Rating: 
Summary: Old forms in bright new clothes.
Review: Adam is an amiable and literate loser and virtual virgin who needs two jobs to pay for his student loans. Working as a security guard at a gallery, he tries to dissuade Evelyn, an Art postgraduate, from defacing one of the exhibits, and ends up going out with her. Not only does he start enjoying 'great' sex for the first time, but, under Evelyn's supervision, he begins eating and dressing better, working out, even getting a nose job, to the point where the former scruffy prole becomes what his best friend's fiancee calls a 'babe'. Adam had been too shy to ask the latter out before, but now they kiss and go for a 'drive' in the 'woods'. Meanwhile Evelyn has her thesis showcase to organise.For all its appeals to modernity and student culture - post-modern art; makeovers; facial surgery; college; swearing; studenty soundtrack - 'The Shape Of Things' is surprisingly traditional fare, not too removed from the well-made plays of Terence Rattigan, or Shaw's dramas of ideas (Evelyn becomes Higgins to Adam's Eliza Doolittle), in which every element and loose end is neatly tied up. Each character represents a particular point-of-view (check out, for a start, those names), which is modified or developed as the thesis continues - each vignette proceeds intellectually, leading to a climax in which the leads declaim their positions at wordy length. This means that the character interplay, though present and involving, lacks the true forcefulness of a work like 'Your Friends And Neighbours'. Behind the players are projected images from Western civilisation's visual treatment of the human body, from antiquity to anatomy to Magritte. This might seem to be pretentious padding, an attempt to add spurious depth to what is basically a sour college romance, but it actually works with the drama to achieve the devastating pay-off of The Revelation. To be honest, Labute's ideas - about the impoverishment of post-modern art; the consequences of 'art for art's sake', or the crossing the line between life and art; about a culture that privileges image over decency, self-consciousness over relationships; the dangers of 'too much' civilisation or sophistication; the alienation (oh yes) of one's life as it is mediated by life, art and the media - aren't very original, though paradoxical enough to avoid seeming static. What is more enjoyable is the way the famous male monstrosity that characterised Labute's earlier work (e.g. 'In The Company Of Men'), has been transferred to a female character, whose spectacular callousness has you cheering her on in spite of yourself, and chills the post-'Nurse Betty' sentimental streak the playwright has difficulty in suppressing. The dialogue is as sharp, suggestive and funny as ever, with a great line about Picasso. And, yes, it's nice to see people like me on a stage for once.
Rating:
Summary: Old forms in bright new clothes.
Review: Adam is an amiable and literate loser and virtual virgin who needs two jobs to pay for his student loans. Working as a security guard at a gallery, he tries to dissuade Evelyn, an Art postgraduate, from defacing one of the exhibits, and ends up going out with her. Not only does he start enjoying 'great' sex for the first time, but, under Evelyn's supervision, he begins eating and dressing better, working out, even getting a nose job, to the point where the former scruffy prole becomes what his best friend's fiancee calls a 'babe'. Adam had been too shy to ask the latter out before, but now they kiss and go for a 'drive' in the 'woods'. Meanwhile Evelyn has her thesis showcase to organise. For all its appeals to modernity and student culture - post-modern art; makeovers; facial surgery; college; swearing; studenty soundtrack - 'The Shape Of Things' is surprisingly traditional fare, not too removed from the well-made plays of Terence Rattigan, or Shaw's dramas of ideas (Evelyn becomes Higgins to Adam's Eliza Doolittle), in which every element and loose end is neatly tied up. Each character represents a particular point-of-view (check out, for a start, those names), which is modified or developed as the thesis continues - each vignette proceeds intellectually, leading to a climax in which the leads declaim their positions at wordy length. This means that the character interplay, though present and involving, lacks the true forcefulness of a work like 'Your Friends And Neighbours'. Behind the players are projected images from Western civilisation's visual treatment of the human body, from antiquity to anatomy to Magritte. This might seem to be pretentious padding, an attempt to add spurious depth to what is basically a sour college romance, but it actually works with the drama to achieve the devastating pay-off of The Revelation. To be honest, Labute's ideas - about the impoverishment of post-modern art; the consequences of 'art for art's sake', or the crossing the line between life and art; about a culture that privileges image over decency, self-consciousness over relationships; the dangers of 'too much' civilisation or sophistication; the alienation (oh yes) of one's life as it is mediated by life, art and the media - aren't very original, though paradoxical enough to avoid seeming static. What is more enjoyable is the way the famous male monstrosity that characterised Labute's earlier work (e.g. 'In The Company Of Men'), has been transferred to a female character, whose spectacular callousness has you cheering her on in spite of yourself, and chills the post-'Nurse Betty' sentimental streak the playwright has difficulty in suppressing. The dialogue is as sharp, suggestive and funny as ever, with a great line about Picasso. And, yes, it's nice to see people like me on a stage for once.
