Review: GOD OF CARNAGE at Arkansas Repertory Theatre

Are we truly a civilized society or are we merely pretending, ready to protect our own and destroy others the moment we’re provoked? That’s the sharp and biting question at the heart of God of Carnage, Yasmina Reza’s dark comedy now on stage at Arkansas Repertory Theatre in Little Rock through July 29. Under the keen direction of Zack Steele, this razor-edged play peels back the polished veneer of social etiquette to reveal the primal instincts lurking just beneath. 

Veronica (Kelsey Claire) and Michael (Greg Myhre) have invited Annette (Verda Davenport) and Alan (Wendell B. Franklin) into their seemingly civilized home to compose a statement about a violent playground incident in which Annette and Alan’s son allegedly struck their son, knocking out two teeth. What begins as a polite, grown-up attempt to resolve the matter spirals swiftly into chaos. As the wine flows and tempers flare, the masks of maturity and reason slip away. Alan, a cold and calculating lawyer tethered to his phone, exudes apathy, while Annette, eager to do the right thing, finds herself unraveling. Veronica, the picture of moral righteousness, grows increasingly unhinged, and Michael, caught between peacemaker and provocateur, reveals his own raw edges. The room becomes a battlefield where alliances shift, truths explode, and civility is abandoned. What was meant to be a calm discussion becomes a ferocious and hilariously uncomfortable showdown, laying bare the savage instincts lurking just beneath the surface of their picture-perfect lives. 

As an ensemble, this set of seasoned pros bounced off of each other with electric precision, each feeding the rising tension, comedy, and chaos like a well-rehearsed symphony of dysfunction. Their timing was impeccable and the emotional outbursts landed with both hilarity and uncomfortable truth. Every glance, gesture, and interruption felt intentional, as if these characters had been dancing this dance of blame and ego for years.  

Separately, their characters were distinct, each carved with sharp clarity and purpose.  

Wendell B. Franklin’s Alan has a cold detachment and legalese-laced indifference. He has a commanding presence and when he speaks, he convinces me that he’s a lawyer. His calculating delivery and clipped tone make his dismissiveness both maddening and darkly funny, as if he’s constantly trying to keep himself above the emotional fray, and he clashes brilliantly with Annette’s frazzled attempts at diplomacy. 

It’s no secret that I’m a big Verda Davenport fan and watching her bring Annette to life makes my starry-heart eyes I have for her even bigger. Her facial expressions as she grows more annoyed with her husband and the spiraling situation are priceless with every twitch of the brow and every clenched smile masterfully capturing the slow unraveling, shifting from composed and conciliatory to exasperated and explosive letting loose in a cathartic eruption. Davenport commands the stage with a raw vulnerability that had the audience hanging on her every reaction.  

I loved Kelsey Claire’s Veronica as her passionate idealism simmered just beneath a brittle surface of cultured restraint. From the first moments with clipboard in hand and righteous energy in full force, she radiated the essence of someone who believes in doing the right thing, at least on her terms. I loved the details in how she responded to her guests as they did little things like putting their glasses on the table without something underneath them. Her subtle annoyed expressions showed that she masterfully walked the tightrope between sophistication and barely-contained fury.  

Greg Myhre’s Michael, ever the jokester-turned-instigator, offered a volatile mix of charm and suppressed rage. At first, he plays the role of peacemaker with disarming wit and affable small talk, tossing out humorous one-liners to ease the tension in the room. But beneath the casual demeanor lies a powder keg of resentment and barely restrained aggression. Myhre brilliantly reveals Michael’s gradual shift from passive participant to combative provocateur as his frustrations mount and his patience thins, and the ongoing conversation about the hamster cracked me up. 

If you appreciate a thought-provoking exploration of human nature wrapped in sharp, satirical commentary on civility and social facades, this is a production you won’t want to miss. Tickets can be found at therep.org. 

We believe theatre is for everyone, so Arkansas Repertory Theatre is proud to offer team up with Creative Descriptions, who will be on hand for an audio-described performance of God of Carnage on June 28. 

Patrons with significant vision loss are invited to experience the show in a whole new way, guided by the warm and detailed narration of my friend Sandee Pinkstaff. Using a provided listening device, Sandee will describe visual elements of the performance in real-time, allowing guests to fully immerse themselves in the story. To enhance the experience, there will also be a pre-show guided touch tour of the set, offering a tactile exploration of the stage environment before the curtain rises. 

To participate, purchase tickets for the June 28 performance and then email Sandee directly at creativedescriptions@gmail.com to schedule your tour and reserve your audio equipment. This vital accessibility offering, part of The Rep’s 2025 SummerStage season, is generously sponsored by Jim Gifford. 

CREATIVE TEAM

Director -- Zack Steele

Production Stage Manager -- Sydnei Williams

Sound Designer -- Gideon Brewer

Costume Designer -- Celeste Jennings

Scenic Designer -- Dan Robinson

Lighting Designer -- Griffen Birdsong

Wig & Hair Designer -- Jenea Jordan

Arkansas Awards - Live Stats

Best Musical - Top 3

1. THE WIZARD OF OZ (Arts One Presents)

12.5% of votes

2. CINDERELLA: THE BROADWAY VERSION (Arkansas State University Theatre)

12.3% of votes

3. TUCK EVERLASTING (Harding University Theatre)

10.9% of votes

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