Yasmina Reza's GOD OF CARNAGE, Chosen as Best Play for the 2009 Tony Awards, unfolds in real time. The setting is a modern day Brooklyn loft apartment. Two couples have come together to mitigate a playground fight between their young sons. The son of Alan, a big shot lawyer for pharmaceutical companies, and his wife Annette, a wealth manager, hit the other child with a large stick, which broke two incisors are exposed a nerve. The son of Veronica, a cultural anthropologist of sorts, author and art fanatic, and Michael, a self-made seller of domestic items, would not let the other boy play in his "gang," which initiated the quarrel. The two sets of parents attempt to civically and amicably discuss the ramifications and punishments associated with the incident. Annette ironically asks, "How many parents standing up for their children become infantile themselves" before the couples totally devolve to childlike hysterics and verbal battles that not only pit couple against couple but person against trio, men against women, and more.
Justin Doran's direction of the piece hits the ground running with a furious speed and never lets up. He ensures the opening lines are funny and engaging, instantly hooking the audience in and pulling them along for the non-stop, invigorating battles over semantics, overexposed emotionality, and trampled feelings. When interviewing the cast, they said that Justin Doran gave them a lot of room to explore and create characterizations on their own, which allowed them the opportunities to really test the waters with which moments thy would exaggerate beyond the realms of logical realism. This, in effect, was brilliant because every time the cast goes for broke it is both surprising and highly effective. The characters dissolve into a pastiche of educated adults with flaring, unbridled tempers that one might expect to see on Jerry Springer. Ultimately, Justin Doran and his cast's decisions confirm every ounce of truth in Alan's line, "Morality decrees we should control our impulses, but sometimes it's good not to."
Most importantly, this demanding show requires each actor cast to be superbly skilled at their craft. If any one person were weak, then the whole show would crumble and limp along. There is no one role that carries the show, making a quality presentation a true feat of ensemble chemistry and trust. As a team, Kim Tobin, Drake Simpson, Kay Allmand, and John Gremillion expertly cross lines of social appropriateness and chew scenery, leaving the audience laughing and reacting with riotously reckless abandon.
As Veronica, Kim Tobin is highly guarded and fastidiously hyper edits her thoughts to ensure that she phrases everything just the way she intends to be heard. This trait that forces her to suppress her true emotions also forces her to wear her heart on her sleeve. When she finally has had enough, the cork on her emotions and thoughts pops like a champagne bottle. Immediately, everything comes spewing out with no regard for social decency or decorum.
Drake Simpson is sumptuously sardonic as the self-made man who tries to act humble and modest. He initially represses his own ego, but soon allows it to battle Alan's. He verbally puffs out his chest and finds that he and Alan have more in common than they may have initially thought.
Kay Allmand's Annette is pristinely prim and proper with a distinctive air of social elitism. Her disgust for Veronica and Michael's home and life is palpable and telling. Likewise, her nerves get the best of her, allowing her to perform the show's most memorable and viscerally affecting explosions time and time again.