Podcasts about god of carnage

“God of Carnage,” produced by Performing Arts of Woodstock, will run weekends tomorrow, March 8 through March 24 at the Mescal Hornbeck Community Center in Woodstock, New York.

Actor Paul Bazely joins us to talk about The Father and the Assassin, at the National Theatre. He tells us about the challenges of playing one of the 20th century's most recognisable figures, Mahatma Gandhi.Our reviews this week are God of Carnage at the Lyric Hammersmith, and Red Pitch, starring Sex Education's Kedar Williams-Stirling, at the Bush Theatre.Plus, how will the National Theatre celebrate its 60th in October? And what we know about The Devil Wears Prada the musical, which is coming to the West End in 2024.Keep up to date all the time and read our latest reviews and news here. Hosted on Acast. See acast.com/privacy for more information.

In this episode READ MORE PLAYS hosts Ricardo Frederick Evans and Jennifer Sassaman discuss God Of Carnage By Yasmina Reza!  Theme music by Kalyn Harewood, with additional music by Bob Sassaman.Links:Follow us on Twitter, Facebook, and Instagram for updates and discussions you can participate in.  Support us on Patreon to get bloopers, dramaturgy, and other bonus content. Please like and subscribe wherever you get your podcasts.

Maggie Able, founder of the Grand, Travelers, & Scrim Youth Theatre and Ellen McCormick, Director of the play ‘God of Carnage' which will be a joint Grand, Travelers & Scrim/Gaspipe Theatre Company production. It is September 22, 23 and 24, 7pm at the Art Academy of Milton. We'll talk about the joint theatre efforts of GTS and Gaspipe, why they bring theater to the Milton area and the great venue in which this show will be placed. We'll talk about ‘God of Carnage' which is an enchanting play about parents acting like kids and the chaos that ensues. Look to Facebook for information on these to theatre companies or www.gtsyouththeatre.com/shows

Today - Colorado student teachers will have access to up to $22,000 in stipends under a bill signed into law this week. Also, God of Carnage, is running from June 3rd through June 6th at the Wright Opera House. Support the show: https://www.montrosepress.com/site/forms/subscription_services/ See omnystudio.com/listener for privacy information.

This week (6/3 & 6/5) on ART ON THE AIR our entire show features the Chicago-based La Tosca-Chicago (Italian Mambo Ensemble) with its founders Andrea Falcone and Stephanie Pielok with a musical repertoire often found in a Parisian or Neapolitan Café Our spotlight is on the Dunes Summer Theatre next production “God of Carnage” with artistic director, Steve Scott, plus details about their June Fund-raising Gala. Tune in on Friday at 11am for our hour long conversation with our special guests or listen on the web at WVLP.org Listen to past ART ON THE AIR shows at brech.com/aota. Rebroadcast on WVLP - Monday at 5pm and Sunday (6/1) on 7pm on Lakeshore Public Radio 89.1FM or lakeshorepublicradio.org/programs/art-air Please have your friends send show feedback to Lakeshore at: radiofeedback@lakeshorepublicmedia.org Send your questions about our show to AOTA@brech.com LIKE us on Facebook.com/artonthairwvlp to keep up to date about art issues in the Region. New and encore episodes also heard as podcasts on: anchor, NPR ONE, Spotify Tune IN, Amazon Music, Apple and Google Podcasts, plus many other podcast platforms. Larry A Brechner & Ester Golden hosts of ART ON THE AIR. https://www.lakeshorepublicradio.org/show/art-on-the-air/2022-05-18/art-on-the-air-june-5-2022

The Tony Award-winning play will be staged from May 6th through the 14th at the Liddy Doenges Theatre in the Tulsa PAC.

The thespians discuss Yasmina Reza's play GOD OF CARNAGE (2006), and the Roman Polanski's film adaptation CARNAGE (2011). They also discuss the recent David Mamet “controversy”, vomiting, parenting, and the dark side of human nature. 

