The car and the confessional box have a great deal in common, and Neil LaBute riffs on the similarities in this cycle of unrelated playlets. Tron, GlasgowThis set of Neil LaBute six-handers is both a sinister statement of social atomisation and an acting masterclass, writes Mark. Autobahn: A Short-Play Cycle [Neil LaBute] on *FREE* shipping on qualifying offers. Sitting in an automobile was where I first remember.
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Hidden in the back seat of a sedan, I quickly realized how deep the chasm or intense the claustrophobia could be inside your average family car. Be it the medium for clandestine couplings, arguments, shelter, labutf ultimately transportation, the automobile is perhaps lagute most authentically American of spaces.
In AutobahnNeil LaBute’s provocative new collection of one-act plays set within the confines of the front seat, the playwright employs his signature auttobahn insight to great effect, investigating the inchoate apprehension that surrounds the steering wheel. Each of these seven brief vignettes explore the ethos of perception and relationship–from a make-out session gone awry to a kidnapping thinly disguised as a road trip, a reconnaissance mission involving the rescue of a Nintendo 64 to a daughter’s long ride home after her release from rehab.
The result is an unsettling montage that gradually reveals the scabrous force of words left unsaid while illuminating the delicate interplay between intention and morality, capturing the essence of middle America and the myriad paths which cross its surface. Neil LaBute is a critically acclaimed writer-director for both the stage and the screen.
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Showing of labutee reviews. Top Reviews Most recent Top Reviews. There was a problem filtering reviews right now. Please try again later. Fantastic set of one acts.
This show could be done as a mainstage or in a blackbox with a large or small budget. I definitely recommend doing multiple stories from it if you’re doing something small. Some labbute Labute’s best work in my opinion.
Kindle Edition Verified Purchase. I enjoyed the Autobahn. If you’re familiar with Neil Labute, he is very true to his own style here. Some really like it, some are really tired of it. This is probably not a very helpful review, but I enjoyed this round of plays. Would love to see some of them, he leaves a nice blank canvas for directors, in my opinion.
Quick delivery, book was in great shape, would definitely purchase from neul person again! One person found this helpful. I labjte saw a production of this, and unlike my fellow reviewer, who appreciated it’s depth and power, I and my friend who went with me, were pissed and aggravated at the beil that Autobahn represents.
Now I’ve read much of LaBute’s work, and seen several of laute films, so I am aware of his style. I have liked his works and notice when he is active. But this was a lesson in the danger of artistic ease, of guaranteed publication, of knowing that there will be people lined up to see one’s newest work; because the name has overtaken the substance of the work.
And like a subplicant I and my friend went to see this And not for the acting, or the set. But because autobabn people into a car to deal with each other’s various conflicts or monumental gaffs or uncontrollable urges and thinking that is all that is needed to illuminate our dark recesses is naive at worst and cruel at best. And nine scenes of cruelty is not my idea of a good time, nor are nine scenes of foolishness.
LaBute mailed this one in. One star for the scene Bench Seat with possible half credit going to the actors labbute an occaisonal laugh. I have both read these plays and seen them produced at a small theater in Los Angeles. Whether on the page or stage, these plays are always interesting, incisive, and leave you pondering them for days afterward. Much like a good short story, LaBute is able – in just a few pages – to conjure up his worlds and characters in full, letting you know enough about them that you have a good idea often an unsettling one, to tell the truth of what happens to characters once the play ends.
Autobahn review – Neil LaBute’s playlet cycle gets under your skin | Stage | The Guardian
It’s not all doom and gloom, though. From an acting point of view, it’s difficult to find material that does a better job of celebrating theater in its most basic form. Difficult to be sure in many of the plays, one of the characters doesn’t say anything at all! The short play, like the short film, doesn’t have a lot of marketability in the commercial sphere, and it is a treat that one of our leading playwrights has tried his expert hand at them.
If you like short stories, or are a fan of good writing for the stage, you’ll enjoy Autobahn. I’ve read all of Labute’s plays, and this one is greater than the others in some new and interesting ways. I always read his introduction last, because it usually gives away some of the story. This intro said two really cool things.
He introduces the first cool thing by a fellow playwright wanting to “see his play performed in living rooms, in front of audiences of ten or twelve people.
I feel the same way. Theater is anywhere you make it. I hope that with this print edition of autobahn actors take the text and memorize it, gather their friends in their own cars, and take off down the road, filling those intimate interiors with my words and their emotions.
That would be a pleasure to behold. I’m not an actor at all, but this book contains a bunch of one person and two person stories that are short enough for the lay person to memorize.
That’s what I think is cool about this book, is I could picture high school drama classes using this, and it really is some of the best literature out there. It’s also ironic, because all of his books have a warning about needing to arrange a royalty schedule for any public performance of his play.
Autobahn review – Neil LaBute’s playlet cycle gets under your skin
The second cool thing is about how plays encourage the imagination by having very scaled down and limited sets. I saw a local play that had a limited set about a week after reading this intro, and Labute’s discussion on this aspect of theater accentuated my experience. About the actual stories I keep using the word “haunting” to describe his work. It’s extremely well written, and the stories auhobahn stick with me.
I keep thinking of the story where the girl tells her mother “I know I’m gonna do everything within my power to use again. The other one that sticks with me is where the husband tries to convince himself that the wife didn’t do it again.
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Autobahn (play) – Wikipedia
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