If the Lake Worth Playhouse is already something of a hidden gem compared to the mainstream SFL theatre scene, its Black Box series is an even smaller and lesser known but arguably more intriguing offering than its mainstage counterpart. Trafficking in plays “whose subjects or themes are both thought provoking and relevant to today’s world,” the series is offering one more weekend of its current production of God Of Carnage.
This work by French playwright Yazmin Reza premiered on Broadway in 2009 as well as inspired the 2011 Roman Polanski film Carnage. After Michael and Veronica’s child is “disfigured” by the loss of two of his teeth in a schoolyard kerfuffle, they invite the parents of the other party involved over for a civilized afternoon meeting to discuss the situation. Quickly, the two couples start to clash with each other at every turn, with the eventual result being a cockamamie no holds barred verbal sparring match.
Though the show is slated to run about an hour and a half, director Charlotte Otremba keeps the pace to an even crisper 72 minutes, and also adds in some interesting staging touches such as the use of the theatre’s aisle as the characters’ exit point.
In the first class script, Reza not only keeps several balls in the air but knows exactly when to pick each back up. Running threads like the unfortunate fate of a hamster, Alan’s involvement in a large-scale pharmaceutical corruption scheme, and a potentially bad batch of coffeetea are pulled up again at just the right moment for maximum comedic impact, making for nearly non-stop laughs.
Trish Weaver-Rhodes, Russell Kerr, Jessica Scheidt, and Tom Copeland form a tight ensemble of four and exhibit masterful comedic timing as they embody their largely unsympathetic characters. If anything, some of the ensemble occasionally seemed as if they were playing at a pitch slightly too high, but, later, once and the liquor had begun to flow and the emotions to run ever-higher, this over-the-top energy began to seem more appropriate.
While Veronica and Annette came off as slightly more tolerable than their apish and sexist husbands, the self importance of all four characters ensured that none of them met the bar for “likable,” allowing us to take a sick pleasure in seeing them psychologically disintegrate under each other’s gaze.