BLUEBARN’s “God of Carnage” a Rubik’s Cube of Comedy
October 10th, 2013
Omaha, NE — The BLUEBARN Theatre opens its 25th Anniversary Season with the 2009 Tony Award Winning play God of Carnage.
Last weekend, The BLUEBARN Theatre in downtown Omaha, Nebraska opened the first show of their 25th Season with the comedy God of Carnage, the 2009 Tony Award winner for Best Play by Yasmina Reza.
God of Carnage follows two couples, Alan and Annette as well as Michael and Veronica. They meet at Michael and Veronicaâ€™s apartment because their children got into an altercation on the playground where one child ended up missing two teeth. As the two couples attempt to politely discuss the incident with one another, tempers flare, liquor flows, and the each person fends for themselves in an hilarious all out verbal war where the parents become no better than squabbling children in their own right.
The show director, BLUEBARN Artistic Director Susan Clement-Toberer chose the play because it matched up perfectly with the theatreâ€™s 25 anniversary theme, â€œOver the Edgeâ€. In fact, those exact words are used on the back description of the play to describe each coupleâ€™s descent into political incorrectness, â€œgoing over the edgeâ€. After casting the play, Clement-Toberer and cast started rehearsing their usual way, by setting up the movement and framework of the show, also know as â€˜the skeletonâ€™ before diving into the rhythm and pacing of the comedy.
â€œThen about a week into it, when we really realized the beast with which we were dealing with,â€ laughed Clement-Toberer, â€œwe found the right way to start working with it. We started working moment to moment from that time. A lot of times when I direct something Iâ€™ll build the skeleton pretty rapidly and then Iâ€™ll go in and fill in the bones and organs, so to speak. This one was a bit different. We really started to find the rhythm of the play as early as we could.â€
That beast that Clement-Toberer describes is the showâ€™s deceptive simplicity. The show takes place on one base set, there are no set changes, and the lighting and sound demands are minimal. What that does is leave no safety net of spectacle to progress a showâ€™s rhythm, you must rely solely on the actorâ€™s ability to support the text and tell the story. God of Carnage is a verbal and witty that turns on a dime and goes from one extreme to the other of political correctness to absolute chaos. For an actor like Ablan Roblin, who plays Alan is the BLUEBARN production, finding a natural progression from one extreme to the other the doesnâ€™t feel forced is a tall order.
â€œI think Susan hit it on the head that the approach to this was that it was about finding the right intentions.â€ Roblin said. â€œFinding what was real about what the characters were doing and why they were doing it is what really drives the play. Taking that intention to its absolute extreme is what makes it funny. Going for whatâ€™s honest and real and then pushing it to its absolute limit, that is where the comedy lives, but it was finding that.â€
The key to a show like God of Carnage lies in maintaining the emotional authenticity throughout each moment of the play, be it politie or outrageous, dramatic or comedic, you have to find the authenticity of each moment in the play and then connect those moments as seamlessly as possible.
â€œTheresa Sindelar, who is one of the other four (on stage), came up with a really good (analogy).â€ Clement-Toberer said. â€œShe said this play is like a rubikâ€™s cube and itâ€™s a perfect analogy because from a text point of view, you read it and you think itâ€™s a fantastic piece of theatre. Then you get it up on itâ€™s feet and itâ€™s an entirely different beast. The lines are still the same, the story is still the same but the tone; I think my actors are about toned out with me saying â€˜Weâ€™ve got to find the fine line between the comedy and the drama.â€™â€
What has made God of Carnage such a hit with audiences across the country, is that is basically the worldâ€™s worst example of conflict resolution. By the end of the show, each audience member identifies with a certain character, then watches that character go off the rails and lash out at other people with no filter for appropriateness or decorum. Roblin, a father of 2 himself, said there are many times that parents wish they could go off the handle the way the characters in the show do.
â€œMy wife saw the show on Saturday and absolutely loved it,â€ said Roblin. â€œShe said what was so funny to her in the very beginning was, â€˜Youâ€™ve been in situations like that where itâ€™s very tense.â€™ And from that tension comes the comedy because you are like â€˜Whatâ€™s going to happen?!â€™ And then to be able to go to those extremes sometimes is fun!â€
Ok, so maybe itâ€™s the worldâ€™s best example of conflict resolution.
The BLUEBARN Theatreâ€™s production of God of Carnage runs through October 18th at their Old Market playing space on 11th and Jones Street in Omaha, Nebraska. For ticket information, call 402-345-1576 and for more information on the BLUEBARN Theatre, visit bluebarn.org.
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