After a long hiatus (blame COVID), Tim talks to actors Devin Whitten & Casey Radle about their production of God of Carnage at StageWorks Theatre! Join them as they discuss the good and evil in all of us. They also touch on the topics of recent books, psychology, Olympic sport and more! In the second half, Dev revels in the joy of theatre education and podcasting, and Casey discusses her passion for lifelong work as a mental health professional. ___________ Wanna find us? God of Carnage info: StageWorks February 11 - 27, 2022 Devin Whitten, guest Facebook: www.facebook.com/devashwhitcoaching Twitter: @devinashleywhit Instagram: @devinashleywhitten Website: www.devashwhit.com The POPCast with Aura & Dev Twitter: @thepopcastpod Instagram: @thepopcastpod Website: www.thepopcastpod.com Strutting & Fretting Podcast Website: struttingandfretting.blubrry.net Facebook: www.facebook.com/fretme Twitter: www.twitter.com/fretme Instagram: https://www.instagram.com/strutfretpodcast/ Survey: www.blubrry.com/struttingandfretting/survey Timothy Eggert, host Facebook: www.facebook.com/actor.timothy.eggert Twitter: www.twitter.com/dangertim Instagram: www.instagram.com/timothyeggert Fabletown info: www.fabletownseries.com

Two sets of parents sitting down for a civilised discussion about how to handle their offsprings' fight. What could be simpler? Get your clafoutis out of the fridge, spruce up the lounge and puke proof the art books - things are about to get messy as we discuss The God of Carnage. We assure you nothing superfluous was added in the making of this podcast.Co Hosted by Lexie Ward and Meg Robinson.Music By Connor Barton (Sethera Sound Design)Find SCRIPT IN HAND on Twitter/Instagram/Facebook  - Give us a like/follow to keep up to date with episode information and extra content.EPISODE BIBLIOGRAPHYTheatre Talk - Interview with Broadway Castwww.youtube.com/watch?v=S-mrmWwksy4Carnage Film Trailer (2011)www.youtube.com/watch?v=ZPX6-4Bo7XUThe Guardian Reviewhttps://www.theguardian.com/stage/2008/mar/26/theatre1Interview with Yasmin Rezahttps://www.theguardian.com/stage/2008/mar/26/theatre1British Theatre Guide Reviewhttps://www.britishtheatreguide.info/reviews/godcarnage-revInterview with Reza and Christopher Hamptonhttps://latimesblogs.latimes.com/culturemonster/2011/04/yasmina-reza-and-christopher-hampton-talk-god-of-carnage-1.html

Two buckets of Jack in the box mini tacos; recording from Bud’s car, parked in front of The Office on a Friday night; in which it turns out Vincent really likes plays; the character assassination of a local theatre director; “what was the vomit made out of?” --- Send in a voice message: https://anchor.fm/normaltheatrepodcast/message

The plot? It seems simple enough. Two couples meet to discuss the fight between their children. But what occurs over the course of this sharp play is anything but simple. Yasmina Reza's "God of Carnage" asks questions about the masks we wear and the loyalties we keep . . . or pretend to keep. Listen in as Jackson and Jacob weave through the complicated shifting alliances and power dynamics of this brilliant script.  ------------------------------ Please consider supporting us on Patreon. For as low as $1/month, you can help to ensure the No Script Podcast can continue.  https://www.patreon.com/noscriptpodcast   We want to keep the conversation going! Have you read this play? Have you seen it? Comment and tell us your favorite themes, characters, plot points, etc. Did we get something wrong? Let us know. We'd love to hear from you. Find us on social media at:  Email: noscriptpodcast@gmail.com Facebook: https://www.facebook.com/No-Script-The-Podcast-1675491925872541/ Instagram: https://www.instagram.com/noscriptpodcast/ Twitter: https://twitter.com/noscriptpodcast/ ------------------------------ Our theme song is “Blessed” by Purple Planet Music. Credit as follows: Music: http://www.purple-planet.com ------------------------------ Logo Design: Jacob Mann Christiansen Logo Text: Paralines designed by Lewis Latham of http://lewislatham.co/ ------------------------------ Thanks so much for listening! We’ll see you next week. ------------------------------

