Masks (and Gloves) Off in South Camden Theatre Company’s God Of Carnage
by April Johnson
I have to admit; even though I live approximately twenty minutes from Camden, I was a first timer at this venue. Tucked away in a street corner, the intimately modern Waterfront South Theatre houses the South Camden Theater Company—where an evening in the theater is a chance to stir the soul. Indeed, that experience occurred on Saturday, November 9, 2024 viewing God of Carnage by Yasmina Reza, directed by Connie Norwood.
Moved by a real-life experience, Reza dug in deeper and wrote this piece with a satirical approach portraying observations of the contemporary middle class titled Le Dieu du Carnage, which premiered in Zurich in 2006. British playwright Christopher Hampton translated the work which opened in London in 2008. God of Carnage made its Broadway début in March 22, 2009 at Bernard B. Jacobs Theater, gained two Tony Awards including Best Play and Best Direction of a Play and was adapted as film released in 2011, Carnage.
SCTC’s Artistic Director Dawn Varava stated in the playbill, “America, as I see it, seems to be on pretty shaky ground. From gun violence, to global warming, to book-banning, to fascist rhetoric, we seem to have completely lost the ability for civil discourse and human connection. There has always been a vehicle for exploring important, sometimes uncomfortable themes….We now conclude our 2024 season with the brutally entertaining, GOD OF CARNAGE, a comedy of manners without the manners, delving into conflict and human nature.” The message was displayed onstage with heart and mindfulness; and I received it. My anticipation is that others have and do as well thanks to the clever stage direction executed by Ms. Norwood.
So, what is this piece all about? God of Carnage relates an evening in the lives of two upscale couples, residents of a Brooklyn neighborhood, who meet to discuss a playground incident. Alan and Annette’s son hit Michael and Veronica’s son in the face with a stick, resulting in two broken teeth. The four of them agree to discuss the incident civilly, but, as the night wears on and drinks are imbibed, the polite veneer breaks down. The couples initially spar against each other, but the men gang up on the women and the spouses switch sides as the fighting continues. Reza’s play suggests that our civilized trappings do a poor job of hiding our venality and bile (StageAgent). In other words: a comical night of pleasantries, pastries, potions, provocation and plants.
Eric Christ was delightful with comedic physicality and timing as Michael, a wholesale hardware businessman, who initially put on airs with his wife Veronica but eventually loosened up when he heard a certain statement from Alan and commenced to indulge in top shelf spirits. Claire Golden Drake portrayed Michael’s wife Veronica, the seemingly placatory and assimilate artist who spearheaded the intended civil meeting. Drake ingeniously achieved her character with mindful development and peeled layers from decorum to discomfort, to discontentment, and to downright dissatisfaction.
Alan, the shrewd yet sharp-tongued corporate attorney constantly interrupted by his firm regarding a class action lawsuit against a major pharma company, was astoundingly performed by Marc D. Donovan. Although not the voice of reason, Alan served as the expression of reality. Alan’s wife Annette, spectacularly conveyed by Caity Brown, was an overly anxious wealth management executive whose nerves came to a explosive head….numerous times. Brown’s character materialized as the representation of the neurotic nation….not just as a result of her husband’s lifestyle/career, but the pretentiousness of the opposing couple.
The set design was stationery and eclectic, laced with pieces of elegant furniture, African artwork and sculpture as if it were a museum lobby. Scenic design was by Robert Bingaman, and Deborah Sperry served as the professional sculptor and baker. To round out the phenomenal performance, Lighting design was by Hunter A. Mountz, and Pam Staley provided props. Costuming was appropriately fit for each character thanks to Louise Gareau, and Ashley Reiter was in charge of sound design. Stage management was provided by Melody Moore.
God of Carnage will have you laughing out loud while taking seriously humbling introspect…are we as civil as we believe we are? Are we really condescending toward others? Why do we carry ourselves in a false sense of supremacy? And what about those apples--do we fall from the tree because we are low-hanging fruit?
God of Carnage, a one act, 90-minute play, is playing from now until November 24th: Fridays and Saturdays at 8pm and Sundays at 2pm. Tickets are available at https://www.southcamdentheatre.org/.
