Has American society has reached a stage where superficial appearances are valued above all else? We are constantly bombarded with images of “beautiful” people and find ourselves trying to conform to these stereotypes. Are we motivated to change to improve ourselves, or simply to impress others? The Studio Theatre’s production of Neil LaBute’s The Shape of Things raises pointed moral questions about the nature of change and the extremes one is willing to go to for art and love. Under the masterful direction of Will Pomerantz, this play turns a discerning eye on the moral fabric of our society, leaving the audience to reexamine their priorities.
Set in a conservative midwestern college town, Shape follows the complex relationships between two young couples. Evelyn, a flamboyant MFA student, leads Adam, a shy unkempt undergrad, on a quest for self-perfection, while engaged all-American couple Jenny and Phillip watch on and begin to question where their own relationship is going.
Holly Twyford is compelling in the role of Evelyn, the colorful artist with a hidden agenda. Adam, working as a security guard, discovers Evelyn vandalizing a statue on campus, and somehow ends up asking her on a date. From the beginning, Evelyn makes suggestions on how Adam could improve himself, starting with his hairstyle. Twyford handles this flashy role with a commanding flair. Her shocking revelation and transformation at the end of the play from compassionate to cold and calculating is entirely unanticipated. Twyford is endearing in her portrayal of the morally ambiguous character, which is a commendable feat.
The Adam who emerges at the end of the play is utterly unrecognizable. Scott Barrow’s performance offers a genuine portrayal of a man at odds with his identity?the Kafka-esque confusion that goes hand in hand with major life-changes. And as the relationship progresses, the Adam’s changes become increasingly extreme?he begins working out and sheds almost 30 pounds, changes his style of dress, starts wearing contacts and even has cosmetic surgery at Evelyn’s suggestion. He begins to embrace on his own the change that Evelyn first inspired in him. Adam discovers vanity, and after a semester transforms from nondescript wallflower to matin?e idol. As others marvel at his newfound attractiveness, Adam’s actions become increasingly reprehensible. With the shocking ending, Adam is left to ponder the moral implications of his actions and if he is better off now than he was before.
Veteran of As the World Turns and All My Children, Justin Krass sometimes brings a little too much of the soaps onto the stage in his portrayal of Phillip. Though he is playing a classic egomaniac, Krass overplays the role at points. However, the anger and disappointment he projects at Adam are nothing short of convincing. Phillip and Jenny watch their friend’s metamorphosis at the hands of Evelyn, which leads them to question their commitment to each other. Infidelity and distrust creep their way into both relationships.
Jenny, the archetypal small-town girl, is played by Margot White. White’s performance is flawlessly imbued with idealistic naivet? and meekness. Both Jenny and Phillip begin to question their marriage plans as their relationship begins to unravel. Jenny has characteristically small town notions about art and modesty, which White’s portrayal brings out honestly.
The Shape of Things is a retelling of the timeless “girl meets boy, girl changes boy” story but one which raises fundamental questions about the nature of identity, morality, humanity and the boundaries of what can be considered art. The play shocks, and takes a profound look at the superficial state of our society: Just how far would you go for love?
