Isaac Asimov once said, “Violence is the last refuge of the incompetent”—but do violent tendencies lurk in all of us, competent or not? That’s one of the questions raised in Yasmina Reza’s Tony Award-winning play God of Carnage, now onstage at Desert Ensemble Theatre.
The plot is simple: Two couples meet to talk over what to do after a physical altercation between their two sons on the playground. Benjamin struck Henry with a stick, knocking out two of his teeth, after Henry called Benjamin names and refused to allow him to join his group.
Henry’s parents, Veronica (Lizzie Schmelling) and Michael Novak (John Corr), have invited Benjamin’s parents, Annette (Yo Younger) and Alan Raleigh (David Youse), to their home for this discussion. Everyone is civil and polite in the beginning—but it doesn’t take long for the gloves to come off, and for the insults to fly.
Veronica is a part-time writer who’s fascinated by Africa (hence the large, impressive African-themed art on the walls). Uptight and regimented, she’s very sure of how the incident that injured her son (and pretty much everything else) should be handled. Her husband, home-goods wholesaler Michael, is much more relaxed and affable. He wants to find a solution that satisfies everyone.
Annette, mother of the stick-wielding Bejamin, seems to be the most emotionally upset by the whole episode. Her stress-induced nausea provides some of the play’s funniest moments. Benjamin’s father, Alan, is a hard-driving attorney representing pharmaceutical companies. He spends much of the evening on his cell phone, trying to avoid a lawsuit and spin PR about one of his clients’ drugs, which has proved to have serious side effects. For him, business comes first. He admits Benjamin is at fault, telling Veronica, “Madam, our son is a savage,” but he also seems to believe that “boys will be boys,” and that the playground dust-up will eventually work itself out.
As the evening wears on, and the booze starts to flow, cracks in both marriages begin to show. Long-buried resentments are aired; name-calling commences; and the behavior of the adults deteriorates into its own playground-style brawl.
This four-person ensemble cast is excellent. Each character is fully fleshed out and distinct, and the onstage chemistry is terrific.
Schmelling is perfect as the high-strung, somewhat pretentious Veronica. Her comic timing is wonderful, and her disdain toward her husband when he dares to disagree with her is palpable. Each character has wonderful comic lines throughout the show, but Veronica especially has some great zingers: “I have no sense of humor, and I have no intention of acquiring one!”
Corr’s Michael is appropriately easy-going and likable. Dressed in a trendy jogging suit, he tries to keep things light, and is sometimes reminiscent of Adam Sandler. Corr is a versatile actor, and he brings the necessary intensity and macho feel when the two men dive into a competition over who’s achieved more professional success.
As Annette, Younger proves once again that she’s got some of the best acting chops in the valley. She’s embarrassed by the whole playground incident, yet also protective of her son, insisting that he must have been provoked into violence. Trying to maintain a level of decorum during the discussion, she’s increasingly annoyed by the interruptions of Alan’s cell phone. The composure of all four characters fades away throughout the evening, but Annette’s ultimate meltdown is the most intense—and absolutely hilarious. Younger is superb.
A larger-than-life presence onstage, Youse, as Alan, is the epitome of the ambitious, aggressive, no-nonsense lawyer who is all about results. If the rules get bent, and the truth gets stretched a little, so be it. We believe he cares about his family, but he also seems to think this whole stick “assault” incident is overblown, and that a physical skirmish between 11-year-old boys is pretty normal.
The pacing is crucial in a comic, four-person play that primarily involves talking. Luckily, it is flawless. Credit for that must go to director Deborah Harmon, who does a fabulous job. She keeps everything moving and brings out the best in her actors.
Thomas L. Valach’s clean, modern set is just right, complete with the aforementioned African-themed art. The lighting, sound and costumes all work well here.
At one point, Alan mentions that he believes in a “God of carnage,” since there’s no shortage of war, violence and killing all around the globe. It’s a reminder, perhaps, that we’re all capable of verbal, emotional and sometimes physical destruction at a moment’s notice, if pushed far enough. And perhaps sometimes smashing a plate, punching a wall, or occasionally even socking someone in the nose might be justified.
Not only is DET’s stellar production of God of Carnage thought-provoking; it features top-notch acting and is very, VERY funny.
Desert Ensemble Theatre’s production of God of Carnage will be performed at 7:30 p.m., Friday and Saturday; and 2 p.m., Saturday and Sunday, through Sunday, March 23, at the Palm Springs Cultural Center, 2300 E. Baristo Road, in Palm Springs. Tickets are $40, and the running time is 75 minutes with no intermission. For tickets or more information, call 760-565-2476, or visit www.desertensembletheatre.org.