In the past month, North Bay stages have been occupied by vampires, ghosts, a Thing, and Transylvanian transvestites. The Novato Community Playhouse now finds itself overrun with the most ghastly, heinous, and horrifying creatures ever to set foot on a theatrical stage. I am referring, of course, to white upper middle-class parents. They are the featured monsters in playwright Yasmina Reza’s God of Carnage, directed by Terry McGovern and running at the Playhouse through November 11. Alan and Annette Raleigh (Ken Bacon & Jena Hunt-Abraham) have come to the home of Michael and Veronica Novak (Marty Lee Jones & Heather Shepardson) to discuss the matter of a fight between their sons. It seems that the Raleigh’s son knocked two teeth out of the mouth of the Novak’s son with a stick. After a quick review of the Novak’s statement on the incident (and the decision to change the verbiage to reflect the Raleigh boy being “furnished” with a stick, as opposed to “armed”), the two couples sit down to awkwardly determine what to do next. Over the next ninety intermission-less minutes, the façade of civilized gentility will give way to tribal warfare. Reza’s play has always seemed to me to be a grade B knock-off of Edward Albee’s Whose Afraid of Virginia Woolf? If it was Reza’s attempt to show that who we appear to be is rarely who we really are, she’s at least fifty years late to that party. What she adds to that familiar trope is the omnipresence and annoyance of cell phones in our lives and a considerable quantity of stage vomit. Ah, yes, the vomit. Within the theatre community, this show has garnered the nickname “the vomit play” as there is a scene that requires (per the stage directions) “a brutal and catastrophic spray of vomit.” While it’s always interesting to see how a company accomplishes this, it’s really little more than a device to represent the verbal garbage spewn by many on a daily basis. The Novaks and Raleighs have been vomiting on each other all evening, why not take it to its logical conclusion? Have I mentioned yet this is a comedy? Yes, there are plenty of opportunities to laugh at the parents’ idiocy, but the joke is ultimately on the audience. Go ahead. Laugh at them, because they couldn’t possibly represent you. The late, great cartoonist Walt Kelly’s “Pogo” line comes to mind: “We have met the enemy and he is us.” ‘God of Carnage’ runs Friday through Sunday through November 11 at the Novato Theater Company Playhouse in Novato. Friday and Saturday evening performances are at 8 pm; there’s a Sunday matinee at 2pm. For more information, go to novatotheatercompany.org.

This autumn's offering from the American Theatre Company is Yasmina Riza's Tony Award winning play, God of Carnage. Two couples meet one evening to discuss a playground fight between their sons during which one boy has lost his two front teeth. The discussion starts off cordial and polite but as the evening wears on and alcohol loosens inhibitions, polite conversation and social etiquette dissolve into a comedic exchange of abuse and accusations. According to director Andrew Johnson, “it's a farce about the social conventions that bind us and how we are prisoners of our own memetic programming”.  God of Carnage runs from 8-17 November, The Warehouse Studio Theatre, Rue Waelhem 69A, Schaerbeek

In 2009, Yasmina Reza's dark comedy, "God of Carnage", received the Tony Award for Best Play. That's kind of a big deal. Now, Dionysus Theater Company of Vernon, Connecticut, will be tackling Carnage in their unique black box theater space at the Vernon Arts Center. Show dates are September 7-9 and 14-16. Visit artscentereast.org for tickets, and dionysustheatercompany.org to learn more about the group and their productions. The founder of Dionysus, Gabbi Mendelsohn, along with Sharon Forbush and Marisa Clement, sat with me to discuss the show, the theater, and what it means to be a black box. #tonywinner #godofcarnage #dionysus

We're not just randomly saying words on this podcast, we're saying *something*. And we're saying *something* with Marcia Gay Harden, Oscar winner for Pollock, Tony winner for God of Carnage, and current star of the CBS hit drama Code Black. Find out why her Tony award was in a cardboard box in a basement for 6 years, the lengths she went to to meet a casting director for a soap opera (which would probably get you arrested today), and about the interesting neighbors she had while starring in Angels in America (who would definitely get arrested today). Listen in to Podcast #101 of THE NIGHT TIME SHOW!

