From Ethan Hawk in “Alive” to Anthony Hopkins as Hannibal Lecter, it seems that there is a particular desire in people to see cannibalism as a casual form of entertainment. “Fat Men in Skirts,” a play written by Nicky Silver, is the story of a mother and son shipwrecked on a desert island for five years and continues the cannibalism theme.

Phyllis Hogan (played by Karen Moeller), the chic wife of a filmmaker, is in the middle of a crumbling marriage when she and her stuttering, self-conscious and Katharine Hepburn-obsessed son are thrown into the middle of nowhere and forced into a particular dilemma of ethics: Is it wrong to eat people if they are already dead? For 11-year-old Bishop Hogan (Thom Anthony Rehwaldt), it is but the first decision of many that will lead to a complete deterioration of civility.

As the play progresses over the next five years, we see Bishop’s aggression and frustration form into concrete acts of violence. Meanwhile back home, his father has taken a mistress, believing his family to be dead.

A beautiful aspect of this play is Silver’s use of split scenes, in which characters from different scenes are able to interact with one another, whether it is through memories or psychological interferences. In doing so, two scenes that are being performed simultaneously literally merge together, creating a startling sense of vertigo for the viewers. Director Monty Marsh greets this challenge with an artistic eye, creating scenes of surrealism.

“Fat Men in Skirts” relies heavily upon the use of illusion, the most obvious example being the set. Set designer Sasha Augustine has devised a fittingly disturbing atmosphere, arranging juxtaposed objects amid a desert island backdrop. An array of upside-down lamps and gossamer sheets suspend from the ceiling, beautifully illustrating the hallucinations of Phyllis Hogan. The literal representation of her insanity is disturbingly remarkable, causing audience members to feel as though they are peering inside of her head.

“Fat Men” is a delicate mixture of both shockingly humorous and uncomfortably dark moments. The play deals with the unsettling subjects of murder, cannibalism and incest. However, it is not so much the subject matter of the play that is disturbing — after all, we’ve seen these things played out in Hollywood far too many times — but the realistic manner in which they are portrayed.

Rehwaldt’s gradual transformation from man to beast is convincing, and even conceivable. The line between human and animal becomes skewed, and Bishop ultimately gives himself over to an absolute primal nature. This becomes problematic, however, when he is forced back into the real world and his way of living conflicts with society’s standards.

This black comedy is both thrilling and unsettling. Silver’s genius urges us out of the comfort zones of conventional theater by exploring and depicting the most taboo of topics, all the while not being afraid to make her audience feel uncomfortable. Even the few moments that are borderline ridiculous are carried out with such realistic poise such as a particular scene in which Bishop is eating a gory human hand between two slices of bread and contemplating an appropriate condiment.

The play also challenges its viewers to really think about the nature of mankind and the structure of society. What makes us human as opposed to animal? What inherent qualities do human beings possess that set us apart from monkeys? And, perhaps most disturbing of all, if forced by situational pressures, are we truly reduced to nothing but our animal instincts?

The Mercury Players have presented us with a truly unique piece of theater that pushes the emotional envelope. While the absurdity creates moments of hilarity, the disquieting undertone is something that cannot easily be ignored.

“Fat Men in Skirts” is playing at the Bartell Theatre through Feb. 13. Visit www.bartelltheatre.org for more information.

4 stars out of 5.