by Richard Pacheco
Yasmina
Reza’s acclaimed dark comedy, “God of Carnage” catapults to life at Theatre
One’s vigorous and very funny production at the Abbey Theatre in Middleboro.
Sparked by a strong cast and excellent script the play merrily rambles along,
growing darker and funnier as it goes. It won the Tony Award for best play in
2009.
Before the play begins, two
11-year-old children, Benjamin and Henry, get involved in argument because
Benjamin refuses to let Henry join his 'gang'. Benjamin knocks out two of Henry
's teeth with a stick. That night, in the Novak apartment in Brooklyn,
the parents of both children meet to discuss the matter. They are determined to
be civilized about it all, very mature and intelligent. They want to be the
epitome of restraint and self control. It is a noble goal which soon goes awry
and gradually descends into a vehement nastiness and disarray, turning both
sets of parents into petulant children, who spew ill temper and meanness
despite their good intentions at the beginning of the meeting.
Benjamin’s father, Alan is a lawyer
who is never off his mobile phone. Benjamin's mother, Annette is in
"wealth management" (her husband's wealth, to be precise), and
consistently wears good shoes. Henry's father, is a self-made wholesaler with
an unwell mother. Michael's wife, Veronica is writing a book about Darfur.
As the evening goes on, the meeting
degenerates into the four getting into irrational arguments, and their
discussion falls into the loaded topics of misogyny, racial prejudice and homophobia.
One of the central dramatic moments of the play occurs when Annette vomits
onstage, all over the coffee table and books.
In 1987 Reza wrote “Conversations after a Burial”,
which won the Molière Award, the French equivalent of the Laurence Olivier
Award or the Tony Award, for Best Author. The North American debut premiered in
February 2013 at Players By The Sea in Jacksonville Beach
Florida. Holly Gutshall & Joe Schwarz
directed; with Set Design by Anne Roberts. The cast for this US
debut was Kevin Bodge, Paul Carelli, Karen Overstreet, Dave Gowan, Holly
Gutshall and Olivia Gowan Snell. Reza translated Polanski's stage version of
Kafka's Metamorphosis in the late 1980s. Her second play, “Winter Crossing”, won the 1990
Molière Award for Best Fringe Production, and her next play, “The Unexpected Man,” enjoyed
successful productions in England,
France, Scandinavia,
Germany and New
York. In 1995, “Art” premiered in Paris
and went on to win the Molière Award for Best Author. Since then it has been
produced worldwide and translated and performed in over 30 languages.
In the midst of their meeting rum
eventually replaces coffee. And so beings the disintegration from the spouses
as respective confederates, poised to
defend to realizing each is on their own and basically alone. Yet in the midst
of this carnage there are small acts of kindness and helpfulness to make it
more humane.
Robert Duquette is Alan, a lawyer
with a cell phone glued to his ear in the midst of a major crisis with his main
client, a giant pharmaceutical company. He is only partial attentive to the
crisis at hand brought about by the conflict of his son and the other boy. He
can be distracted and aloof to all around him, his wife included and at times
nasty and downright cruel. Duquette delivers a fine performance, full of nuance
and skill. He has a keen sense of comic
timing which he uses to advantage throughout the play.
Dawn Moquin is Annette, Alan’s
wife. Whose major job in life is managing her husband’s wealth and their son,
both of which seems in dire straits presently. She is more interested in
excellent shoes than anything else, and struggles to maintain her composure in
a difficult and strenuous situation.
Moquin is delightful as she struggles to come to terms with what her son
has done and the self-righteousness of her neighbors, particularly the wife,
Veronica. Her growing lack of composure, her comic descent from the epitome of
civility into illness and volatile rage is a wonder to watch, fun to behold. Her
nausea prone moments end up being very funny.
Omer Courcy is Michael, the
wholesaler, who seems down to earth and is not always fond of his wife’s
posturing and attitude. His mother is ill and constantly calls with some new
question which little by little enrages him in the mist of the crisis he faces
in his home with the neighbors. Courcy is a delight as the man caught up in a
situation he hates and would rather avoid altogether, but cannot thanks to his
wife’s unrelenting determination. He has a fine comic timing and some of his
expressions are priceless. When he
defends his tossing out the hamster and takes a hair dryer to some wet arts
books, he is hilarious. Watching him go through his transformations, is pure
fun.
Linda Monchik is Veronica, a woman
who is proud of her ability to remain rational, or at least her version of it
and proud of her commitment to creating a better world and her book on Darfur.
She is wired tight and on the verge of slipping over the edge into nastiness
and ill temper. Monchik is right on the mark with her super proper, uptight
crusader for a better world. When she loses it, Monchik is a delight, hilarious
and a good time with her quirks and fine comic timing.
The chemistry between the cast is
excellent, with nice touches along the way that make things more vivid and
funny.
These wonderful cast members are
deftly directed by Peg Holzemer, who keeps the dark humor ably on track and the
laughs coming with perfect timing. She also designed the set, which is very
effective.
It is a play loaded with at times
painful laughs, full of energy, propelled by a sold cast and strong direction.
If you like your humor dark, always funny, sometimes gritty, running over a
wide range of topics, this is the play for you. This comic gallop is a mery
ride indeed. It runs without intermission at about 90 minutes or so.
It continues at Alley Theatre 133
Center Street Middleboro. Jan 18, 19, 24, 25 at 7:30pm
Sunday Jan 28 at 2pm. Tickets at the Door “Cash Only” Students &
Seniors $15 Gen $18 Info 1-617-840-1490
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