EXCERPTS FROM THE REVIEW
The following are excerpts from the March 19, 2013 Baltimore Sun Review of God of Carnage by Tim Smith
We have all seen adults acting — to borrow a song lyric — more like children than children. But, if you’re lucky, you’ve never met anyone quite like the people who spout, spar and spew in God of Carnage, the Tony Award-winning Yasmina Reza play currently getting an effective workout at Everyman Theatre.
Reza’s clever, stinging view of contemporary culture makes for a bracing burst of theater.The Everyman production, directed by Eleanor Holdridge, delivers that burst with a good deal of spark.
As usual, Everyman resident artist Deborah Hazlett is a standout. She has the role of Veronica Novak, a writer (the Darfur tragedy is a special focus), lover of fine books, and would-be moral compass in this dicey domestic situation.
Watching Hazlett’s facial expressions is a hoot in itself as she conveys the character’s gradual shifts in attitude toward the other three people in what becomes a grown-up playpen, where battle lines are drawn between couples and, eventually, between the sexes.
Christopher Bloch plays Michael, Veronica’s self-made husband and self-described Neanderthal, who thinks a sweater will make him look enough like a liberal to handle the “psycho-drama” unfolding in his living room. Bloch’s dynamic range could use some widening, but he gets in fine flourishes as the action intensifies (and Michael’s prized rum starts flowing).
Megan Anderson, another reliable Everyman member, does solid work as Annette Raleigh, who tries so hard to contain her emotions, but — spoiler alert — has trouble containing the clafouti that Veronica serves. (The projectile-vomiting scene is easily the most deliciously horrid incident in “God of Carnage.”)
Tim Getman has a very impressive romp as Alan Raleigh, a lawyer with iffy ethics and a pathetic dependency on his cell phone. The vibrant performance, which suggests a dark-side, spring-loaded version of the Phil Dunphy character from “Modern Family” (Getman even has a passing resemblance to Ty Burrell), gives the whole production an extra charge.
Timothy R. Mackabee’s attractively sleek set design has one miscalculation — a massive mural that gives away the dog-eat-dog point of the play from the get-go. A work this packed with verbally heavy armaments hardly needs sledgehammer visuals.