Reviewed by Kate O'Sullivan
Thomas Dimmick’s production of God of Carnage delivers a sharp, enjoyable ride through Yasmina Reza’s biting and brilliant script. Known for her keen observations of social niceties unravelling into chaos, Reza’s writing is once again expertly crafted, and Dimmick’s cast revels in the humour, emotional extremes, and underhanded jabs that fill the story. From the polished, polite veneer of adult interactions to the inevitable collapse into childlike insults, the actors take full advantage of the script’s escalating tension.
The cast is uniformly strong, deftly balancing comedic timing with the emotional complexities of their characters. Every moment is milked for maximum effect, and it’s clear the entire ensemble is enjoying the playful language and the fun of Reza's dialogue. The performances flow smoothly, and even in the more chaotic moments, the actors maintain their energy and focus. As with any show where characters become drunk, there are a couple of instances where the drunkenness feels a bit overplayed—actors leaning into the intoxication rather than playing against it—but this is a minor quibble in an otherwise well-executed performance.
The actors’ clarity of speech is another highlight, with lines delivered crisply and engagingly throughout most of the show. However, there were a few moments where speech was lost when the actors moved upstage, noticeable because they were generally so easy to hear in the more central scenes.
A special mention must be made for the impeccable timing of the phone ringing, which added to the rising tension. Clearly, these moments have been well-drilled and land perfectly every time. The unfolding mess on stage becomes more elaborate as the play progresses, and dealing with the increasing chaos will be no small feat for the stage manager at the end of each show.
On the technical side, the set design posed some minor issues. The big red couches, while visually striking, occasionally caused sightline problems, especially when actors leaned back into them, obscuring key moments from parts of the audience. These couches also felt a little too soft and cozy for the escalating chaos. As the play descended into the titular carnage, some of the dramatic tension was softened by the furniture. A starker, more modern set might have better accentuated the characters’ devolution.
That said, there were strong visual elements in the design, particularly the use of ceremonial African face masks mounted on the rear wall, which were atmospherically lit and provided effective foreshadowing of the metaphorical masks that each of the characters wear. Michelle Sharp’s costumes were thoughtfully designed, emphasizing the characters’ social dynamics and how they perceive themselves in relation to one another. The props were well-chosen, and there were some delightful practical effects that I won’t spoil here.
Lighting, for the most part, was good, although with the open, wall-less set, there were moments when actors stepped out of their light. Still, these were minor distractions in an otherwise polished production.
Though the audience was small, it seems inevitable that once word spreads, this will become a must-see. With a cleverly written script and a cast that dives wholeheartedly into the chaos, God of Carnage offers a thoroughly entertaining and insightful evening at the theatre.
Reviewer Note: Kate has previously worked with Ruhama Rowe, and at Melville Theatre Company, most recently in 2022. Tickets for this review were provided by the theatre company.
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