[NEohioPAL] Review of Dobama Theatre's "God of Carnage"

[Bob Abelman]

Bile and bad behavior take center stage in Dobama's 'God of Carnage'

 

Bob Abelman

 

News-Herald, Chagrin Valley Times, Solon Times,

The Morning Journal, Geauga Times Courier

Member, American Theatre Critics Association 

 

This review will appear in the News-Herald on 4/27/12

 

 

It is surprising how infrequently projectile vomiting works its way into a theatrical production.  Rarer still is it serving a significant role, as it does in Yasmina Reza's 90-minute comedy of conflict, "God of Carnage," currently on stage at Dobama Theater.

 

The international symbol for vulnerability (and bad seafood), a head in a bucket is the turning point in this play, when the gloves of civility come off, the boundaries of proper public behavior are crossed, and all niceties are purged figuratively and actually.

 

Alan (Scott Miller) and Annette (Derdriu Ring) Raleigh's 11-year-old son has hit Michael (John Hedges) and Veronica (Tracee Patterson) Novak's 11-year-old son with a stick while playing at the park, breaking two of his teeth. The grown ups---upper-middle class New York professionals-have gathered in the Novak's tastefully-appointed living room to discuss, logically and amiably, how best to deal with the boys. Not wanting to get "stuck down some emotional cul-de-sac," Veronica takes the high road and notes that "there is still such a thing as the art of co-existence, isn't there?" 

 

Yes there is, but not for very long.

 

Soon the couples nitpick over words, such as how to categorize dessert ("So, clafouti, is it a cake or a tart?") and how to define the assault ("armed with a stick," after some discussion, is replaced by "furnished"). They then disagree on what constitutes proper parenting and begin arguing over what their children should do to right the great wrong.  Awkwardness turns to tension, which escalates to agitation, which leads to Annette's head in a bucket.

 

And then things turn ugly.  When alcohol gets added to the couples' already dysfunctional dynamic, protective and savage instincts begin trumping intellect and inhibition, primal behaviors disregard social norms, and soused self-righteousness supersedes everything.  Soon, the couples have at it, the men align themselves against the women, and all this culminates in a survivor of the fittest free-for-all.   

 

Not since Edward Albee's 1962 drama "Who's Afraid of Virginia Woolf?" have proper adults behaved so badly.  And not since Eugene O'Neill's 1928 drama "Strange Interlude" have the inner workings of their psyches been so exposed.  While O'Neill experimented with the characters' dialogue and interior monologues playing in counterpoint with one another to creatively display his characters' souls, our playwright simply applies rum.   

 

The result is hilarious. To a point.

 

Once the early intellectual banter about civilization and the business of parenting decays so, too, does that level of cerebral pleasure this portion of the play generates.  What is left for the rest of the evening is bemused titillation from the drunken antics on display and sympathetic spasms from the projectile vomiting.  As the playwright did in "Art" and "Life x 3," the well-woven illusion of depth in this play leaves those craving it a tad dissatisfied when it dissipates into nothingness. 

 

Fortunately, much of this dissatisfaction is alleviated by this production's superb ensemble.   The changing emotions, the shifting loyalties, and the physical comedy become a form of dance when executed by these four professionals.  They are brilliant throughout the play and, under Joel Hammer's full-throttled direction, never downshift in their delivery or in their effort to mine and find delightful comedic moments for their wholly unlikable characters.  

 

John Hedges' best moments come at the cost of the Novak family pet and in his casual explanation of the poor creature's untimely demise.  Scott Miller's moments occur with each phone call that abruptly interrupts the couples' efforts to reach resolution.  Patterson is at her best on the outer edge of inebriation and tiring of her husband's complicity.  Ring's highlight comes at the bottom of a bucket.  

 

The Tony Award-winning "God of Carnage" is a good play about very bad behavior.  These actors make it better.

 

"God of Carnage" continues through May 13 at the Dobama Theatre, 2340 Lee Road, Cleveland Heights.  For tickets, which range from $10 to $26, call 216-932-3396 or visit www.dobama.org.

 
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