“God of Carnage” for New Year’s

Jagstzell

The Kulturgestalten Jagstzell dared to make a French comedy again after the forced break. After “Venice in the Snow” now “God of Carnage” by Yasmina Reza. Reza, who made his breakthrough as a playwright with his play ‘Art’, shows petit-bourgeois everyday life in ‘God of Carnage’.

It shows it so well that Roman Polanski filmed it. Jagstzell’s artistic figures are following big steps. Director Harry Baumann chose this comedy during the pandemic. “We didn’t know what was going to happen next, so I chose a show with few actors,” he says.

On stage we see two sets of parents, who meet at the beginning, because the two boys fight while playing in the park and one kills the other’s two front teeth with a stick.

From the simple meeting, which has the purpose of drawing up a statement, conflicts develop, deep fractures appear between couples and even between couples.

The modern bourgeois social facade is more and more crumbling. With treacherous humor and much conciseness, this piece strikes the benefactor and the competition of humanity. The Kulturgestalten Jagstzell put the events slightly in Swabian. It could be anywhere in Jagstzell or any other city if it weren’t for the names. Alain, Annette, Veronique and Michel are portrayed as the different types of people you will find everywhere.

Tobias Brunner perfectly portrays the lawyer Alain, always on his cell phone, Luisa Haun perfectly portrays his wife Annette as a typical business woman. Astrid Zwick-Lamprecht as Veronique, a consummate helicopter mother with a little too much ethics and Andreas Schneider as Michel, who goes from dispute broker to choleric.

With their excellent gestures and facial expressions, all actors contribute to a very authentic picture. The viewer quickly finds himself in Veronique and Michel’s living room and experiences a mirror of his own life, with quarrels flaring up again and again, over trifles and interpersonal fractures. So the discussion keeps going in circles and yet it’s always new. The piece is challenging, but this is a specialty of the artists. Harry Baumman as a semi-professional director gets the best out of his actors. They are there with a lot of verve and that carries over to the audience.

The stage is sparsely set, leaving plenty of room for the characters to let off steam. Attention has been paid to many small details, even Michel’s colorful socks are not left to chance. The mask is discreet and used to match the figure.

Anyone who has already seen the film or the show is in good hands with the Jagstzell figure art. If you don’t know it yet, be sure to check it out.

There are more photos online at schwaepo.de