Theatre Review: Chapatti at Square One Theatre Company

Al Kulcsar and Lucy Babbitt

One of the challenges facing Square One Theatre Company is finding shows that will fit into their new space without making it so small that it diminishes the theatre-going experience. Artistic Director Tom Holehan has found the perfect fit with "Chapatti," now playing through March 19 at the Stratford Academy. Despite its minimal set and cast of only two actors, this play, written by Irish playwright Christian O'Reilly, fills the house with enough comedy, drama, romance, darkness, and light that patrons will leave knowing that they have enjoyed a bold and life-affirming performance.

Based on the description of the play, my expectations prior to the performance were low.  A lonely man with a dog, meets a woman with 19 cats and romance ensues. The cynic in me sneered at this premise, but luckily my trepidation was unfounded. Mr. O'Reilly has imbued these characters with many surprising layers and has written such an astonishingly beautiful and poignant script that each rises above the usual caricatures of grumpy old man and crazy cat lady to become fully fleshed out, complex individuals worthy of our sympathy, admiration, and hope for their future. 

The story of Dan and Betty is told through an artful series of monologues and encounters, each revealing just a bit more of their personalities, history and motivations. Congratulations to Al Kulcsar and Lucy Babbitt for playing these roles so excellently. Mr. Kulcsar’s Dan is a quietly simmering pot of deeply felt emotions. Dan is full of regret for the missed opportunities in life, yet he stoically soldiers on, until he decides not to. Through the course of the play, we discover the source of his regrets, the depth of his anguish, and his amazing capacity for love; emotions that Mr. Kulcsar embodies fully. 

Ms. Babbitt’s unabashed portrayal of Betty is delightful. She starts out quirky, lonely, and resigned, yet through her monologues, we discover her humor and her optimism. Getting a cat was an act of defiance during a painful past and we learn that under her shapeless denim jumper, there is a woman of strength, resilience, and power. We discover that shy, mousy Betty is actually a self-assured, fully sexual and authentic being, not only capable of giving love, but fully deserving of love in return.

The costumes by Gaetana Grinder and Kerry Lampert are perfect for the characters, from Betty’s aforementioned jumper to Dan’s brown sweater and to the bold colors worn by each on their one date. The set by Greg Fairbend, lighting by Clifford Fava, and sound by Don Henault are simple, but effective. 

Running without an intermission, the whole production is 90 minutes of well-paced, engaging, and emotional entertainment, thanks to the skillful direction of Tom Holehan and the superb actors portraying this remarkable couple of individuals who overcome their differences and difficulties to find each other. If it is the magic of theatre and great art to lead us back to our own humanity, the universal moral behind a show like “Chapatti” is not to judge others, because beneath the surface there lies hidden depths of emotion and experience that we can only guess at. We are taken on an amazing journey of discovery and the wonderful lesson that Dan and Betty, and the rest of us, learn is that we all deserve to be loved.

For My Devils and My Angels

There is a reason why some things happen in life. And there is a reason why some people come in and out of your life at different times. God sends angels, and in some cases, devils, not just to taunt you but to move you along on your journey. The key is to not get stuck. 

Now, those devils can be beguiling creatures. In the beginning, it can be all seductive smiles and laughter. It’s as exciting as a game of chance. The devils conspire to let you win a little, lose a little, then win some more. You are drawn in by the newness of it all – being swept out of the mundane into a swirling cacophony of feelings from total elation to abject misery and everything in between. This is that feeling: Being Alive. And it feels good. 

Before you know it, those devils have swept you up to dizzying heights. You take a deep breath of the cool, clean, biting air that stings your lungs just a bit. You find yourself standing on a precipice. Every possibility lies before you, infinite joy stretched across an endless sky. But you don’t dare look down. Never look down. Take a second to appreciate the moment. How exciting to be at the juncture of ‘will she or won’t she’; ‘should she or shouldn’t she.’  And to think, even if she does, what a ride it will be. What a rush. That is until the crash.  And crash you must because the air up in these heights is thin, and cannot sustain you. 