As theatergoers, we occasionally attend plays we never previously liked, and end up changing our minds by the end. Maybe the acting and directing somehow assist the script in transcending its limitations, altering the show to make some powerful social statement, finding some new way to show us something we’d not noticed in previous productions. For me, Yazmina Reza’s acclaimed dark comedy God of Carnage has always been such a play. I don’t like it. I’ve never liked it, and its 2009 Tony award for Best Play continues to perplex me. Still, I am quite willing, eager even, to be proved wrong. As a theater writer, and a theater fan, nothing is more exciting than being proved wrong. Which brings us to Left Edge Theater’s rambunctious new staging at Luther Burbank Center. Unfortunately—though I did enjoy a number of things about the production—its intermittent pleasures were not enough to change my view that Reza’s satirical stab at modern social relationships is poorly constructed, lacking in true insight, and ugly to a fault. And no, graphic onstage vomiting—though entertaining in a way, and very well done here—does not qualify as a social statement. Though it is pretty funny. The idea of the play certainly has merit. Two pairs of suburban parents meet to discuss a playground scuffle between their two eleven-year-old sons. After initial attempts at civility, the convivial conversation quickly devolves into caustic verbal attacks, vitriolic blame slinging, blatant displays of marital discord, some abusive treatment of inanimate objects, and general drunken mayhem. The point, such as it is, is that civilization is a fairly weak and flimsy construct. Though we have become domesticated by the artificial constraints of society, we are all just one step away from the kind of brutal behavior that defined our warring, primitive ancestors. That’s hardly a fresh message. From ‘Lord of the Flies’ to ‘The Hunger Games,’ the subject has been pretty fully excavated. Heck, anyone who watches a Donald Trump speech might come to the same conclusion. That’s all right, in and of itself. Theater and literature repackage old messages all the time. The goal, though—one would hope—is to do it in a way that is fresh and clever, or at the very least, fun to watch. As the parents of the young victim, Ron Severdia and Melissa Claire exude varying levels of passive-aggressive hostility from the get-go. Heather Gordon and Nick Sholley, the parents of the attacker, convey palpably miserable frustration. Overall, despite their efforts, the script does not allow these characters any of the likability necessary for audiences to identity with these people, a vital factor in effective satire. Under Argo Thompson’s lean, unfussy direction, the four-actor cast clearly works hard to keep things light, playing their characters’ essential repugnance slightly over the top, straining hard to make the most of the jokes Reza has buried in her script’s quicksand of verbal meanness. But there are few real opportunities for levity here, and despite a few inspired moments of physical comedy—including the aforementioned vomiting scene and its messy aftermath—all that’s left for the actors is to illuminate the moments of dark humor in the dialogue. Thompson’s direction does bring a bit of a fresh perspective to the material, depicting the characters’ abrupt slide into bad behavior, not as a shocking surrender to primal savagery—as portrayed in other productions—but as a goofy, tantrum-tossing, sulking-and-pouting eruption of childishness. That’s a smart directorial choice, but it’s just not enough to balance out the bland cynicism of Reza’s viewpoint, or to change my mind that God of Carnage, even when reasonably well done, has worse problems than not being very funny. Sadly, it’s just not that good of a play. ‘God of Carnage” runs Fridays and Saturdays through April 2, at Luther Burbank Center. Details at www.leftedgetheater.com I’m David Templeton, Second Row Center, for KRCB

Bob Wilcox and Gerry Kowarsky review (1) THE LION IN WINTER, by James Goldman, at the Repertory Theatre of St. Louis, (2) SUNSET BABY, by Dominique Morisseau, at The Black Rep, (3) NEWSIES, by Alan Mencken, Jack Feldman & Harvey Fierstein, at the Fox Theatre, (4) ENCHANTED APRIL, by Matthew Barber, at the Kirkwood Theatre Guild, (5) GOD OF CARNAGE, by Yasmin Reza & Christopher Hampton, at the Theatre Guild of Webster Groves, and (6) THE OTHER SIDE, by David Hawley, at First Run Theatre.

