Neil LaBute is thinking hard...really
With his play "Some Girl(s)," the story picks up a modern everyman named Guy who, on the brink of his wedding, hops a plane to several different cities to ostensibly make peace with his ex-girlfriends. We caught up with Neil right before "Some Girl(s)" opened its month-long run at Westwood's Geffen Playhouse.
What have you learned in directing your own plays? What's getting easier? What's still difficult?
I've been directing my own plays since college, and while I'm sure I get better at it—practice making perfect and all that—it's never easy. It's not digging ditches, mind you, but it's work. It’s a living medium, and no matter how much planning and rehearsal one does, the unforeseen nature of it keeps you on your toes. Some part of me is frightened by that, but the rest of me is very drawn to it. I suppose it's as close to the edge as I live as a person, not being a skydiver. I also just like the process; it makes sense to me.
Do you find it difficult to mediate between writing a piece and then directing it? Do you worry about not having an “editor?”
It’s an important consideration when you do both jobs. The best way, in theater and film, is to have an open enough process where you constantly remain open to all ideas. You never know where a great idea will come from, and if you make everyone, cast and crew, feel like a real part of the process, then you have an atmosphere that breeds creativity. That said, it's important to be the decision-maker when the time is right—indecision is death, particularly in film.
“Some Girl(s)” opened initially in 2005. Why did you choose to direct this play in Los Angeles now?
It was a show that I hadn't directed yet. I like to direct all my work at some point. It was like taking a second job, not to pay the mortgage—can't make enough with theater!—but because it's nice to get out at night. And why not L.A.? There’s plenty of great theater here, period. No qualifiers. We need to not have a second-city attitude toward our work. Except for the parking. Parking remains a bitch. Doing and seeing theater in a mobile city like this one is its own worst problem.
What, recently, have you seen on stage that was shocking? Does anything have the power to shock anymore?
Great acting is still shocking—actors are the things we watch, connect with in a film or on stage. A great actor can truly transport you, no matter how much you know about a show or a text or a theater company.
Frederick Weller was in a play of mine ["In a Dark Dark House"] recently in New York, and there were moments on stage when he literally took my breath away. I got the chance to work with Ed Harris on stage not long ago as well, and I was actually blown away. Shockingly good. What's really shocking is that more writers and producers and directors aren't out there testing the limits of their audiences. Theater should be a unique experience—if not, then go visit Six Flags.
Your characters are often labeled misogynistic, but you've said you'd prefer them to be thought of as misanthropic. What's the difference to you?
I think I was trying to be ironic, rather than making a huge point. It’s amusing that "misogynist" is still applied so liberally to my work when I've spent 10 years being incredibly hard on men in general—I'd almost half-expect to be an honorary feminist by now! Chad in "In the Company of Men" seems to hate people across the board. No one—female, black underling, white co-worker, girlfriend, the audience, etc.—is safe from his calculations and dislike. It's fascinating to write characters who have complex emotions. I only want characters to be interesting; I could care less if they're likable or not.
Have there been any specific moments recently where you've been disgusted with human beings—or elated by them?
Every damn day. We are the most astounding, beautiful, funny, amazing, ruthless, frightening, god-awful, mesmerizing creatures around, and most of the time we’re reaching for so little, striving for next to nothing. Like a new microwave, or wireless internet. A four-day vacation in Florida. You have to wonder what the world would be like if we were all a little more polite and stopped passing on the right so often.
What have you not done yet that you'd like to do, story-wise?
I'd like to do a Western. I’d like to do a comedy. But I don't want to do a comedy-Western. When's the last time that combination worked?
George Ducker is a contributing editor for Metromix Los Angeles.
“Some Girl(s)” opens at the Geffen Playhouse on Wednesday, Feb. 6 and runs until Sunday, March 9. We’re thinking it might be the perfect play to take a date to around Valentine’s Day. Or maybe not. Depends whether or not you like a little vitriol after dinner.
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