The set of Neil LaBute's tale of aborted love between a sweet fat chick and a not-so-sweet skinny guy was lovingly, elegantly, exactingly, and simply rendered by Lyle Baskin, a designer who regularly sends GableStage's brilliant shows rocketing to the next level of awesomeness. Fat Pig was a brutal, heartless story — one of the play's four characters had the soul of a poet, and she was endlessly shat upon by the other three, all of whom had approximately the soul of a moldering potato — and its cruelty was suggested, not by drab colors and an absence of stuff, but by a preternatural stillness. The opening scene's supposedly bustling cafeteria had the feel of a Chuck E. Cheese in the wake of a plague; the final scene's beachside setting looked and sounded like the beach, but somehow communicated "desert." Scenes set in a sushi bar and an office suggested cheerful surfaces and spiritual death, a hollow classiness created by an intelligence driven to make everything pleasant and nothing personal. One look at Baskin's set, pretty and functional and chilling, might tell you more about Neil LaBute than Neil LaBute could tell you about himself.