Neil LaBute's Some Girl(s) at the Geffen Playhouse
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All offers for Some Girl(s) have expired.
The last date listed for Some Girl(s) was Sunday March 2, 2008 / 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
Featured review from Andre
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Provocative, as all Neil LaBute plays are. The story is about a commitment-phobe guy visiting four of his ex-girlfriends to apologize for his past jerky behavior...or does he have some ulterior motive(s)? Well-cast, and the actors were all good, especially Mark Feuerstein in the lead role. I was a little wary, as I had read some not-so-good reviews of this play when it debuted in London (with David Schwimmer) and New York (with Eric McCormack), but perhaps the play works better with a less-recognizable TV star who isn't so identified with one character. The final twist wasn't as shocking as the twists in other LaBute plays/films, but there was plenty of satisfyingly incisive dialogue about male/female relationships. LaBute is directing the play himself at the Geffen, and I spotted him taking a seat in the audience right before the performance started and taking copious notes. (I caught one of the previews.) Also, the back two rows of the 100-seat theater were almost empty, so if Goldstar says a performance is sold out, double-check with the theater because they may have some seats available on the day of performance at a public rush price.
Written By Neil LaBute
Directed By Neil LaBute
Seattle. Chicago. Boston. Los Angeles. Not battlegrounds that you may recognize from history but watch the painful laughter flow when a writer returns to the scene of four crimes of the heart. Before getting married, ‘Guy’ decides to make amends with some girls he left behind. Or does he?
Some Girl(s) is a searing, funny portrait of the artist as a young cad.
About Neil LaBute
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.