Theatre / “God of Carnage”. Written by Yasmina Reza, directed by Jordan Best. At The Q, Queanbeyan, until November 26. Reviewed by JOE WOODWARD. 

THE very clearly designed and presented set by Jens Nordstrum greeted the audience upon arrival at The Q. 

While no-frills, the attention to detail with a colour scheme from the floor that was reflected in the simple furnishings gave rise to the sculpture of the play; a moving sculpture that suggested so much of contemporary existence in tiny boxes or cages where adults try to make sense of their competing worlds. 

Jordan Best’s direction has accentuated this almost claustrophobic world where polite adults desperately try to be civilised and avoid outright conflict. The characters use unintended humour to evade hostilities. Yet with a little alcohol something of the inner beast is knocking at the barricades to be released. 

These moments of spontaneous action make for a kind of relief where their contemporary world is shaken. Then almost immediately, the characters reassemble the pieces to restore a kind of known order and shape to reassure their personal comfort. 

There are almost elements of Harold Pinter at work as characters seem to ramble and then never quite say what is paramount. What begins as a need to sort out an issue where two couples’ respective children had an altercation, gradually degenerates into a prickly dénouement of relationships in crises. This is the source of the comedy as each tries to deny there is any issue at play. 

Reza provides a clever script; though at times the moments of larger action seem a little too contrived. This posed challenges for the actors who each provided clearly delineated characters with powerfully evident inner lives. 

Jim Adamik’s stoic and uber-rational character provided an anchored obstacle for Lainie Hart’s somewhat repressed yet potentially very vibrant partnership. Hart provided a breaking of the mould at crucial moments; providing some real adventure within the restraints of the situation. 

Carolyn Eccles constrained the beast within her character while letting it go uncontrolled at unexpected moments. Josh Wiseman presented a deceptively controlled suburbanite practised in the art of denial. His place was often at the drinks table; but his place was also to be a bastion of an almost absurd moderation! 

The play began a little awkwardly with Eccles being initially too quiet. Once the rhythm of the piece picked up, it held its tensions and provided a most satisfactory experience. The multi-layers within the script were revealed through clever stage sculpting, well-differentiated characters and the heightening of critical moments though powerful variations in emphasis. 

Echo Theatre has presented “God of Carnage” with a classy, highly engaging and most accessible production.