Rating: 
Summary: this one is a winner
Review: At first glance the play seems like it may be quite ordinary. it features the relationship dramas of four young college students in a tangled web of couples swapping and reconciling. As a playwright many of Labute's styles can be attributed to other influences. The punctuated rhythms of his dialogue and ear for exact phrases and slang resemble Mamet, and he is a well trained playwright- well versed in contemporary theater (particularly his most recent play in England and its Bond influences).
Labute's talent however seems to lie in his ideas on cruelty and bizarre relationship dynamics and sadistic, dark plot twists which are a feature of his first two films, certainly this play, and his latest work "Distance from Here." In this particular work Labute infuses ideas about the nature and role of art in the world into his relationships. While three of the main characters are somewhat typical midwestern middle class liberal arts students, their world is shaken by an art student that enters into their lives and begins to use them as her palette. She transforms life itself into a work of art through her manipulations. The twisted dynamics, anguish and frustration in the play is painful to experience and particularly visceral. Meanwhile, the form ties into the themes. As a piece of live theater the audience nearly becomes complicit in the crime by patronizing a work of art that features lives torn apart and altered on stage. The climax in a lecture theater with its twist was probably staged in such a way that the audience became participants and active in the main character's anguish and undoing. While this piece does have its flaws, it is a gripping and incredible play that functions not only well as a drama, but as a sophisticated discussion of the theater. This play is conscious about why theater is a fascinating art form and uses that to its advantage.
Rating:
Summary: Do not pass this play up!
Review: At first glance the play seems like it may be quite ordinary. it features the relationship dramas of four young college students in a tangled web of couples swapping and reconciling. As a playwright many of Labute's styles can be attributed to other influences. The punctuated rhythms of his dialogue and ear for exact phrases and slang resemble Mamet, and he is a well trained playwright- well versed in contemporary theater (particularly his most recent play in England and its Bond influences).
Labute's talent however seems to lie in his ideas on cruelty and bizarre relationship dynamics and sadistic, dark plot twists which are a feature of his first two films, certainly this play, and his latest work "Distance from Here." In this particular work Labute infuses ideas about the nature and role of art in the world into his relationships. While three of the main characters are somewhat typical midwestern middle class liberal arts students, their world is shaken by an art student that enters into their lives and begins to use them as her palette. She transforms life itself into a work of art through her manipulations. The twisted dynamics, anguish and frustration in the play is painful to experience and particularly visceral. Meanwhile, the form ties into the themes. As a piece of live theater the audience nearly becomes complicit in the crime by patronizing a work of art that features lives torn apart and altered on stage. The climax in a lecture theater with its twist was probably staged in such a way that the audience became participants and active in the main character's anguish and undoing. While this piece does have its flaws, it is a gripping and incredible play that functions not only well as a drama, but as a sophisticated discussion of the theater. This play is conscious about why theater is a fascinating art form and uses that to its advantage.
Rating: 
Summary: Neil the Tiresome
Review: How do you know when you're dealing with a [no good] playwright? When his plays are produced once in a New York or London, but then are never picked up for production by regional theaters. This is the fate of Neil LaBute's works -- none of his plays, to my knowledge, have been embraced with any enthusiasm after their initial productions. Once produced, LaBute's play gather dust. Why? Well, because LaBute is a [dud]. His plays aren't good. In THE SHAPE OF THINGS, LaBute trots out yet another uber-jerk, this time in the guise of a young art student who undertakes to manipulate her newly acquired boyfriend into something new. This character is cut from the same cloth as LaBute's previous meanspirited, self-involved, uncaring creations. Nor does LaBute offer anything new in the way of plot -- the uber-jerk is on a juggernaut that none of the other characters can stop. So much for suspense. Me and the American regional theater community agree: LaBute isn't worth production. You've been warned.
Rating:
Summary: Everything is subjective.
Review: I don't know if my fellow reviewers failed to actually read the play or just aren't very articulate when it comes to expressing their thoughts, but to me, The Shape of Things is possibly the most brilliant stand alone piece of theatre-- or even literature released in recent years. While any description at all pales miserably compared to actually reading (Or seeing a GOOD production as it can suck), all that is necessary to know is that it is about the brutal, honest, and painful compromise between love and art. Take it from me. Read it. Just do it because I'm a supercool person and I told you to. For whatever reason, just make sure you read it. You'll understand once you do, but until then, you will always fall somewhere just short of enlightened. Peace.
