In a Dark Dark House: Off-Broadway Edition

Two brothers meet on the grounds of a private psychiatric facility. Drew, has been court-confined for observation and has called his older brother, Terry, to corroborate his claim of childhood sexual abuse by a young man from many summers ago. Drew's request releases barely-hidden animosities between the two: Is he using these repressed memories to save himself while smearing the name of his brother's friend? Through pain and acknowledged betrayal, the brothers come to grips with and begin to understand the legacy of abuse, both inside and outside their family home. In a Dark, Dark House is the latest work from Neil LaBute, American theater’s great agent provocateur. The play will have its world Premiere in May 2007, Off Broadway at New York’s MCC Theater. Neal LaBute’s most recent works for the stage include This Is How It Goes (Faber, 2005) and Fat Pig (Faber, 2004), which won the Outer Critics Circle Award for Outstanding Off Broadway Play.Two brothers meet on the grounds of a private psychiatric facility. Drew, has been court-confined for observation and has called his older brother, Terry, to corroborate his claim of childhood sexual abuse by a young man from many summers ago. Drew's request releases barely-hidden animosities between the two: Is he using these repressed memories to save himself while smearing the name of his brother's friend? Through pain and acknowledged betrayal, the brothers come to grips with and begin to understand the legacy of abuse, both inside and outside their family home. "[LaBute's] view of modern men and women is unsparing . . . [He] is holding up a pitiless mirror to ourselves. We may not like what we see, but we can't deny that—if only in some dark corner of our souls—it is there."—Jacques le Sourd, The Journal News (White Plains, New York)"[LaBute] plots a darkly compelling tale about thirtysomething Drew (Ron Livingston) and his gruff older brother Terry (Frederick Weller), who visits him in the rehab facility where he landed after getting high and totaling his Porsche. LaBute’s ear for dialogue is as fine-tuned as ever: As Drew reveals that his bad behavior is the result of childhood sexual abuse, Terry mocks him for using inanely juvenile words like 'bro' and 'dude.' LaBute also does a skillful job of reversing the brothers' relationship. At different moments, each seems like a pretty good guy, the other a total jerk, making the play a comparative study of two kinds of asshole."—Jeremy McCarter, New York magazine

"[LaBute's] view of modern men and women is unsparing . . . [He] is holding up a pitiless mirror to ourselves. We may not like what we see, but we can't deny that—if only in some dark corner of our souls—it is there."—Jacques le Sourd, The Journal News (White Plains, New York)