David Heath, Allison McCann, Märgen Soliman and Katie Shorey represent the entire cast in Portland Players’ production of “God of Carnage.” Photo by Katie Day

Perhaps things are finally getting back to some sort of “normal” when we can get out of our personal pods and head to the theater to laugh at four supposedly intelligent characters who won’t stop arguing with one other.

The community-based Portland Players have chosen to end their pandemic shutdown with a production of “God of Carnage,” an award-winning play from 2008 that may be known to some from its 2011 movie adaptation, titled “Carnage.” The edgy, dark comedy of manners by Yasmina Reza offers a laugh-filled vision of what happens when an attempt to resolve a relatively minor issue leads to the unleashing of primal hostilities. Broader implications are there to be found.

The Players’ production places two ostensibly civilized couples in a New York City living room to discuss a teeth-breaking altercation that took place between two of their pre-teen children. Was this all just part of boys being boys or does guilt and innocence need to be specifically assigned and unanimously agreed upon by the respective parents?

The situation quickly devolves, along the way revealing class, gender, political and marital rifts within and between each couple. The four talk their way into a frenzy as they trade increasingly personal accusations in this show, which is recommended for mature audiences. The satire on middle-class values becomes hilarious as the adults end up fighting like children, albeit with a lot of adult baggage in tow.

Directed by Benn May, actors David Heath, Allison McCann, Katelyn “Katie” Shorey and Märgen Soliman work well together in portraying a quartet of people who perhaps should, but certainly do not, work well together. McCann is vice president of business development for the Portland Press Herald/Maine Sunday Telegram.

The play requires precise timing in delivering a lot of quick-hitting lines, and the four performers are more than up to the task. Seldom has the fine line between reasonableness and its opposite been so comically revealed as it is in this well-written, thoughtfully directed and – crucially – well-acted play.

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On opening night, McCann established a calm-before-the-storm presence for her character, Annette, subtly suggesting what is coming before erupting. Heath’s officious lawyer, Alan, offhandedly aimed cynical jabs at the others when not forever on the phone. Michaela, the hardware salesperson portrayed by Shorey, was more laughably practical and doubly amusing in her physical reactions to frustration. Soliman, as her easily provoked, same-sex partner, Veronica, a writer about African social causes, tried to put everything into a rational context, all the time showing increasing signs of psychologically melting down.

The minimal set design by May features appropriately clashing decor and a few props, designed by Claudia Hughes, suffer blows as the play reaches its farcical heights. The costumes by Michael Donovan reflect subtle class and lifestyle distinctions that underlie the conflict.

“You’re exhausting me,” declares Veronica at one point near the end of the 80-minute performance. Not appearing to share that sentiment, a socially distanced crowd (masks encouraged for those unvaccinated) had plenty of energy left to applaud enthusiastically at the close.

Steve Feeney is a freelance writer who lives in Portland.


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