If Neil Simon
was the King of Comedy from the 1960’s, through the 1990’s, then French-born
playwright Yasmina Reza is on track to become the Queen of intelligent and
sophisticated comedy for the 21st Century. Comparisons are odious at best, and in the case of Neil Simon,
he is in a class by himself.
However, with a
continuing output of her brand of sophisticated comedies over the next few
years, and with a little bit of luck, Reza could find herself the dominant
female playwright of the early 21st century. Her material, like Simon, transcends gender,
nationality, and culture. Her plays,
written in French and translated by English playwright Christopher Hampton,
resonate with audiences of all stripes and strata. Whether her audiences are rich or poor, her characters quickly
and easily become identifiable.
One of her
earlier efforts was the 1998 Tony winning comedy “Art”, which signaled that a
new major playwright was among us and was revealing all of our foibles and
shortcomings for the world to see. It
was a delicious and auspicious beginning.
Then in 2007, her latest comedy bombshell hit the stages of the
world. “God of Carnage” became an overnight
comedy blockbuster play. It’s been
translated into more than 30 languages, and still growing.
Which brings us
to The Old Globe production of “God of Carnage” now onstage at the Sheryl and
Harvey White arena stage. I’ve seen
three previous productions (all proscenium staged) and, as I mentioned above
comparisons are odious indeed, however, the current Globe production that
stars: Caitlin Muelder as Annette, Erika Rolfsrud as Veronica, and Lukas Caleb
Rooney as Michael (all three talented actors are graduates of Old
Globe/University of San Diego Graduate Theatre Program), and T.Ryder Smith as
Alan, can slug it out with the best of them when it comes to engaging in
theatrical onstage mayhem. This
quartette of performers doesn’t have to take a back seat to any ensemble that
has previously performed the play.
The story by
now should be familiar to theatre going audiences everywhere. In short, it’s a hilarious, ninety-minute
comedy of “bad manners” on the part of two sets of upscale New York parents,
who come together to discuss a schoolyard confrontation by their two eleven
year-old sons. Initially, they gather
in an upscale Brooklyn home to sort out what took place. At first civility is upheld, but as the
libation-fueled conversations continue, the tone changes, ultimately going off
track sending a warning that a street brawl is about to take place. When discussions ultimately spiral out of
control, and decorum flies out the window, the audience gears up for a session
of name-calling and tantrums from adults who should know better.
But their loss
of control is our gain, as Reza’s razor-sharp wit illuminates the situation
many people often find themselves in.
Her acute ear for spot-on dialogue reminds me of the late, great,
playwright Paddy Chayefsky. Very few
writers had his gift and ear for the dialogue of the people he wrote
about. Tennessee Williams also had the
gift and we are the richer for it. Reza
is about to join some pretty heady company.
T. Ryder Smith’s
Alan (complete with his cel phone as his best friend) is a Freudian delight,
and fascinating to watch. Erika
Rolfrud’s Veronica, is so hypocritically spot-on that I thought I heard one or
two squirming seats after her outbursts. When it comes to throwing away all pretense
of decorum on the part of Michael, Lukas Caleb Rooney’s inner Neanderthal comes
roaring out as if in relief from the game he has been forced to play. When
Caitlin Muelder’s Annette, the tightly wound investment banker character
finally snaps, the audience react as if they’ve heard an explosion. It’s a sublime theatrical comedy moment.
I’ve deliberately
saved the best for last. Richard Seer,
the director of this wonderfully funny and entertaining production is entitled
to all the bows and kudos that come his way.
His inspired direction of this ensemble cast, in the round,
gives proof that not all technically difficult plays should be staged in a
proscenium theatre. One forgets that
all of the wonderful magic taking place on the stage is a collaborative effort
seen through the lens of the director’s personal vision. Come and share the experience. You won’t be disappointed.
“God of Carnage”
runs through September 2, 2012. Tickets
can be purchased by going online to www.theoldglobe.org or by phone at 619-234-5623.
