Bøger af Neil LaBute

Yet it also has an unexpected ingredient: a beating heart.' ObserverNow collected with its sequel - Reasons to be Happy'A richly entertaining shard of tragicomedy.' Daily Telegraph

Two brothers meet on the grounds of a private psychiatric facility. Drew, has been court-confined for observation and has called his older brother, Terry, to corroborate his claim of childhood sexual abuse by a young man from many summers ago. Drew's request releases barely-hidden animosities between the two: Is he using these repressed memories to save himself while smearing the name of his brother's friend? Through pain and acknowledged betrayal, the brothers come to grips with and begin to understand the legacy of abuse, both inside and outside their family home. "There is no playwright on the planet these days who is writing better than Neil LaBute." John Lahr, The New Yorker "The most legitimately provocative and polarizing playwright at work today." David Amsden, New York Magazine

A man in his mid-50s is mourning his wife's death. People often gossiped about the age difference between them - she was 15 years older - but Edward Carr didn't care, because "she was worth loving". He won her from her first husband after a fistfight, and they built a profitable business, which he calls his "kingdom", recovering and renting classic cars (the ostensible reason for the title). The sex was always mighty: he never tired of "being inside her". Yes, LaBute's taboo du jour is incest, and the play is a loose adaptation of Sophocles' Oedipus Rex.

"LaBute, in his most ambitious an best play to date, gets inside the emptiness of American culture, the masquerade and the evil of neglect. THE DISTANCE FROM HERE, it seems to me, is a new title to be added to the short list of important contemporary plays." -John Lahr, The New Yorker "LaBute's skill, and the shortness of the scenes, are compelling ... [his] excellent writing generates an exact depiction of empty soulless, thoughtless lives." -Hal Jensen, Times Literary Supplement

Two brothers meet on the grounds of a private psychiatric facility. Drew, has been court-confined for observation and has called his older brother, Terry, to corroborate his claim of childhood sexual abuse by a young man from many summers ago. Drew's request releases barely-hidden animosities between the two: Is he using these repressed memories to save himself while smearing the name of his brother's friend? Through pain and acknowledged betrayal, the brothers come to grips with and begin to understand the legacy of abuse, both inside and outside their family home. In a Dark, Dark House is the latest work from Neil LaBute, American theater's great agent provocateur. The play will have its world Premiere in May 2007, Off Broadway at New York's MCC Theater.

Belinda and Cody Phipps appear a typical Midwestern couple: teenage sweethearts, children, luxurious home. Typical except that Cody is black--"rich, black, and different," in the words of Belinda, who finds herself attracted to a former (white) classmate. As the battle for her affections is waged, Belinda and Cody frankly doubt the foundation of their initial attraction, opening the door wide to a swath of bigotry and betrayal. Staged on continually shifting moral ground that challenges our received notions about gender, ethnicity, and even love itself, This Is How It Goes unblinkingly explores the myriad ways in which the wild card of race is played by both black and white in America.

Can someone honestly love a person whom they have deceived for thirty years? This is the central question behind Wrecks, Neil LaBute's latest foray into the dark side of human nature. Meet Edward Carr: loving father, successful businessman, grieving widower. In this concise powerhouse of a play, LaBute limns the boundaries of love, exploring the limits of what society will accept versus what the heart will desire. This collection also features rarely staged short plays, including "Liars' Club," "Coax," and the never-before-seen "Falling in Like."

"Sitting in an automobile was where I first remember understanding how drama works...Hidden in the back seat of a sedan, I quickly realized how deep the chasm or intense the claustrophobia could be inside your average family car." --Neil LaButeBe it the medium for clandestine couplings, arguments, shelter, or ultimately transportation, the automobile is perhaps the most authentically American of spaces. In Autobahn, Neil LaBute's provocative new collection of one-act plays set within the confines of the front seat, the playwright employs his signature plaintive insight to great effect, investigating the inchoate apprehension that surrounds the steering wheel. Each of these seven brief vignettes explore the ethos of perception and relationship--from a make-out session gone awry to a kidnapping thinly disguised as a road trip, a reconnaissance mission involving the rescue of a Nintendo 64 to a daughter's long ride home after her release from rehab. The result is an unsettling montage that gradually reveals the scabrous force of words left unsaid while illuminating the delicate interplay between intention and morality, capturing the essence of middle America and the myriad paths which cross its surface.

