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Sherman points to the play’s capacity to transcend the parochial and embrace universal human experience. Like Jesus’ parabolic mustard bush, Our Town affords many sheltering branches to an impressive diversity of audiences. It was performed in Japanese internment camps during World War II and was the first American play produced in Berlin after the war. In 1968, a Los Angeles production populated Grover’s Corners with cast members who were African American, Apache, Russian, Mexican, and Chinese. This trend continues into the 21st century. After three short chapters on the origins and early reception of Our Town, Sherman’s book consists of a series of oral histories based on interviews with more than a dozen casts of recent revivals of the play.

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