Rating:
Summary: Startling!
Review: I've always admired the work of Labute, but admittedly never got around to reading or seeing "The Shape of Things." Needless to say, then, when I finally did get to read it, I began with high expectations. And these expectations were met. "Shape of Things" is a startlingly crisp and wittily written piece that examines the form of "art" and just how far it can be taken. Without a doubt, this is an artist's play, and certainly one of the most groundbreaking dramas of recent years. The end will knock your socks off... particularly if you don't see what's coming!
Rating:
Summary: Startling!
Review: I've always admired the work of Labute, but admittedly never got around to reading or seeing "The Shape of Things." Needless to say, then, when I finally did get to read it, I began with high expectations. And these expectations were met. "Shape of Things" is a startlingly crisp and wittily written piece that examines the form of "art" and just how far it can be taken. Without a doubt, this is an artist's play, and certainly one of the most groundbreaking dramas of recent years. The end will knock your socks off... particularly if you don't see what's coming!
Rating:
Summary: Wow
Review: OK...I read this book in college in acting class b/c we were going to perform the play...first of all, its a very easy and enjoyable read...its about these four college kids...2 couples...this one guys girlfriend seems a little mysterious at times...he is severely whipped, like most other college guys with girlfriends, OK so he's a little more whipped than most people...anyway I read the book and was like, "OK this is just a story about everyday life, nothing unusual at all, sounds like a lot of other people I know," and then at the end you are like "HOLY $***!" At least I was, some people say they knew what was going to happen but I didn't see it coming...and here's the best/worst part: Labute has things happen in this book where you kinda know what happened but not exactly...it will drive you crazy...you will want to know what was said...what happened...I've been kind of obsessing over the story the past couple weeks, and I often find myself wondering, "What would have happened if Adam hadn't done this, or if he had done that..." I would really like to ask Labute a few questions, but I am sure he wouldn't tell me anything b/c that would kind of ruin the whole point. I found I could really relate to the characters, it seemed very realistic to me, like Labute was a kid once too...except of course, for what happens at the end...I was shocked that this person would do this! What did they do? You must read it to find out...and read the book before seeing the movie...they are very similar but I think it's more fun that way and I noticed some very important things that were in the book but not in the movie and vise-versa.
Rating:
Summary: "Fear No Art?"
Review: Several years ago, PBS distributed to subscribers a particularly annoying, idiotic button announcing that with-it people "Fear No Art." Even though such heralded types as Plato and Tolstoy had worried about the artist's frightening power to create as well as to wreak havoc on the social order, PBS thought it knew better. Artists these days are basically nice people, it held, and thus they will necessarily use their powers of self-expression only to enrich the lives of everyone in society. Consequently, we must be open to and accepting of whatever an artist comes up with - even a crucifix in a bottle of urine - lest we be thought narrow-minded or indeed intolerant. Neil Labute looking at the current scene with wide open eyes challenges the complacency in this conventional thinking about the "nice" artist and life. In "The Shape Of Things," he vividly brings home to us the truth in Jonathan Swift's observation that "nice people are full of nasty ideas." Set among campus Me-First postmoderns who delve into art and engage in tangled "relationships," Labute's play gives its characters free rein to reveal themselves as both pathetically and hilariously stunted human specimens. Their seeming one-dimensionality is by satiric design, as are those hints of rage and clueless meanness which occasionally ooze out from beneath their laid-back surfaces to enrich the key moments of dramatic encounter. Like many of the sardonic Ibsen's characters, Labute's too have snarling trolls lurking just beneath their "nice," ever so tolerant, "non-judgmental" public selves. Most significantly, his charismatic, rebellious central female figure, her inner person reduced wholly and subhumanly to warped aesthetic concerns, emerges as a satiric embodiment of the postmodern artist as essentially destructive creator.
To any mainstream critic who goes to plays and demands "positive" or "compassionate" endorsements of the received ideas we hold or our self-absorbed lives as we generally live them now, Labute has little to offer. Refreshingly free of such frothy, mindless cheer, the playwright instead skewers unquestioned contemporary notions of art's necessary beneficence and those of the glories of untrammeled individualism. Human nature and art, he reveals as satiric dramatist, are both larger and more problematic than such currently genteel, fashionable conceptions of them. Far from being "non-original" in his ideas, Labute more than any other current playwright provokingly calls into question the actual - not the putative - received ideas about art and life which are thought "cutting edge" in our time. If anyone writing drama today could produce a fully realized masterwork on the way we live now, I suspect it would be Neil Labute.
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