Abstract
The deliciously punny title of Richard Greenberg's most recent play invokes both the rich mythology that makes baseball an irresistible subject for writers in search of the American grain, as well as the violence, however muted and coded, that shores up constructions of American masculinity. The play, which moved to New York's Public Theatre after a critically acclaimed run at London's Donmar Warehouse, where it was part of an "American Imports" season, chronicles the immediate aftermath of an event that is (alas unsurprisingly) still fictional: a professional baseballplayer's coming out as a homosexual.
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