Some devils will leave you on the edge, standing there just Wanting and wondering why.  Maybe their angels have led them away. Or maybe they are just cruel. Other devils will smile, take your hand and jump with you. And why not? These unearthly creatures don’t hurt; they don’t die; they don’t care. Still others will stand behind and help you along with a good swift kick…this is a journey after all. There’s no time to stop and contemplate your life choices. Just go.

Now, if you are lucky, an angel will lead you away from the edge before you leap, or will guide you down, softening the blow. The harder lesson will be learned if you take your lumps at the bottom, and have to climb your way out of the abyss. It would be even worse for you, if, along the way, you seem to drag other lives into the chasm with you. Take someone’s innocence, take their trust, their friendship, their lives – the more lives you destroy with your own foolishness, the harder the climb. Always remember that; be aware of collateral damage. To do otherwise is nothing but selfish.

I confess, I am more familiar with devils than I am with angels. For the most part, I may have danced with the devil too many times, taken the fall, brushed myself off, and hit repeat.  Different times, different places, different faces, same result. Until that last time, when I pushed feelings aside…no, buried them, and let my brain take over saying, ”I want off this ride.” And I stopped. I allowed myself to get stuck. Because stuck is safe. And safe feels good.

Perhaps, too, the reason for my immobility could be that I no longer trusted myself to recognize an angel when I saw one. Having so often fallen for the lie, having misplaced my faith, having experienced defeat, and suffered disappointment – not just in the devil, but in myself for accepting the devil’s invitation to begin with – I’ve been led to question everything. In this case, ‘will she, or won’t she’ is followed quickly by ‘but what if’…and the imagined end result is always bad.

However, with the passage of time, I’ve come to learn some things. First of all, angels are quieter than devils. Despite reports to the contrary, I do not believe that personal angels come in the form of glaringly brilliant celestial beings trumpeting some magnificent fanfare as you are swept up into the heavens. Faced with such an ostentatious display, I would probably exclaim a loud wtf and run swiftly in the opposite direction.

Luckily, angels are stealthier. They sneak into quiet corners of our lives, no pomp, no ceremony, and no hullabaloo. They are blessedly unexpected, they are not proud or boastful, they have no agenda, and ask for nothing in return. They are just there for you. They are comfort. Angels can inspire you from afar, or appear in little gestures: a smile, a hand held, an embrace, a connection, a loving glance, lots of laughter, and sometimes even in sighs and tears. Angels encourage mobility, and offer you a safe space to make your way back to living. You will be swept out of the mundane and into a symphony of feelings from the joyful to bittersweet that lets you know that you are loved.

Angels have many faces: they can be family, friends, and even strangers, but the funny thing is they will feel familiar to you, surprising you with the ease of their acquaintance. They accept you for who you are, despite the number of times you may have fallen, and they encourage you to be the best, most authentic version of yourself that you could be. Authenticity is the key. If someone tries to force you to change, or to fit into a little box of who they think you should be, beware. Angels won’t tell you what to think or how you should feel, they simply ask, ‘what do you think?’ and ‘how do you feel?’ without judgment.

You must remember that angels have wings to fly away. There is no guarantee that your angels will always be around for you. This is the nature of the universe. But unlike the devils that leave you with nothing but a few bruises from the fall they lead you to, angels leave you with love that should always, always, always be treasured and held in your heart. 

Just as an angel supports you in every way, you want to support them, and support others in the same way. Where they inspire you, you want to inspire, when they lift you up, you want to help lift others. Love is love is love, and love grows. And it feels good. 

Theatre Review: CAMELOT at Westport Country Playhouse

Based on T.H. White’s novel, The Once and Future King, Lerner and Loewe’s Camelot is an old-fashioned musical that centers on a tragic love story, with lots of comedy and magic thrown in. As ‘reimagined’ by director Mark Lamos, Westport Country Playhouse’s pared down version remains heavy on the tragic romance, with a little comedy thrown in, and is still as old-fashioned as ever. While this may play well with an older, more nostalgic audience, I feel that if you are looking for something more than light entertainment, this production might be less than satisfying. 

