly, as Joella points out, the STEP program provides Clevelanders a chance to experience the creativity, imagination, and energy of the youth of their community, to participate in the magical transformation of their youthful life experience and energy into a story that transcends time.