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incarnation featured Victor Garber, Alan Alda, and Alfred Molina), the concept is once again illustrated that the beast within can pick the lock and scamper out.Īs I said, the star of the show isn’t the story itself, which is a variant of the gradual unmasking that we’ve seen, most famously, in “Who’s Afraid of Virginia Woolf?” (as well as Albee’s “Sylvia, or, Who is the Goat?” for that matter), but how the actors interpret each downshift as the grade steepens. Manners, etiquette, civility, it’s all on the table, and it hasn’t floated away yet.īut it does soon enough, dislodged like those little pearly whites, and as with Reza’s masterful “Art” (which in its first New York and L.A. The meeting between concerned parents is simply to discuss how the one child should apologize to the other.
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On the playground of the school where both children attend, Alan and Annette’s young son has clobbered the son of Michael and Veronica with a stick, dislodging two teeth. The set may not initially call attention to itself, but that rock slab of a back wall (a person’s home is their cave or lair, right?) and that bright red carpet (an open wound, or the magma that consumes us all?) begin to mirror the changes between the characters as the work evolves/devolves. Harden won a 2009 Tony Award for her performance, but one may wonder why the award wasn’t divvied up among all four of them.Įvents unfold one afternoon in the living room of Michael and Veronica’s well-to-do home in New York City. These are the same actors – Jeff Daniels and Hope Davis as Alan and Annette, James Gandolfini and Marcia Gay Harden as Michael and Veronica – who appeared in the play when it ran so successfully on Broadway. Even so, the script is engaging and under the right supervision (in this case director Matthew Warchus) it provides a first-rate opportunity for its cast to display its mettle and finesse. The star of this one-act play isn’t so much the story – which meanders downstream even as it pokes its head up a few alluring tributaries – but rather the interplay between the characters. My advice? Buckle or unbuckle your seatbelt and enjoy the descent into the maelstrom. Manners, etiquette, civility all of it quickly travels south in Yasmina Reza’s “God of Carnage,” at the Ahmanson Theatre. Hope Davis (obscured), Marcia Gay Harden, Jeff Daniels, and James Gandolfini in “God of Carnage.” Photo by Craig Schwartz