Neil LaBute's Fat Pig at the Geffen Playhouse
* Additional fees apply.
All offers for Fat Pig have expired.
The last date listed for Fat Pig was Sunday July 15, 2007 / 7:30pm.
Currently at Geffen Playhouse - Audrey Skirball Kenis Theater:
- Full Price:
- $69.00 - $74.00
- Our Price:
- $35.50 - $38.00
From Massachusetts to Costa Rica, we follow a teenager fleeing the aftermath of a tragic accident back home. Her guilt and confusion over the incident follow her to her uncle's isolated retreat in the jungle, where she fills his silent home with the sound of teenage chatter. Having sought out the sanctuary of Costa Rica as a refuge from his own guilt, the reclusive uncle is able to connect with his niece in a way nobody else could. Together, they come to terms with their own pasts and lay the ground for moving forward. The Steppenwolf Theatre Company's production of Slowgirl will surprise you, touch you and make you think. Learn More
Reviews & Ratings
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Perfect venue to see this type of production. Premiss of the play can truly be appreciated if you are living, eating and dating in LA! I'm sure most of the audience walked out thinking about what they would do if caught up in the same situation.
The title, like its author, pulls no punches. How much has our relentless pursuit of beauty turned us into an uglier species? Says LaBute, “I want to cause some trouble on stage.” Mission accomplished.
Tom is a young career guy who hits it off with a woman named Helen, who happens to be a touch large. As he reluctantly finds himself falling in love with Helen, Tom’s office mates Carter and Jeannie are aghast – brutally cruel in probing to understand what the attraction is. Will Tom follow his heart and feelings he has never felt before, or succumb to his weakness? Does love need society’s blessing to be complete?
Written by Neil LaBute
Directed by Jo Bonney*
- Joe Sikora as Tom Sullivan: Joe Sikora was seen in the U.S. premiere of House and Garden at the Goodman Theatre; his other theatrical credits include productions of Zoot Suit, Race, Hard Times, Real Class Affair and the Los Angeles premiere of Killer Joe. Sikora’s screen credits include “NYPD Blue,” “Grey’s Anatomy,” “Criminal Minds,” “Prison Break,” “Normal” and “Night Skies.”
- * Ashlie Atkinson as Helen Bond: Seen in “The Butcher of Baraboo” at Second Stage in New York City and was the original Helen in the Off-Broadway production of Fat Pig.
- Jon Bernthal as Carter: One of the leads in the TV comedy, “The Class.”
- Jaime Ray Newman as Jeannie: *Series regular on “Veronica Mars” and appeared Off-Broadway in “Turnaround."
Neil LaBute: Writer
Neil LaBute studied theater at Brigham Young University (BYU) where he joined the Church of Jesus Christ of Latter-day Saints. At BYU, he produced a number of plays that pushed the envelope of what was allowable at the strait-laced Latter-day Saint university, some of which were immediately shut down after their premieres. LaBute also did graduate work at the University of Kansas, New York University, and the Royal Academy of London.
In 1993, he returned to BYU to premier his play In the Company of Men, for which he received an award from the Association for Mormon Letters. The film version eventually won the Filmmakers Trophy at the Sundance Film Festival, major awards or nominations at the Deauville Film Festival, the Independent Spirit Awards, the Thessaloniki Film Festival, as well as from the Society of Texas Film Critics Awards and the New York Film Critics Circle.
His next film, Your Friends & Neighbors (1998), with an ensemble cast including Eckhart and Ben Stiller, was a shockingly honest portrayal of the sex lives of three suburban couples who were friends. In 2000, he wrote and directed an off-Broadway play entitled Bash: Latter-Day Plays, a set of three short plays depicting essentially good people (who happen to be Latter-day Saints) doing disturbing and violent things.
LaBute’s 2002 play, The Mercy Seat, was one of the first major theatrical responses to the September 11, 2001 attacks. Starring Liev Schreiber and Sigourney Weaver, the play was a considerable commercial and critical success, in large part because of its willingness to confront the myths that many New Yorkers had constructed in order to console themselves after the attacks.