I’ve been watching Neil LaBute plays since 2008, when I first saw one in the form of Fat Pig at the Comedy Theater. His use of naturalistic language and creation of characters that were fully believable – and extremely American – was a joy for me to see. People I recognized on stage, dealing with situations that seemed to be familiar and realistic – now that’s what I like! I’ve had the opportunity now to watch his style evolving, but I didn’t hesitate to take up TheatreBloggers.co.uk on an offer for a visit to see his 2005 show Some Girls and a Q&A with the director and cast afterwards.
The plot seems very thin on the surface: a man (never named, called “Guy” in the script, played by Charlie Dorfman) flies to several cities he lived in in the past to have visits with his exes, for the approximate purpose of setting things right with them. On the way, we meet Sam (Elly Condron), Tyler (Roxanne Pallett), Lindsay (Carolyn Backhouse), and Bobbi (Barley Stenson). The unifying theme in their relationships is that this guy walked out on them and never spoke to them again; for some reason, all of them have decided to take him up on his offer to meet up and hash things out years later.
While we’re meant to buy into this situation, I, for one, never felt like it added up. The guy seems to want something, yet be incapable of articulating it; the women only get about 20 minutes each in which to develop their characters and aren’t able to get very deep. Still, the actresses use their skill with movement to flesh out their characters and made me believe there is more to them than we get to see; but the same isn’t true of the guy. He is stiff and says little and tends to have a bit of a wheedling, weasley smile on his face; but I couldn’t believe there was much else underneath it. Even if he is ultimately only driven by his ego and his desire to do things for himself, that, as a character trait, is something I am able to believe in; but it’s not in Dorfman’s interpretation of the character and there wasn’t nearly enough else that he did or said to make him be anything more substantial. I ended feeling like everything was a bit of a set up for a sitcom style joke, and that’s really not what I go to the theater for. I want Ibsenesque characters that I walk out of the theater talking about as if I’ve known them for years; I imagine LaBute had the opportunity to create a piece using David Schwimmer as a character and built the role around him, without worrying about three dimensionality. In short, the script needs more to it, and because of this I would not consisider Some Girls a particularly good night out.
However: I’d like to take a brief break to discuss the question of “misogyny in Neil LaBute’s plays.” It keeps coming up that he’s a misogynist: women in his plays are judged by their looks and frequently ill treated by the men in their lives. Is LaBute misogynistic? Are his plays misogynistic? I have to say, as a second wave feminist and hardcore theater goer, this is an extremely specious argument. Essentially, it’s saying that a playwright who writes about Jack the Ripper must be a murderer himself. LaBute creates characters, characters which are wholly based in 21st century (and in America). We live in a world in which, it’s true, women are judged on their appearances. Even if you are a child, you’re treated better if you’re pretty than if you’re not. LaBute does more for us by showing us the reality of the world we live in – in which pretty women are treated better by society than ugly ones, in which “fat” is treated as a moral shortcoming, in which men are not always nice to women and women can be angry and violent – than he would if he wrote plays in which he tried to pretend that things aren’t as they are. 100 years later, Shaw’s plays show a world in which getting divorced was a one way ticket to social exclusion (The Philanderer), but his plays would have been nonsensical if he tried to pretend this wasn’t a reality. We live in a world in which women aren’t treated the same as men. Holding up a mirror to that world is not misogynistic: it’s good writing, even if we don’t like what we see reflected at us.
(This review is for a performance that took place the night of July 21, 2016. It continues through August 6th.)