The disappointment is not in any way due to the actors who all deliver top-notch performances. Tony Award winner Robert Sean Leonard shines as King Arthur. He sings well, with a talking/singing style reminiscent of Richard Burton or even Richard Harris, but it is his charm that truly won me over. Despite his many accomplishments on stage and on the screen, Mr. Leonard still has enough boyish charm to embody the version of King Arthur that I love most…the unsure, young Wart from Disney’s Sword and the Stone. It is fun to watch him trying to remember the words of his magical advisor Merlin, and to puzzle through the quandary regarding might and right. His King Arthur is earnest, ideological, and delightful.

Brittany Coleman also shines as Guenevere. She has an effervescent quality, a lovely voice and infectious smile, and really stands out with her sassy frolic, thanks to choreographer Connor Gallagher, during song, “The Lusty Month of May.” Therein, lays my dislike of the character. Guenevere starts out as a princess and then a flirtatious queen of the old guard – a “waiting in an ivory tower for knights to spill blood over her” kind of girl. Her flirty, shallow air is what Arthur fails to recognize. He is immediately smitten, not realizing that his love for Guenevere will be his undoing.

The third player in this tragic triangle is Sir Lancelot, played by Stephen Mark Lukas. Mr. Lukas has a strong voice and delivers his songs with conviction. His first song is “C’est moi,” Lancelot’s egotistical homage to himself, played here more for laughs than anything else. The problem with this approach however, is that at points it becomes too cartoony, bringing up the image of the character Gaston in Beauty and the Beast. He comes across as puffed up and self-centered, with this overblown idea of his own manly superiority that elicits such eye-rolls and antipathy that I wondered how Guenevere could fall for him in the first place. Arthur has his own inexplicable bromance going with Lancelot as well, maybe because he is the greatest knight that ever lived (or so Merlin told him) but personally, I find his excessive perfection tedious. 

To complicate matters even further, we are introduced to a sinister interloper, Arthur’s illegitimate son, Mordred, played by my favorite performer of the evening, Patrick Andrews.  Mr. Andrews is the show’s sexy bad boy. With his great voice and killer dance style, he owns the stage in his scenes, fulling embodying the dark cloud that befalls Camelot when Lancelot’s halo begins to slip. Also in the cast are Michael De Souza, Mike Evariste, Brian Owen, and John-Michael Reese, portraying revelers and various knights in King Arthurs’ court. Newcomer Sana Sarr rounds out the cast as Tom, the young child who carries on Arthur’s hopeful legacy through stories and play.  

With so many talented players on the stage, it is a shame that I was underwhelmed by the show.  The sets by Michael Yeargan were a bit too streamlined for me. There were some beautiful backdrops, but no levels on the stage. It was almost too minimalist, lacking the grandeur that Camelot deserves. 

Costumes by Wade Laboissonniere were also hit or miss for me. Some of Guenevere’s gowns were simple and some grand, while some of the knights’ tunics and accouterments were overly colorful, reminding me more of Spamalot.  I loved the costume for Mordred, who was just a little guyliner away from being a glam rock star with glittered tunic and scarf. The look belied the era of the musical; I was disappointed when he sang “Seven Deadly Virtues” with its lilting orchestral music. The contrast between what I was seeing compared to what I was hearing was jarring.

There were other slip ups that pulled me out of the Camelot experience. When Robert Sean Leonard knelt beside the body of the knight that Lancelot slayed in the tournament, I giggled, thinking of course he could determine if the knight was dead or not, after all he’s a doctor! I don’t think I was the only person in the audience to make that House reference.  I also thought that when Lancelot performed the miracle of bringing the knight back to life, that it was a bit too fast, bringing the “Not Dead Yet” song from Spamalot to mind.  

