This is not a review of the upcoming production of ACT’S God of Carnage by Yasmina Reza. I’m unable to see the production after it opens. Instead, I will offer commentary on one of the final rehearsals/dress rehearsals that I had the chance to attend. Please be advised that there might be some changes made up to opening night.
Playwright Yasmina Reza first published God of Carnage in 2008 under the title Le Dieu du Carnage.
The story opens in the living room of Veronica (Kayla Whelan) and Michael (Kelly Wheaton) Novak, who have asked Annette (Jennie Archambault) and Alan (Greg Ryerson) Raleigh to stop by. Their two unseen sons, Benjamin and Henry, were involved in an altercation on the playground because one boy refused to let the other join his gang.
What follows in the 80-minute, sans-intermission one-act play in ACT’s production is a razor-sharp, prickly comedy about how the four adults behave childishly and how the meeting turns harshly chaotic.
God of Carnage poses a challenge for a community theatre production.
Depending on your audience and clientele, the language is often ‘colourful’ (read between the lines: vulgar). There are some references in the play that may be construed as hurtful, belittling, crude, and certainly uncalled for.
Audiences must be prepared to look beyond that.
Theatre is meant to challenge, surprise, and make us sit up and pay attention. At times, there shouldn’t be any need for trigger warnings. It’s true that attention spans have dwindled over time for audiences.
That’s not the case here. My attention did not waver. Not once.
What can I say about ACT’s production at this time before opening?
It’s definitely worth a trip to the St. Francis Centre to see God of Carnage.
The play’s pacing remains fluid without ever appearing rushed. At one point, there is a normal human reaction to something shocking. I’m not going to tell you what it is because that would spoil one of the surprises.
As a designer, Dave Edwards pays close attention to the play’s visual detail. Along with Carol Dawson’s solid work in set decoration and props, the two nicely create a believable-looking living room in an upper-class residence. There’s a wet bar upstage. Two grey wing-tipped chairs are angled stage right, and a sofa is stage left. On a coffee table are art books and a beautiful vase of red tulips (which become important as the plot progresses).
Edwards also gives a nod of appreciation to playwright Reza with the white painting on the wall, stage left. That painting is reminiscent of another of her plays, Art. Jane Hickey and the cast’s costume selection appropriately fit the characters’ idiosyncrasies.
Edwards also makes his directorial debut (under Margo Rodgers’ advisement). Carnage’s piercing jabs remain sharp thanks to his watchful eye. Kudos to the strong work from the four-person cast, who let the zingers fly at first with customary restraint until it became necessary to prove that each of them is not to be messed with when it comes to their family’s reputation or the well-being of their sons.
The task now for this diligently hard-working cast?
It remains their responsibility to maintain the crispness that drives the play forward from opening night to closing.
I have confidence they will succeed.
Performances run February 27, 28 March 1, 5, 6, and 7. All performances take place at the Ajax St. Francis Centre, 78 Church Street South. For tickets: ajaxcommunitytheatre.com.
