Fat Pig

Critiqued by Holly Bartges

What if you were a hot shot, dating magnet reveling in having the attention of the tall, blond sophisticate? What if you prided yourself on individuality? What if you just knew you could stand up to peer pressure or specific social mores without blinking an eye? What if you were tested? What if the test didn’t come put the way you predicted? What then?

Jenni Graham as Helen and Jeremy Make as Tom in Fat Pig at Boulder Ensemble Theatre Company. Photo by Brian Landis Folkins

Playwright, Neil LaBute masters the “what if” questions by spotlighting every day situations with every day people who get up, go to work, eat lunch on the run, go home calculating a thrilling or not so thrilling social life, semi conscious of rubbing elbows with the right people at the right time. But, what if?

Enjoying its Regional Premier at the Boulder Ensemble Theatre Company at the Dairy Center, LaBute’s play, Fat Pig, directed by Stephen Weitz takes on the “what if” questions and pushes them to the wall. One of the most difficult roles any actor has to play and pull off is just being normal and natural on stage, secure within their skin. When that happens, it become electric.

Jeremy Make as Tom and Jenni Graham as Helen are simply breath taking knockouts reflecting every day lives in every day situations. The only time fat pig would be a compliment is if you were a pig farmer, and fat pigs meant financial success.

Tom is not a pig farmer, and LaBute’s title is not a compliment.

LaBute’s desires to induce thinking, coaxing contemplation into do we really mean what we say? Do we honestly believe what we say we believe? Can we stand up to our contrived self-esteem when obnoxiously challenged?

Obnoxiously challenged can only be the term used when Tom faces co-worker and good friend, Carter, stunningly, spitefully brought to life by Brian Landis Folkins. His role is not to be natural, but believable, and Folkins is so believable there is the wanting, at times, to punch his lights out, which is exactly what LaBute intended and what Weitz skillfully directed.

At lunch, in a crowded food court with stand up tables, Tom searches for someplace to eat. Helen notices his dilemma inviting him to join her. A free spirit, intelligent, fun loving, confident in her being, Tom becomes intrigued with her out going personality and spark for conversation. Before either realizes it, there’s talk about getting together. She asks him if he’s comfortable and would be comfortable with her. She’s not the tall blond sophisticate; she’s over weight. In spite of her wondrous demeanor, Helen remains uncomfortable in that issue. Graham’s expertise is simply remarkable. Of course, that isn’t an issue with Tom. He’s a bigger person to let weight stand in his way; at least he wants to think he is.

Honest depiction of Helen and Make’s genteel naturalness stuns the senses as the play melts around the edges. You could be sitting in a food court watching a real life scenario unfold before your eyes.

Back at the office another story unfolds. Carter priding himself on doing as little work as possible finds great entertainment in worming his way into Tom’s life. He’s a fun loving, male chauvinistic, judgmental know-it-all Busy Body. He’s loud, verbose, and cuts to the quick, whenever, however he can. He’s going to uncover every gripping detail no mater how long it takes. LaBute nailed his qualifications, and Folkins brought him to real life.

Everyone has had, or will have, a Carter invading their life. The Carters of the world seem deliberately established to test the mettle of established belief systems. How aggravating are the Carters in the real world? Do they make us laugh at their hyper insensitivity? Do they make us uncomfortable because they speak a kernel if truth? Do they shine a mirror into our eyes reflecting hidden prejudices?

Does Tom hold him off because the issue really is none of Carter’s business, or is there something else?

A something else enters the picture, the tall, gorgeous, blond Jeannie magnificently portrayed by Kate Avallone. Tom and Jeannie dated, and then all of sudden stopped. No closure to the relationship. No explanation. Jeanie, A co-worker with Tom is left hanging, their paths cross frequently at work. Jeannie finds this difficult to comprehend. Tom isn’t at a point to explain anything. Helen having captured his heart, Tom knows she is more real than Jeannie, not of the corporate world, not ladened with social expectations, and he loves her, but….

How can he stand up to Carter’s persistent ridicule and Jeannie’s bantering and horrification to discover he is dating a fat girl? Why does he not have Helen’s picture on his desk? Why does he not bring her around and show her off? Why does he make excuses for where he’s been and what’s he’s been doing? Why do they have such a grand time together, but not out in public? Tom’s rationalization stands tall, straight, and upright against the haranguing and ridicule of Carter and Jeannie until a tear in the seams sends him into a tirade.

Jenni Graham as Helen and Jeremy Make as Tom in Fat Pig at Boulder Ensemble Theatre Company. Photo by Brian Landis Folkins

Fat Pig includes plenty of laughs and giggles, usually supplied by Carter with his inane, unthinking need to know. Through these wonderfully defined characters and honest situations, LaBute shines a bright spot on a true-to-life, not often talked about, much less admitted to situation, providing a great deal of fodder for thought and conversation.

Make reveals several different sides of Tom when he’s with Helen over against dealing with Carter and Jeanie. With Helen he’s entranced, at peace, exhilarated. With Carter and Jeanie, his guard stands tall and firm. Make gave special attention to subtle differences with a masterful twist. Graham’s double sided demeanor is carefully maneuvered to show Helen’s delight in this new, fresh relationship as well as that insecure gnawing feeling questioning whether Tom is being completely honest with her.

During the bedroom scene, Tom smiles “I’ve never been so completely relaxed around another person…feeling so damn good lying around with no one around.” A crack in the scheme? Helen murmurs, “I feel so isolated.” She worries he might be embarrassed. She doesn’t want him to be ashamed of her. She needs him to be honest. Oh, yes, indeed he’s honest. She’s like sunshine to him, at least at that moment.

Even Carter has his humane moments reflecting, “How vulnerable we all are. We are only one step away from what we could become.” Truth squeaks through his “obnoxious-ality” with “If you like her, don’t listen to one word I say. Don’t freak up your one moment in the sun.” Make turns Tom inside out illuminating the turmoil pumping through his veins.

Brian Miller designed the simple but effective set allowing the characters to move from food court to office, to bedroom, to the beach with little interruption in the action. Quick black outs provide time to reflect on what has just happened, and how deep into Tom’s soul will one be allowed to venture? One small item could well be given some attention. Perhaps set pieces could be adjusted to accommodate audience members sitting on the sides. Maybe set pieces could be moved further up stage, so Tom’s face and expressions could be observed during the food court, bedroom, and beach scenes. This is a minor detail simply because the personification of the actors are suburb, and expressions can comfortably be imagined through body language. However, a slight adjustment for the on-the-side audience would help.

Not only is LaBute’s script and story important for today’s world, but the soft, truthful, honest, delicate, obnoxious shading given to the characters by the actors painting them with bold, solid colors in contrasting tones, swirls throughout the audience in a grab hold sense of comprehension. Listening and talking with audience members and actors after Opening Night whispered the element of celebration. LaBute and the Boulder Ensemble Theatre Company walk arm in arm. Herein lies a play wanting to be experienced, with a theatre company that crawls inside the script revealing its honest magic.

Fat Pig
Regional Premier
By Neil LaBute: Directed by Stephen Weitz