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</div><div style="margin: 0in 0in 10pt; text-align: center;" class="MsoNormal" align="center"><b style="mso-bidi-font-weight: normal;"><font face="Calibri">A Negotiated Unsettlement<?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" /><o:p></o:p></font></b></div><div>
</div><div style="margin: 0in 0in 10pt; text-align: center;" class="MsoNormal" align="center"><font face="Calibri">By Tom Wachunas<o:p></o:p></font></div><div>
</div><div style="margin: 0in 0in 10pt;" class="MsoNormal"><font face="Calibri"><span style="mso-spacerun: yes;"> </span>“Madness, as you
know, is like gravity. All it takes is a little push.” – Heath Ledger as The
Joker, from the film <i style="mso-bidi-font-style: normal;">The Dark Knight - <span style="mso-spacerun: yes;"> </span></i><o:p></o:p></font></div><div>
</div><div style="margin: 0in 0in 10pt;" class="MsoNormal"><font face="Calibri"><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">God of
Carnage,</i> the 2009 Tony Award-winning play by French playwright Yasmina
Reza, is a dark comedy about how easily our elaborate facades of social
civility and domestic harmony (the comedy) can be utterly wrecked by our
apparently instinctual readiness for rage (the dark). <span style="mso-spacerun: yes;"> </span>After seeing the production at the Players
Guild Fry Theater on opening night, the beginning lyrics of Paul Simon’s <i style="mso-bidi-font-style: normal;">Everything Put Together Falls Apart</i>
haunted my drive home, popping into my head in a constant loop: “Paraphernalia
never hides your broken bones…” In retrospect, it seems a more apropos if less
ironic choice of theme song than Sinatra’s <i style="mso-bidi-font-style: normal;">Love
and Marriage, </i>which the audience hears just prior to the opening scene.<o:p></o:p></font></div><div>
</div><div style="margin: 0in 0in 10pt;" class="MsoNormal"><font face="Calibri"><span style="mso-spacerun: yes;"> </span>Presented by Seat
of the Pants Productions in cooperation with the recently formed Parallax
Theatre Ensemble, the play was directed by Craig Joseph, who assembled a
superbly gifted ensemble cast of four: Melissa Brobeck, Moriah Ophardt, Johnny
Russell, and Brian Scharfenberg. <o:p></o:p></font></div><div>
</div><div style="margin: 0in 0in 10pt;" class="MsoNormal"><font face="Calibri"><span style="mso-spacerun: yes;"> </span>The story begins
amicably enough as one married couple, Alan and Annette, visit the Brooklyn,
New York apartment of another couple, Michael and Veronica, to discuss what to
do about a recent altercation in the park between their young sons. Veronica,
whose son lost a few teeth at the stick-weilding hands of Annette’s boy, is
looking for some form of graceful atonement as she purrs, “Fortunately, there
is still such a thing as the art of co-existence, isn’t there?” That’s red flag
number one of many to follow.<o:p></o:p></font></div><div>
</div><div style="margin: 0in 0in 10pt;" class="MsoNormal"><font face="Calibri"><span style="mso-spacerun: yes;"> </span>And what follows
is indeed a relentless progression from the smoldering, low sparks of well-
heeled Brooklyn grownups into an explosive disintegration of exemplary adult
behavior. It’s a good thing their boys weren’t present to witness their
appalling devolution into feral attack mode - <span style="mso-spacerun: yes;"> </span>far worse than any playground bickering. Rest
assured there were no time-outs or group hugs here. <o:p></o:p></font></div><div>
</div><div style="margin: 0in 0in 10pt;" class="MsoNormal"><font face="Calibri"><span style="mso-spacerun: yes;"> </span>The philosophical
underpinnings of this play are so entrenched in cynicism that the story itself
becomes practically secondary and largely predictable. I felt the same way
about the 2011 film adaptation, <i style="mso-bidi-font-style: normal;">Carnage </i>(directed
by Roman Polanski). But where the film seemed to never get beyond the level of
a gloomy cartoon, Craig Joseph’s directing here lets the satirical narrative
rise above mere caricature into a more visceral reality, equal parts raucous
humor and unsettling honesty. In turn, all the cast members bring deliciously
nuanced subtlety and credibility to their roles – often wickedly so.<o:p></o:p></font></div><div>
</div><div style="margin: 0in 0in 10pt;" class="MsoNormal"><font face="Calibri"><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>Their collective decline from genteel demeanor
to vitriolic fractiousness is wholly riveting. <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>Melissa
Brobeck’s <span style="mso-spacerun: yes;"> </span>Veronica, with perpetually
superficial smile , is a sanctimonious culture maven who becomes as unglued as
her precious coffee table art books when “wealth manager” Annette, played by
Moriah Ophardt - <span style="mso-spacerun: yes;"> </span>cool, bemused and restrained
early in the proceedings - pukes on them. <span style="mso-spacerun: yes;"> </span>The gloves really come off when Michael (Brian
Scharfenberg), at first endearingly nervous and conciliatory despite Veronica’s
whiny badgering, breaks out the booze for everyone, at one point drunkenly
declaring, “Chidren consume our lives and then destroy them.” <span style="mso-spacerun: yes;"> </span>And all during this caustic foray into finger-pointing,
exposed hypocrisies and abandoned dignity, <span style="mso-spacerun: yes;"> </span>corporate lawyer Alan (Johnny Russell),
patronizing and arrogant, is incessantly taking <span style="mso-spacerun: yes;"> </span>business calls on his cell phone. Somewhere in
between these self-absorbed distractions, he barks to Veronica, “…I believe in
the god of carnage, who has ruled uninterrupted since the dawn of time.” <o:p></o:p></font></div><div>
</div><div style="margin: 0in 0in 10pt;" class="MsoNormal"><font face="Calibri"><span style="mso-spacerun: yes;"> </span>In that case, it’s
not unreasonable to think of this play as Yasmina Reza’s call to “worship” that
god. Not with pleas for mercy, though. Neither with praise nor even tears for
the world he rules. Laughter, either weary or frenzied, will suffice.<o:p></o:p></font></div><div>
</div><div style="margin: 0in 0in 10pt;" class="MsoNormal"><font face="Calibri"><i style="mso-bidi-font-style: normal;">God of Carnage,</i> in
the Fry Theater, Players Guild of Canton, 1001 Market Avenue N., Canton, Ohio /
<i style="mso-bidi-font-style: normal;"><span style="mso-spacerun: yes;"> </span></i>shows
at 8:00 p.m. on Friday, Nov. 2 and Saturday Nov. 3 / 2:00 p.m. on Sunday, Nov.
4 / Cast Post-Show Talkback on Saturday / TICKETS $15 /<span style="mso-spacerun: yes;"> </span>www.translationsart.com/godofcarnage <span style="mso-spacerun: yes;"> </span><o:p></o:p></font></div><div>
</div><div style="margin: 0in 0in 10pt;" class="MsoNormal"><font face="Calibri"><span style="mso-spacerun: yes;"> </span>For other
commentaries and reviews by Tom Wachunas on the performing and visual arts in
the greater Canton area, please visit his blog, ARTWACH, at<span style="mso-spacerun: yes;"> </span></font><a href="http://www.artwach.blogspot.com/"><font face="Calibri">www.artwach.blogspot.com</font></a><font face="Calibri"><span style="mso-spacerun: yes;"> </span><o:p></o:p></font></div><div>
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