You don't have to be a baseball fan to cheer for Cobb, Lee Blessing's (A Walk In The Woods) riveting play about the controversial slugger, who became as famous for hitting the ball as he was for hitting anyone who crossed him. Despite Cobb's remark, "I was too real for myth," Blessing has taken into account various legends that have surfaced about this great but petulant, player, who also became baseball's first millionaire, and devised not one but three ways to present him. The drama's clever device is to have three actors play Cobb at different stages in his life. That they appear simultaneously confronting and challenging each other, about what they remember and what they want people to remember, is what gives the play its heft.
You could call this the three faces of Cobb. The enigmatic egotist appears most truculent as the aggressive young ballplayer (Michael Mabe), who is known for energizing and bringing stature to what had been a sedate, all-American sport. Enter the wealthy middle-aged businessman who never tired of making more money (Michael Sabatino). Last is the cantankerous and opinionated, old dying Cobb, who, in a state of perpetual purgatory (Michael Cullen), is challenged by his former selves. It is in Cobb's restless own consciousness that the action takes place. Here, we see him retrace his life, attempt to re-write history to suit himself, justifying his racism, and steal the truth as easily as he stole bases. There is even a breathless re-enactment of a game.
All three are vexed and haunted by the occasioning appearance of equally vexed and feisty Negro League player Oscar Charleston (Clark Jackson), known as the black Cobb, who continually reminds them of his lost opportunities. Under Joe Brancato's diamond-bright direction, the three excellent well-cast for their roles actors may be portraying "the most hated man in baseball," but you'll love each of them while they're on the mound.
