One thing about a Yasmina Reza play: By the end, masks will be ripped off and something mildly disastrous is going to happen. Another thing about a Yasmina Reza play: Even when things get uncomfortable (maybe even especially when they get uncomfortable) it’s going to be pretty darned funny.
Reza, the French playwright best-known for her hits Art and God of Carnage, is also a latter-day practitioner of the well-made play, that marvel of construction in which a thousand pieces fly into the air, chaotically, and then fall perfectly into place. Her 2009 Tony-winner God of Carnage, which opened over the weekend in a taut and smart revival at Lakewood Theatre, takes a bit of Noel Coward (the “aren’t these upper-middle-class characters delightfully foolish” part) and a bit of Harold Pinter (the “aren’t these upper-middle-class characters ruthlessly savage” part), stirs them with a little Alan Ayckbourn-style tick-tock timing, and comes up with a rollicking escapist entertainment that leaves an existential knot in the pit of your stomach. Well, that’s them, you might tell yourself a little nervously as you head home after the show. That’s not me. Surely not.
Director Antonio Sonera, working from playwright Christopher Hampton’s sharp and brittle English translation, expertly puts the pedal to the metal in this hairpin race over the cliff by two sets of nominally civilized couples. Sonera indulges in what might be considered stunt casting if the four actors weren’t individually so good at what they do: The married couples are played by performers actually married in real life. David Sikking and Marilyn Stacey are Michael and Veronica Novak, he a successful hardware wholesaler, she an art lover and liberal firebrand who is working on a book about Darfur. Sarah Lucht and Don Alder are Annette and Alan Raleigh; he’s a high-powered lawyer who can’t stay off his cell phone, she’s in expensive shoes and wealth management. If only wealth were all that needed managing around here.