All this is minor given the real reason I was disappointed in Camelot. With all the press about it being ‘reimagined,’ there is only so much one can do about this dusty old relic to make it relevant to today’s audiences. The Lancelot and Guinevere characters are so one dimensional that despite the beautiful orchestrations by musical director Wayne Barker, the song, “If Ever I Would Leave You” is more apt to evoke an impatient eye roll than a tear. In a day and age where even Disney princesses are more adventurous and willing to fight the good fight, it is uncomfortable to hear a woman singing about men going to war for her favor. It is equally uncomfortable to hear knights singing of the good old days when they could molest virgins and fully enjoy the ‘spoils of war,’ as they did in the song, “Fie On Goodness.” I was not amused.  

At the close of the show, I could not help but think that Camelot is the kind of show that people my parents’ age would love, but my children would hate. The shame is that this unchallenging old standby is not the kind of show that generates excitement in musical theatre. 

• Photo: Britney Coleman and Stephen Mark Lukas. Carol Rosegg

Review: MASS APPEAL at Square One Theatre

After a year-long search, Square One Theatre opened their new season at the Stratford Academy. The stage has been reconfigured into a 64-seat black box design, with seating directly on the stage. This arrangement could have been problematic for me; being considered officially short, I was worried that I would be stuck in the back row behind someone tall. I was also worried about being too close to the action on the stage. Luckily my fears were unfounded, as the first play of the season is perfectly suited for this type of intimate setting.

The play is MASS APPEAL, by Bill C. Davis. This two-character comedy-drama focuses on the conflict/budding friendship between Father Tim Farley, a seasoned Roman Catholic pastor, and Mark Dolson, a spirited and idealistic seminarian who is made a deacon in Father Farley's affluent, suburban parish. The two characters, skillfully played by Frank Smith and Darius James Copland, are a study in opposites. Where Dolson is personally awkward, yet spiritually brash and idealistic, Farley is friendly and charming, able to maneuver around the expectations and demands of his parishioners as well as the Diocese. But when confronted with Dolson's radicalism, and given the opportunity to stand up for what's right, we learn that Farley is too good at playing the game - his need to be liked by his charges and his higher ups has led to resignation and spiritual complacency.

photo: (l-r) Darius James Copland and Frank Smith by Square One Theatre

Mr. Copland is very good at conveying a sense of moral outrage at what he sees as injustices in the world and in the seminary. He wholly exudes the intensity of youth and idealism almost too well, treading dangerously close to having me question his viability as a priest to begin with. Only through the genius script by Mr. Davis and the skillful acting of Mr. Copland, do we get to see glimpses of vulnerability beneath the mask of indignity that makes up Dolson's approach to the world. And underneath it all, Mr. Copland is able to convey that Dolson truly is answering a call; he needs to lend a hand to any and all who need understanding, compassion, and help. He is just not very good in figuring out how. This is where Father Farley steps in.

Mr. Smith's portrayal of Father Farley is beyond perfect from beginning to end. He is so believable as a friendly neighborhood priest that I was prepared to make the sign of the cross at his opening lines in the pulpit. There is an ease and effortlessness to his portrayal that creates and air of welcoming to us as an audience. We want to like this guy. We can admire the way he skillfully dodges irksome parishioners, and sidesteps his bullying Monsignor; we empathize with him as we watch him maneuver the dangerous land mine of office, or in his case, Diocese politics; and ache with him when he realizes that his complacency has led to his being complicit in injustices that few people in his position would even recognize.

The production staff did an excellent job with set design, costumes and lighting for this production of MASS APPEAL. Special congratulations need to be extended to Greg Fairbend and Robert Mastroni for the sets, Clifford Fava for lighting, Kerry Lampert and Gaetana Grinder for the realistic costumes, and Don Henault for sound. Even with the small stage, we are transported from Father Farley's small, but well equipped parish office to the church pulpit with ease.

