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Autobahn: A Short-Play Cycle, by Neil LaBute
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"Sitting in an automobile was where I first remember understanding how drama works...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." --Neil LaBute
Be it the medium for clandestine couplings, arguments, shelter, or ultimately transportation, the automobile is perhaps the most authentically American of spaces. In Autobahn, Neil LaBute's provocative new collection of one-act plays set within the confines of the front seat, the playwright employs his signature plaintive 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.
- Sales Rank: #287444 in Books
- Published on: 2005-01-03
- Released on: 2004-12-09
- Original language: English
- Number of items: 1
- Dimensions: 8.16" h x .35" w x 5.46" l, .24 pounds
- Binding: Paperback
- 93 pages
Review
“There is no playwright on the planet these days who is writing better than Neil LaBute.” ―John Lahr, The New Yorker
“Neil LaBute is the first dramatist since David Mamet and Sam Shepard--since Edward Albee, actually to mix sympathy and savagery, pathos and power.” ―Donald Lyons, New York Post
“LaBute [is] our American Aesop, a mad moral fabulist serving stiff tonic for our country's sin-sick souls.” ―John Istel, American Theatre
About the Author
Neil LaBute is a critically acclaimed writer-director for both the stage and the screen. His recent plays include The Shape of Things (Faber 2001), and The Mercy Seat (Faber 2003).
Excerpt. © Reprinted by permission. All rights reserved.
Autobahn
funnyA YOUNG WOMAN sitting in the front seat of a car. An OLDER WOMAN seated next to her, driving.
YOUNG WOMAN ... it's all the same, you know? How it looks out there, along the highway. It is. That's funny. I mean, not funny-ha-ha but the other kind of funny. What would you call that? Funny-strange, I guess. Or odd. Funny-odd. It's just ... I mean, I didn't expect that. That stuff would seem so ... familiar. It is funny. To me, at least. (Beat.) So ... how's Dad? Good, probably. I'll bet he's good. Dad is always good. He's a good dad. I'm surprised he didn't come, that he left all this up to you. That's kind of unlike him. Unusual, anyway. That he'd do that. Oh, wait ... he's out of town, isn't he? Didn't you say something about that on the phone, can't remember now. I think you did. Said he wouldn't be able to make it--not that he called me, told me himself, that would be very, you know, "un-dad-like" of him, but--I guess I do recall that now. He's not home. Where'd he go again ... Milwaukee? Is this a Milwaukee week? Yeah, guess it must be. Huh. I just don't get that, not at all ... why he insists on driving himself up every other weekend, going up there to see Grandma and Grandpa. They don't care if he does, don't even really want him to, I can tell, times I've been up there with him. They sit there, on that floral couch of theirs, and just stare at you. Through you, really, that would actually be a more accurate description of it. Them staring through you. Maybe it's her cataracts or whatever, or that blood-thinning medicine he's on, but it's like you're there, they can sense someone's in the room, but they can't completely make them out. I mean, specifically. (Beat.) Or ... they're just not very nice people. That could be it, too. They could just be crabby, old, mean people who don't give a shit about anybody, and just because they look frail and cute and all that stuff doesn't mean a thing. Because we age, right, we getolder and all that, but it doesn't change who we are. Does it? No way. It doesn't ... I mean, just because some guy, some Ku Klux Klan guy grows too aged to put a rope around some black kid's neck, that don't mean he doesn't want to. True? That's what I think, anyway. Just 'cause we can't doesn't mean we wouldn't like to ...
The OLDER WOMAN glances over at her daughter. The YOUNG WOMAN flashes her a serene smile.
YOUNG WOMAN Obviously I had a little time on my hands up there to think about stuff ... (smiles) Yep. Lots of time. It was an interesting place, a lot different than the last one. Really pretty cool, which I've been meaning to thank you both for, honestly. I even made up a little note-hand-painted and everything in my art class--that thanked you and Dad for getting me set up in such a nice facility. Never sent it, though. Sorry. Meant to, but, you know ... didn't. But it was awesome. Their "campus." And the boys were cute, so you two really did a bang-up job. Thanks, Mom. (Beat.) I thought they had a good program, too, you know, maybe a little heavy on the "higher power" stuff, perhaps a bit too much of that nonsense, but overall, very good. Good staff, tasty food, I even liked the name. Twin Oaks. Quite pretty. Like a little bed and breakfast place or something, nestled there in a picturesque setting ... although none of us, when we were walking around the grounds or on hikes and stuff ... we didn't see any oaks. Not a one. (Beat.) Oh, you know what was funny, this one night? You'll like this--there was a movie on, in the rec room, this old black-and-white movie on the TV--and you know me, right? I usually run the other way when you and Dad are watching that crap, Gone With the Wind or whatever, I'm outtathere--but I plop down for a second, just for a minute or so, to sneak a little popcorn, I've really got the munchies from all the restrictions they have me on and everything. Like no cigarettes--you didn't tell me that when you guys shipped me off there. Left that one out, didn't you? Whatever--anyway, this show is on, and as it's happening, we all notice, really quickly, that the movie's taking place at this roadside café called the same thing: Twin Oaks. Isn't that weird? Yeah. It all happens--weii, mostly all--in and around this café-slash-home where this married lady and some drifter guy kill her husband. Basically for love. I mean, they end up taking his establishment and everything, getting his money, but mostly it's just for love. Isn't that cool? Mom? That we were watching it--my "peers" and I--at Twin Oaks and the story's meant to be going on at Twin Oaks. Although, obviously, a different Twin Oaks. (Beat.) Well, we all thought it was pretty funny ... and after, we shared a smoke before bed. A marijuana smoke. I know that's probably hard for you to hear and everything, but I'm supposed to be more honest now. That's part of my sobriety thingie--to be candid.
