By David Gordon
In a well-appointed Brooklyn apartment, Alan and Annette have sat down to a discussion with Michael and Veronica. The subject? The argument their children had gotten into in Cobble Hill Park which resulted in Alan and Annette’s boy slugging Michael and Veronica’s and knocking two of his teeth out. As the conversation evolves, the behavior of the parents devolve to the point where they’re no better than playground children.
This is the plot of Yasmina Reza’s newest comedy, “God of Carnage,” translated by her frequent collaborator Christopher Hampton and directed by her frequent collaborator Matthew Warchus. In the hands of a lesser director, it would end up a wispy shoulder-shrug of a comedy. With Warchus and the tremendous, A-list cast of Jeff Daniels, Hope Davis, James Gandolfini and Marcia Gay Harden attached, “God of Carnage” emerges as one of the funniest new plays Broadway has seen in a long time.
It’s very rare that four actors with stage experience who’ve left for the world of film and television glory return to find their stage chops intact. That’s why the play is a such a treat.
The biggest question mark was Gandolfini, but he acquits himself like a pro, playing a variation on the character for which he’s so known. In fact, “Michael” is a better-educated and non-mobster version of Tony Soprano, a role Gandolfini played exceedingly well and continues to play exceedingly well. He and Harden have dynamite chemistry and the sight of his being pummeled into submission by Harden is one that “Sopranos” fans haven’t lived until they’ve seen (Harden, for the record, is a glorious physical comedian).
Daniels is at the top of his game, expertly demonstrating how one can say so much without words. And kudos to Davis for projectile vomiting (oh yes, “God of Carnage’ has it all) like a pro.
Reza’s script is slight but dangerously funny. In short, a riotous comedy that you don’t have to think about. Warchus’ vigorous, high-octane staging picks up the script’s slights. Hampton’s translation is the biggest problem – while Reza’s initial French-isms are changed to American, bits and pieces of dialogue are far too wordy and inherently un-American. A working-class person such as Michael would say “too” and not “as well.”
The spartan, unobtrusive design by Mark Thomas and the ambiguous lighting by Hugh Vanstone is perfect for a play such as this. There’s nothing to get in the way of four actors, at the top of their game, and a director whose specialty is over-the-top comedy, taking part in an excellent game of scrimmage.