And of course, Tom Holehan should be applauded for his skillful and masterful direction. Father Farley's spiritual reawakening culminates in his final sermon of the play, where he speaks to his parishioners in a candid, personal, and personally vulnerable position. This is where the genius of the direction as well as the new set up of the new Square One Theatre is really felt. With our seats on the stage, and Father Farley stepping down from his pulpit for his final sermon, we, the audience, are transfixed as we become his parishioners. We are the flock that he is preaching to, and we are inspired to change, and to relate to one another, not through the strictures of a rote mass, but on a personal and compassionate level. It is a wonderful relief to be able to leave the theater having our humanity embraced and being spiritually uplifted.

MASS APPEAL runs through November 22 at Stratford Academy in Stratford, CT. Visit www.squareonetheatre.com for tickets.

Theater Review: "The World Goes ‘Round: The Songs of Kander & Ebb" at Musical Theater of Connecticut

The cast of The World Goes Round: The Songs of Kander & Ebb
at Music Theatre of Connecticut

Music Theatre of Connecticut opened their 28^th season in their new Melissa & Doug Theatre in Norwalk with a re-imagined production of The World Goes ‘Round: The Songs of Kander & Ebb. This highly enjoyable revue of some of the greatest hits of the creators of Chicago, Cabaret, and Kiss of the Spider Woman is more than just a fascinating trip down memory lane. With a talented cast of musicians and an uber-talented cast of performers, this show will captivate and delight anyone who loves musical theater.

Imaginatively directed by Artistic Director Kevin Connors, with musical direction by David John Madore and choreography Jeri Kansas, the MTC production avoids the pitfalls of many musical revues. This production is set in a summer stock theatre in Vermont, with characters returning for the first time. For the most part, rather than just being a bunch of people standing around singing a bunch of songs, and succumbing to schmaltzy shtick, the characters all have unique relationships and emotional journeys, which allows them to plumb the depths of emotions that underscore the Kander and Ebb musical catalog. It is a relief that songs like “And the World Goes Round,” “Colored Lights,” and “Mr. Cellophane” do not lose their dramatic edge. It is also a relief to watch real choreography when it comes to numbers like “All That Jazz” and “Ring Them Bells.” And the comedy is certainly not lost with numbers like “Sara Lee” and “The Grass is Always Greener.”

Admittedly, I loved the first half of the production just a bit more than the second half.  In Act One, the performers act out and dance through the songs while highlighting their internal dialogues and interpersonal relationships. At the beginning of Act Two, when the women come out in their sparkly show dresses, and the men in tuxedo pants and pressed shirts, warning flags immediately went up for me, signifying that we were entering the slick show biz danger zone. 

What kept it together were the beautiful voices, and strong performances by talented cast members Kathy Calahan, Melissa Carlile-Price, Eric Scott Kincaid, Trisha Rapier, and Aaron Young. An especially touching montage included the songs “We Can Make It,” “Maybe This Time,” and “Isn’t This Better?”

When the first strains of “Cabaret” started, again the warning flags went up, especially with Mr. Kincaid singing, “I used to have this girlfriend known as Elsie…” I wondered whatever happened to Sally Bowles and I braced myself for something awful as the music tempo switched to something that was not quite the “Cabaret” that I know and love. I was more than pleasantly surprised by a vocal swing type version of the song that had such tight harmonies and strong vocals that I could not help but like it. 

So by the time the show wound up for the finale performance of “New York, New York” not only was I ready for the big show biz finish, but I wanted to see that kick line, and to see that song treated like the Broadway anthem that it is. I was not disappointed, and I ended up singing along and leaving the theater a very satisfied and happy camper. 

The World Goes Round runs through November 23 at the Melissa and Doug Theatre in Norwalk. Tickets range from $30 - $50, with $5 off for seniors and students.  Reservations are suggested. Call 203-454-3883 or visit www.musictheatreofct.com for tickets. 

Square One Theatre Company Invites You to "A Walk in the Woods"

L-R: Damien Long and Pat Leo in A Walk in the Woods by Leo Blessing

Square One Theatre Company is opening its 25^th anniversary season with a new production of the play A Walk in the Woods, by Leo Blessing. Directed by Square One Artistic Director, Tom Holehan, this play combines comedy and drama to give an intelligent and compelling look at the delicate art of arms negotiations between Russian and American diplomats.