Cow. Slob. Pig. How many insults can you hear before you have to stand up and defend the woman you love? Tom faces just that question when he falls for Helen, a bright, funny, sexy young woman who happens to be plus sized-and then some. Forced to explain his new relationship to his shallow (although shockingly funny) friends, finally he comes to terms with his own preconceptions of the importance of conventional good looks. Neil LaBute's sharply drawn play not only critiques our slavish adherence to Hollywood ideals of beauty but boldy questions our own ability to change what we dislike about ourselves.

Filthy Talk for Troubled Time is one of LaBute's earliest plays. A downbeat night at a topless bar exposes the gulf between the twitchy clientele and the waitresses who serve but despise them. The Mercy Seat examines a couple who, on the day after a world-changing atrocity, toy with exploiting it to start a new life. Some Girl(s) follows a young writer's panicked retreat from his imminent wedding as he seeks out old girlfriends and opens new wounds, while in This Is How It Goes the breakdown of a seemingly successful marriage is complicated by submerged bigotry. The collection also includes two short plays about relationships in crisis - A Second of Pleasure and Helter Skelter - which are in equal part tender and chilling.Together these plays form a complex and compelling portrait of the sexes - sometimes warring, sometimes loving, but never fully at peace.

David Schwimmer stars in this West End production of Neil LaBute's play Some Girl(s), which previews from 12 May 2005 at the Gielgud Theatre.

Greg is overheard admitting that his girlfriend Steph is no beauty, but that he wouldn't change her for the world. She is devastated; he can't see what he's done wrong. Meanwhile, Greg's friend Kent alternates between boasting about how gorgeous his wife Carlyis and chasing after a hot new colleague.The final part of Neil LaBute's 'beauty trilogy' (following The Shape of Things and Fat Pig) about society's obsession with looks, Reasons to Be Pretty premiered in the UK at the Almeida Theatre, London, in November 2011.'[The Shape of Things] is LaBute's thesis on extreme feminine wiles, as well as a disquisition on how far an artist can go in the name of art . . . Like a chiropractor for the soul, LaBute is looking for realignment, listening for the crack.' Elle'A heart-warming tale from America's master misanthrope.' Independent on Fat Pig

It was so simple . . . just a few little bits in his diary, files that he kept in longhand with all his thoughts and wishes and dreams . . .Bobby thinks he's simply lending his sister a hand with clearing out her cottage in the forest. But it's a dark and stormy night and his sister has a secret.I know it can't be that bad, whatever was the reason this guy left here in such a hurry . . .In a Forest, Dark and Deep by Neil LaBute premiered at the Vaudeville Theatre, London, in March 2011.

Neil LaBute's Bash is a collection of three darkly brilliant one-act plays. In 'Medea Redux', a woman tells of her complex and ultimately tragic relationship with her junior high-school English teacher. In 'Iphigenia in Orem', a Utah businessman confides in a stranger in a Las Vegas hotel room, confessing to an especially chilling crime. In 'A Gaggle of Saints', a young Mormon couple separately recount the violent events of an anniversary weekend in New York City. All three are unblinking portraits of the evils that are abroad in everyday life; each is distinguished by the raw and yet lyrical intensity that has become Neil Labute's signature.

How far would you go for love? For art? What would you be willing to change? Which price might you pay? This title explores such painful questions.

In this play, LaBute presents the brutal realities of the war between the sexes and explores whether one can be truly opportunistic in a time of universal selflessness.

Presents tales of men behaving badly towards women.

Belinda and Cody Phipps appear to be a typical Midwestern couple: teenage sweethearts, children, luxurious home. Typical, except that Cody is black - 'rich, black, and different', in the words of Belinda, who finds herself attracted to a former (white) classmate.