Venue Details

Geffen Playhouse - Audrey Skirball Kenis Theater
10886 Le Conte Avenue Los Angeles, CA 90024
Venue website Get directions
4.3 / 5 Rated by 78 members
Review from Anita G.
39 events 12 reviews

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.

reviewed Jul 03 2007 report as inappropriate
Review from Marion Meade
5 events 3 reviews

The acting was great, the theater was also great. It was such a small theater, that the back row seats we got were great. I just didn't really like the ending to the play. Other than that, it was a great play and evening.

reviewed Jul 03 2007 report as inappropriate
Review from Christina B.
3 events 1 review

It was self-depricating, charming, funny, and melancholy. The cast was terrific. David Mamet has a really great knack tackling subjects that can be uncomfortable and slightly taboo. I related to all of the characters.

reviewed Jul 05 2007 report as inappropriate
View All 40 Reviews
More Information


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.

The Story:

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*

*The Cast


  • 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.  

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