Drama - whether in an Oscar-nominated film on the big screen or in a play in an intimate theater - leaves footprints on its audience. We can't help but be changed by what we have just seen. Our unconscious mind keeps recording our experiences, barely distinguishing between personal drama and that which is on the stage or screen. Today's guests are currently involved in the play God of Carnage: A comedy about adults behaving badly at the Malibu Playhouse. Graeme Clifford, as the Director/Producer, A Martinez as Michael Novak, and Kathleen Dunn, as Veronica Novak, take the audience on a roller-coaster ride of emotions.

Bob Wilcox and Gerry Kowarsky review (1) THE WHO'S TOMMY, by PeteTownshend, Des McAnuff, John Entwistle & Keith Moon, at Stray Dog Theatre, (2) GOD OF CARNAGE, by Yasmina Reza, at the Repertory Theatre of St. Louis, (3) HAIRSPRAY: THE MUSICAL, by John Waters et al., at The Black Rep & Washington Univ., (4) BLOOD WEDDING, by Federico Garcia Lorca, at Upstream Theater, (5) JUST A SONG AT TWILIGHT, book by Chuck Lavazzi, at West End Players Guild, (6) NUTS, by Tom Topor, at St. Louis Actors' Studio, and (7) SPECTRUM 2011, by various playwrights, at First Run Theatre.

Robin Milling chats with movie star Jeff Daniels, starring in Paper Man and currently back on Broadway in God of Carnage. Daniels shares stories about his family lumber business, living in his hometown of Michigan and his passion for his theater company, The Purple Rose.

Janet McTeer talks about her experiences in "God of Carnage", having starred in the play's London premiere (where the characters were still French) and now playing it on Broadway (as an American) and whether there are differences between her performances as Veronique and Veronica. She also shares her highly fortuitous experience of applying to the top English acting schools, with virtually no prior stage experience; the shock of moving from her hometown of York to London and the emotional crisis that hit her while attending the Royal Academy of Dramatic Art; her first jobs out of school, including the Nottingham Playhouse, the Royal Exchange in Manchester and, after only two years, the Royal Shakespeare Company (in "A Midsummer Night's Dream" as Hippolyta and Titania); her participation as more than simply a performer in the development and production of "A Doll's House" -- and why the role ultimately caused her to take a four year hiatus from the stage; why working on Broadway is such a thrill even after her great acclaim in England; the fun she had playing Petruchio in an all-female "The Taming of the Shrew" at London's Globe Theatre; and how she made the choice between playing Elizabeth or Mary in the acclaimed revival of "Mary Stuart". Original air date - April 21, 2010.

Janet McTeer (1997 Tony Award winner for Best Performance by an Actress in a Leading Role in a Play for “A Doll’s House”) talks about her experiences in “God of Carnage”, having starred in the play's London premiere (where the characters were still French) and now playing it on Broadway (as an American) and whether there are differences between her performances as Veronique and Veronica. She also shares her highly fortuitous experience of applying to the top English acting schools, with virtually no prior stage experience; the shock of moving from her hometown of York to London and the emotional crisis that hit her while attending the Royal Academy of Dramatic Art; her first jobs out of school, including the Nottingham Playhouse, the Royal Exchange in Manchester and, after only two years, the Royal Shakespeare Company (in “A Midsummer Night's Dream” as Hippolyta and Titania); her participation as more than simply a performer in the development and production of “A Doll's House” -- and why the role ultimately caused her to take a four year hiatus from the stage; why working on Broadway is such a thrill even after her great acclaim in England; the fun she had playing Petruchio in an all-female “The Taming of the Shrew” at London's Globe Theatre; and how she made the choice between playing Elizabeth or Mary in the acclaimed revival of “Mary Stuart”.

