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The CSC Eagle Newspaper – Chadron, NE
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The CSC Eagle Newspaper – Chadron, NE
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Production leaves ‘Carnage’ onstage

Sara Labor
James Steele, 18, freshman of Lincoln, as Michael Novak, puts his finger up to silence his wife, Veronica, Monday evening in the Black Box Theatre. — Photo by T.J. Thomson

James Steele, 18, freshman of Lincoln, as Michael Novak, puts his finger up to silence his wife, Veronica, Monday evening in the Black Box Theatre. — Photo by T.J. Thomson

Hannah Clark, 19, sophomore of Littleton, Colo., as Annette Raleigh, rests her hands against each other while trying to gain composure Monday evening. — Photo by T.J. Thomson

Hannah Clark, 19, sophomore of Littleton, Colo., as Annette Raleigh, rests her hands against each other while trying to gain composure Monday evening. — Photo by T.J. Thomson

James Steele, 18, of Lincoln, as Michael Novak, and Erin Neal, 21, senior of Crawford, as Veronica Novak, interact during an argument Monday. — Photo by T.J. Thomson

James Steele, 18, of Lincoln, as Michael Novak, and Erin Neal, 21, senior of Crawford, as Veronica Novak, interact during an argument Monday. — Photo by T.J. Thomson


“God of Carnage,” the Theatre department’s newest show, opens tonight leaving carnage across the stage, along with vomit.

The play starts off as an innocent meeting between two sets of parents to discuss their sons. Quickly, their meeting descends into drunken madness with discussions about marriage, children, and political issues.

James Steele, playing Michael Novak, seems to find a niche as the awkward, stuttering husband trying to please everyone (although mostly his wife.) However, as the play moves along, he begins to fit into his skin better, learning to stand up for himself. It is at Novak’s breaking point, when he is accused of murdering a hamster, that Steele shows his most realistic side. His objectives move from being cordial to being strong and straightforward. It is at this point that Steele finds his element, and perhaps at this point that the play begins to move in a more interesting direction.

Michael Kruger, senior of Gordon, as Alan Raleigh, holds Erin Neal, 21, senior of Crawford, as Veronica Novak, Monday evening during “God of Carnage.” — Photo by T.J. Thomson
Michael Kruger, senior of Gordon, as Alan Raleigh, holds Erin Neal, 21, senior of Crawford, as Veronica Novak, Monday evening during “God of Carnage.” — Photo by T.J. Thomson

Alan Raleigh, played by Michael Kruger, was a pleasantly surprising character. Perhaps the only one of the characters in the play who wasn’t intentionally trying to piss people off, Kruger’s portrayal of the bluntly honest and straightforward Alan was excellent.

The show, however, was stolen by Hannah Clark, who portrayed Annette Raleigh. While, at first, Annette seems to be the mirror image of Novak, trying her best to smooth everything over in a polite manner, she quickly turns into the problem, from pointing out Michael’s murder of the hamster, to pointing out the problems of the Novak’s marriage. Clark’s poise makes Annette one of the most entertaining characters to watch. As she loses her poise and falls apart, it’s hard not to be drawn into her struggle.

One of the best moments of the show was after Annette finally becomes fed up with her husband’s cell phone. “There’s nothing worse than a shoulder bag,” Annette says, in reference to men, “except a cell phone.” Throughout her monologue, I found myself holding my breath in anticipation for every move she made. Annette moves from being the phony she is accused of, to being the most sympathetic character on stage.

Erin Neal, who plays Veronica Novak, finds her niche in a flat delivery of angry lines. From the beginning when Neal tensely asks if the Raleigh’s son will apologize, to the point when she jumps on her husband, there is little transition. Her constant want is to dominate the conversation. In trying to dominate the conversation, however, Veronica merely throws herself into the gutter, becoming flat and predictable.

It’s unclear whether this is part of the script or merely Neal’s choice. Veronica, however, has little change, unlike the other characters. Alan seems like a jerk until you realize that he is not trying to be a jerk, he’s just being who he is. Annette seems like a perfectly friendly wife, until you realize that she is more of a fireball than she lets on. Michael appears as a cordial, loving husband, until he shows his darker, hamster-killing side. Veronica even says about Annette, “She’s a phony!” In actuality, everyone in this play is a phony. Except Veronica.

The simple set design, done by Scott Cavin, assistant professor of visual and performing arts, reflected the show well. The small and intimate area with limited seating managed to seem smaller and smaller throughout the play; as emotions rose, the characters got closer, which heightened emotions even more.

On the whole, the play isn’t fantastic, but it isn’t terrible either. There are definite tender and beautiful moments, but there are also moments of unrelatable confusion.

Although the play is a valiant effort, it shows that the Theatre Department seems to have reached a plateau as it is the same dramatic comedy that the Black Box has witnessed over the past few years. Much like “How I Learned to Drive,” performed in 2011, and “Dead Man’s Cell Phone,” performed in 2012, there are funny moments, and heart wrenching moments. “God of Carnage,” however, did not manage to captivate me the entire way through, unlike other Black Box productions, and it leaves us little in the way of a resolution.

Despite the lack of a resolution, I left the theater deep in thought. “God of Carnage” may have had its ups and downs, but there is no doubt that the final lines will leave you thinking.