Yazmina Reza Shines Bright, Comic Light on Smug, Spoiled Elites

by Robert M. Gardner

There are two ways of seeing “God of Carnage” at Masquers Playhouse in Point Richmond. The first is to just go and laugh at the high comedy. The second is to reflect on how much the two New York couples’ conflict mirrors the world around us.

Playwright Yazmina Reza depicts a hilarious interplay between two sets of upscale parents, who are trying to resolve a nasty spat between their eleven-year-old sons. At the core of Reza’s dialogue lies the realization that these couples are a microcosm of nations going to war. Their infantile attempts at resolution sadly reflect our own feeble attempts to end wars.

The two couples, both well-to-do Brooklyn elites, start off wanting to resolve the issue on friendly terms. The problems start when Veronica (self-assured Katharine Otis) documents the conflict: “Benjamin Raleigh, armed with a stick, hit our son Henry Novak in the face.”

When arrogant dad Alan (commanding Todd Duda) objects tothe word “armed,” they agree to change the word. But like a runaway train wreck, their good intentions soon fall apart. Word by word, they take offense at each other’s language.

Alan’s wife, Annette (riveting Allison Gamlen) appears to be an elegant, restrained upscale professional. But under pressure, she reveals depths of anger and hypocrisy. She particularly objects to her husband’s constant cell phone calls—leading to a comic explosion.

Annette’s sleazy lawyer husband, Alan, wants to just pay the damages and leave. But he continually insists on answering his cell phone for “very important” business. Delightully directed by Chris Rubingh, Alan’s harsh phone conversations clash with the couple’s “peaceful” negotiations. Despite his stated intent to settle, Alan’s cutthroat phone conversations deliver the message that he is a hard-nosed Big Pharma attorney. He will never give in.

The other couple is headed by Veronica who proudly talks about her work in African culture. Veronica becomes increasingly sarcastic and nasty, leaving us laughing as she makes angry accusations.

Veronica’s husband Michael (ebullient Tony Daniel) is a good old boy who thinks that the whole affair is overblown When things finally disintegrate to the point where Michael loses it, he rips open his shirt in frustration and shouts: “Ok, I’m a Neanderthal!”

When a bottle of expensive rum appears, their real personalities emerge. We realize that one side’s facts are totally rejected by the other.

I found myself drawn into the drama, hoping that they could peaceably resolve their war. As we eavesdrop on these super-conscious, privileged, and pretentious couples falling apart over their children’s fight, we delight in their bombastic, hysterical insults.

Like all good satire, “God of Carnage” offers laughter and self-discovery.   Director Rubingh keeps the pace hopping as the two couples butt heads hilariously.

These smug, educated couples believe they have the answer to world peace. But do they really know what they are talking about? Are we like them, too?

The superbly acted “God of Carnage” both entertains and makes for great conversation. Well-worth enjoying.

 

“God of Carnage” by Yazmina Reza, directed by Chris Rubingh, scenic design by Christopher Jones, lighting & sound by Gill Stanfield, props by Tura Franzen, costumes & production by Shay Oglesby-Smith, at Masquers Playhouse, Point Richmond, California.

Info: masquers.org – to September 29, 2024.

Cast: Allison Gamlen, Todd Duda, Katharine Otis, and Tony Daniel.

Banner photo: Katherine Otis & Allison Gamlen. Photos by M. Padua