Janet McTeer talks about her experiences in "God of Carnage", having starred in the play's London premiere (where the characters were still French) and now playing it on Broadway (as an American) and whether there are differences between her performances as Veronique and Veronica. She also shares her highly fortuitous experience of applying to the top English acting schools, with virtually no prior stage experience; the shock of moving from her hometown of York to London and the emotional crisis that hit her while attending the Royal Academy of Dramatic Art; her first jobs out of school, including the Nottingham Playhouse, the Royal Exchange in Manchester and, after only two years, the Royal Shakespeare Company (in "A Midsummer Night's Dream" as Hippolyta and Titania); her participation as more than simply a performer in the development and production of "A Doll's House" -- and why the role ultimately caused her to take a four year hiatus from the stage; why working on Broadway is such a thrill even after her great acclaim in England; the fun she had playing Petruchio in an all-female "The Taming of the Shrew" at London's Globe Theatre; and how she made the choice between playing Elizabeth or Mary in the acclaimed revival of "Mary Stuart". Original air date - April 21, 2010.

One of "God of Carnage"'s current combatants on Broadway, Christine Lahti, talks about playing the range of emotions that consume her character over the course of the play's mere 80 minutes, and how the new ensemble developed the rapport for such a physical and intimate work. She also discusses her college years, including the dual lures of social activism and theatre performance; her experience understudying Madeline Kahn and Sigourney Weaver in the premiere of John Guare's "Marco Polo Sings a Solo"; her early Broadway work in plays by Michael Weller and Steve Tesich; being directed by and co-starring with the legendary George C. Scott in "Present Laughter", along with Broadway newbies Nathan Lane and Kate Burton; how studying with another iconic figure, Uta Hagen, taught her how to be "director-proof"; her multiple appearances in Jon Robin Baitz's monologue-driven "Three Hotels"; and her great affinity for the work of Wendy Wasserstein, evidenced by her performances in "The Heidi Chronicles" (on Broadway), "Third" (at the Geffen Playhouse) and "An American Daughter" (for television). Original air date - February 10, 2010.

One of "God of Carnage"'s current combatants on Broadway, Christine Lahti, talks about playing the range of emotions that consume her character over the course of the play's mere 80 minutes, and how the new ensemble developed the rapport for such a physical and intimate work. She also discusses her college years, including the dual lures of social activism and theatre performance; her experience understudying Madeline Kahn and Sigourney Weaver in the premiere of John Guare's "Marco Polo Sings a Solo"; her early Broadway work in plays by Michael Weller and Steve Tesich; being directed by and co-starring with the legendary George C. Scott in "Present Laughter", along with Broadway newbies Nathan Lane and Kate Burton; how studying with another iconic figure, Uta Hagen, taught her how to be "director-proof"; her multiple appearances in Jon Robin Baitz's monologue-driven "Three Hotels"; and her great affinity for the work of Wendy Wasserstein, evidenced by her performances in "The Heidi Chronicles" (on Broadway), "Third" (at the Geffen Playhouse) and "An American Daughter" (for television). Original air date - February 10, 2010.

The entire cast of Yasmina Reza’s celebrated play, “God of Carnage,” actors: James Gandolfini, Marcia Gay Harden, Jeff Daniels, and Hope Davis, discuss their work in this comedy of manners.

This week The Guest List talks to Mike Oldfield who’s now followed in the footsteps of Paul McCartney and Sting by releasing a classical album. The man behind Tubular Bells talks about why Music of the Spheres is a new chapter in his career. Plus the star of Rebus .. Messiah and The Vice, Ken Stott, will be talking about his latest role in a new West End production called God Of Carnage written by Yasmina Reza who was behind the smash hit – Art.