A Walk in the Woods is set on a park bench, in a forest on the outskirts of Geneva, where the two negotiators can talk informally after hours at the negotiation table. As envisioned by set designers Greg Fairbend and Robert Mastroni, and with lighting by Clifford Fava, this pleasant little respite place is peaceful and inviting.

  

This was the first play to be produced by the company in 1990 and its revival is still relevant today. The surprise twist to this production is that actor Pat Leo, who played the American negotiator in the 1990 production, is back, this time cast as the older Russian diplomat, Andrey Botvinnik. Making his Square One debut as the American negotiator, John Honeyman, is Damien Long.

A Walk in the Woods can be challenging for the actors chosen to fill the roles of the play’s only 2 characters. With all the dialogue and action of the play resting on their shoulders, Mr. Leo and Mr. Long prove themselves to be more than up to the task. Their embodiment of the adversaries on both sides of the negotiating table, each with a different history, level of experience, and negotiation style, is superb and they both give finely nuanced performances that clue us in to their distinct personalities and developing relationship. 

Mr. Leo’s Botvinnik is far from the hard-lined Soviet that we might expect. On one hand, he is a little world-wearier and a lot more cynical when it comes to the negotiating game but on the other hand, he is also personable, like an experienced old uncle who is willing to share stories, tell jokes, and serve as a guide, from manipulating the press to navigating the political arena, to the relatively inexperienced Mr. Honeyman. He is able to gain audience sympathy and trust early on, with his simple request that he and Mr. Honeyman become friends. Botvinnik’s negotiation bag-of-tricks includes dissembling, abruptly changing the subject, feigning to forget things, telling jokes, and being charming.

Mr. Long’s Honeyman is a compelling contrast to the easy-going, comfortably familiar Botvinnik. Where Mr. Leo gets all the funny lines, Mr. Long delivers some of the play’s most spirited monologues. Honeyman, while an advocate of facts, numbers, and data, embodies youthful passion and idealistic virtue. He does not want to be friends; he wants to get down to the business of saving the world. Nuclear disarmament is not a game to him, and his frustration at the lack of reaching an agreement is palpable.

This important play is not only a compelling piece of dramatic literature, it touches on issues of nuclear disarmament, arms negotiation, and the political history and relationship between the United States and Russia. It is also a piece about forming relationships, whether it is a working relationship between adversaries or a genuine friendship that can cross idealist divides. At the end of this play, heated words are spoken out of disappointment and frustration but I like to believe that ultimately friendship prevails.

 

A Walk in the Woods runs through November 22 at the Stratford Theatre in Stratford, Connecticut. Performances are Fridays and Saturdays, November 14, 15, 21, 22 at 8:00 pm, Sunday, November 16 at 2:00 pm and a special twilight matinee on Saturday, November 22 at 4:00 pm. Tickets are $20 for adults, $19 for seniors and students. Call 203-375-8778 or visit www.squareonetheatre.com for tickets.

Theater Review: "God of Carnage" at Darien Arts Center

Do you ever fantasize about forgetting the niceties and showing people how you really feel? Keeping it real, uncensored and unforgiving? Does the thought of telling it like it is without censure bring a Cheshire cat smile to your face? Then Darien Arts Center’s production of Yasmina Reza’s God of Carnage is the play for you. This refreshingly feral and ferociously funny show just might be the cathartic release you need. Running through November 22, this delightful exploration of what lies beneath the façade of civility among the upper middle class is a brutally honest look at the instinctual animal natures that manners and etiquette merely mask.