The OLDER WOMAN looks over at the YOUNG WOMAN. Silence.
YOUNG WOMAN Yep. And anyhow, that was all before ... before I got things together. I mean, in a place like that--you can get anything you want, or to do, you can do just about whatever you'd like, if you want it bad enough. And that night, I did. But I'm better now. Totally all better. Right? You believe that, don't you ... Mom? I know Dad does. He told me, last family session he came to, he told me that. Looks me right in the eye, which for him is ... (points to her forehead) ... right about here. But he looks at me, and he smiles--maybe even tearing up a little bit--and he says, he says in that one quiet voice of his, "Honey, I believe you. I do." Which was just so cool. I mean, like, moving almost. I was almost moved by that. I was. And now here I am ... out and clean and feeling pretty great. So.
The YOUNG WOMAN stops for a moment, considering.
YOUNG WOMAN I just think ... I dunno. I think maybe it could be really easy to fit back in at home, in a way. I know the twins are off at school now and all, so that'll be different, but, you know, I just imagine that it could be an easy fit for me to get myself into the groove. To register down at the community college next semester and maybe get a job even, my old job back, or that sort of deal ... I could do that. Absolutely. I know that's what you're hoping, Dad told me last week, he said that you guys are really "pulling for me." He used that term, which just about kills me ... "We're pulling for ya, sweetie." Which is not even something he ever says, that's Grandpa's phrase, and he knows I hate it, because it doesn't mean anything, not really, it has no meaning, but I guess the fact that he was there, still in his suit from work, and drove up to attend the meeting says something, so it's fine. It's okay that he uses it, but I just can't really buy into it. Not completely. Because, like, what're you guys saying by saying that? Huh? Seriously, Mom, what? (Beat.) See, you don't even know, do you? Nope. Not really ...
They drive on in silence for a moment. The YOUNG WOMAN looks out her side window.
YOUNG WOMAN ... No, I think the only way to prove to you guys that your money was well spent is to be honest, like they said. Do my best to become a more truthful person, to say what I feel. Tomean what I say. Yeah. At least with one person ... that's one of their ideas, that you start it small and be completely on the level, always, with one person. So, you know, no matter what else you do, you are always gonna be true to that chosen individual. They stand by it, the counselors up there, say that it's the best way to get yourself back on the road. And I picked you. Mom. Isn't that neat? Out of everybody, I picked you.
The OLDER WOMAN glances at the YOUNG WOMAN, then back at the road.
YOUNG WOMAN And so, that's why, well, I just need to be open with you here ... here in the car where you can't run into the next room or slam the door in my face or throw yourself down on the bed and start crying, this is the place to be honest. Right? I think so ... (Beat.) I'm gonna do everything in my power to use again. I know I am, I can feel it. I've done the time there, up there at Twin Oaks, and listened to all the lectures and sat through the groups and whatnot, and I'm telling you ... I can't wait to get my hands on some shit. Whatever kind of shit anybody'll give me. That's what I want. And I'll do whatever that person asks, or whatever it costs for it. I will. (Beat.) I know that's not what you wanna hear, Mom, I'm sure that makes you sick and hate me and that kind of thing, but I did learn that at ol' Twin Oaks. To be honest. They impressed it upon us, most strongly, and I walked away believing it. I mean, I told them all that other stuff, too, all the crap they wanted to hear about me getting better and the like, but I do sort of believe this honesty thing. Just sitting here, as we were driving, it came over me. This desire to be truthful. So there it is. The truth. I know I'm gonna relapse. Can't wait to, really, so if that means you wanna turn around and drive me back, then I guess so be it ...
The OLDER WOMAN doesn't turn from watching the road, nor does she turn the car around. She just keeps driving.
YOUNG WOMAN ... figured that's what yo...
Most helpful customer reviews
6 of 6 people found the following review helpful.
Wow again
By Joseph Dewey
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."
This is really cool, because as I was reading one of the six acts in the play called "long division," I realized that was a play that I would enjoy memorizing and performing in front of friends. 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.
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 just 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." For some reason I can't get that out of my mind, and I think that it's kind of an allegory to a bunch of other things in life. The other one that sticks with me is where the husband tries to convince himself that the wife didn't do it again. "You didn't, did you? No, you didn't. I know you wouldn't do that again. Right? You would not...Honey? Angel?"
The rest of the stories are like that...they haunt me because they stick with me.
5 of 5 people found the following review helpful.
Enjoyable on the page or on the stage.
By intentionally_left_blank
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.
It's not all doom and gloom, though. There are laughs throughout, even the occasional sweet moment, albeit against backdrops that aren't 100% wholesome. Although if you are looking for 100% wholesome, LaBute wouldn't be your first choice. 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!), but thrilling when well executed.
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.
5 of 7 people found the following review helpful.
Overwritten Flier
By Aco
I just 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 excess that Autobahn represents.
Now I've read much of LaBute's work, and seen several of his 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 it was a lousy experience. And not for the acting, or the set. But because putting 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) and an occaisonal laugh.
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