Lawrence Reina, Jessie Gilbert, Eileen Lawless, and Gary Betsworth in
God of Carnage at Darien Arts Center
Photo credit: Jeffrey R. Wyant

God of Carnage tells the story of a meeting between two sets of parents whose children were involved in a playground incident that resulted in a fat lip and the loss of two teeth. This meeting devolves into an unfiltered and uncensored confrontation that strips away pretention, revealing the true nature of the couples and the individuals involved. Parents will find it easy to relate to the situation, and we can also easily recognize the traits and characteristics of each individual member of these couples.

Under the brilliant direction of Mark Graham, this play is also a seamlessly fluid study in small group dynamics as the parties take sides, alliances are sundered and reformed in various permutations, and the adults end up acting like the very children they are meant to defend. Under Mr. Graham’s vision, the simple, yet elegant set designed by David Eger becomes more than just the living room of a well to-do couple; it represents a playground setting where the adults form and reform their own cliques, gang up on or strike out against each other, have tantrums, argue, and eventually strike an uneasy truce. With creative blocking, the temporary alliances and images of these adults in conflict are memorable.

The strong cast brings these couples realistically to life, in all their full three-dimensional glory. Gary Betsworth and Eileen Lawless convincingly play Michael and Veronica Novak, the parents whose child was struck. It is evident from early on that Veronica is the dominant individual in this couple, and Ms. Lawless is perfect in the role. She is the epitome of the pretentious and judgmental parent whose dictates and suggestions to the ‘offending’ parents seem to be an indictment against their parenting style. To Veronica, this is more than just a playground scuffle – her perfect son has been disfigured due to thuggish behavior brought on by poor parenting and neglect. Her contempt is thinly veiled in polite smiles and condescension. Ms. Lawless is so good at playing the role, that at one point, I threw up my hands in frustration, wanting to smack her myself. Well done!

Like his character, Mr. Betsworth’s portrayal of Michael starts out slow and grows over the course of the play. As the peacemaker and more conciliatory member of the couple, Michael is easily overlooked at the start, but as the play progresses, we learn more and more about the character, and Mr. Betsworth is able truly inhabit Michael’s world. Not to be dismissed, we learn that Michael is rude, has a racist attitude toward the children of Darfur whose plight is his wife’s chosen cause of the moment, hates children and parenting, was a former “gang” member in the loosest sense of the word, and is, to the horror of all, a hamster murderer. It is fun to watch Mr. Betsworth as he finally lets loose, allowing a glimpse of the real Michael that has been kept under wraps, and his wife’s domineering nature, for what we suspect has been a long frustrating marriage.

On the other side of the playground kerfuffle are Annette and Alan Raleigh, the parents of the boy who wielded the stick that took out the Novak son’s teeth, perfectly played by Jessie Gilbert and Lawrence Reina. Alan is a high-powered pharmaceutical attorney in the midst of a business crisis, and Annette is his mousy, quiet wife who is left to deal with most matters regarding their child and home. Annette, we learn, is subject to panic attacks that cause her to throw up and Alan seems to have more of a relationship with his cell phone than to his wife and child.  

Besides a convincing portrayal of a woman who seems to suddenly grow a spine to defend her child, Ms. Gilbert deserves special recognition for acting out a hysterical, yet squeamishly realistic, vomit episode. Mr. Reina deserves special recognition for his non-verbal displays of incredulity and frustration at being put in the uncomfortable situation of defending his son for what amounts to rough child’s play to begin with, and for having to put up with the Novaks’ pretentiousness. At one point, Alan throws Veronica a look that says, “Who the (fill in the blank) do you think you are?” It is priceless.

This dark comedy is not for everyone. If your tastes run more to nice, polite, old-fashioned manners and ideals, do not see this play. Although brilliantly rendered, hysterically funny, and highly entertaining, God of Carnage contains strong language, profanities, and adults acting like unruly and petulant children. Look closely and you may even find that it is a reflection of your own hidden dark side.

God of Carnage runs through November 14, 15, 21, & 22 at 8:00 pm and November 16 at 2:00 pm at Darien Arts Center, 2 Renshaw Road, behind the Town Hall, Darien.  Tickets are $20. Call 203-655-5414 or visit www.darienarts.org for tickets.