What’s a parent to do?

A scene from "Carnage" from Sony Pictures Classics

French playwright Yasmina Reza’s “God of Carnage,” which won the 2009 Tony Award for best play, has been adapted for the big screen and titled simply “Carnage.” The screenplay was written by Reza and the film’s director, Roman Polanski. Unlike the original play, which was set in Paris, the Broadway production and film are set in New York.

As the movie opens, children play in a Brooklyn park — and a boy who’s being teased by fellow tweens turns to face them. A slim tree branch he swipes through the air leaves another boy injured, and the film cuts quickly to two sets of parents attempting to smooth over the hurt.

Investment banker Nancy Cowan (Kate Winslet) and corporate attorney Alan Cowan (Christoph Waltz) are parents of the “bully,” while writer Penelope Longstreet (Jodie Foster) and wholesaler Michael Longstreet (John C. Reilly) are parents of the “victim.”

The Longstreets have invited the Cowans to their apartment hoping for some sort of resolution, but obstacles abound. First, Penelope’s fondness for melodrama and martyrdom. Then Alan’s inability to leave work at the office. When Penelope’s apple-pear cobbler doesn’t sit well with Nancy, things get messy.

Penelope cares deeply about everything — from the contents of her refrigerator to the plight of people in Darfur. Alan readily admits to not giving a damn about much of anything. It’s this contrast in characters, and the conflict it creates, that gives the film its bite.

Nearly the entire film, only 80 minutes in length, is shot in real time using just a single set — mainly the Longsteet’s living room. But kitchen and bathroom are sometimes called into service — as are bucket, blow dryer and bottle of Scotch.

Foster describes the film as “a comedy of manners.” Manners dissolve quickly into mayhem as marital spats and misunderstandings spiral out of control. The more civilized these couples seek to become, the more their savagery shines. It’s perfectly pleasurable to watch.

The movie feels faster and sharper than the play somehow. The dialogue feels funnier. The absurdity feels more plausible. The camera allows close-ups that just aren’t possible when watching a play performed on stage. And the movie’s ending has an unexpected twist.

Still, parents leave both play and movie asking similar questions. Were the bully’s actions justified? Should he apologize? What if the apology’s insincere? When can parents lecture other people’s children? How far does the apple (or pear) fall from the tree? Is being a “snitch” a bad thing? Should parents fight their children’s battles?

— Lynn

Note: Although “Carnage” is rated “R” for language, many parents will find it rather mild and feel perfectly comfortable taking their teens (though teens will be less amused than adults by the film’s satirical slant on parenting).

Coming up: More couples behaving badly, My favorite New Year’s message

Neanderthals making nice?

Cast of Arizona Theatre Company production of God of Carnage by Yasmina Reza

There’s a point in the play “God of Carnage” where things take a decided turn, but making it that far into the Arizona Theatre Company production, which I saw on opening night, took some doing. I found myself thinking, “I can’t take any more of these plays about people whining on pristine sofas.”

Soon slurs, swearing and something best left unnamed before the uninitiated start spewing forth — and the story develops at a quickening pace. Still, theater afficianonado Alan Handelsman, who was part of the first class of ASU Gammage Goer reviewers, felt “there was something missing” in the opening night performance.

Handelsman and his wife Anita saw the play a couple of years ago in New York City, and he’s got a clear preference for the NYC version’s vibe — feeling it had more “energy, commitment, rhythm, flow, surprise, pacing, abandon, arc and continuity.” Even simple prop choices, he recalls, gave the NYC production “a much greater sense of impending danger.”

Clockwise: Joey Parsons, Bob Sorenson, Amy Resnick and Benjamin Evett in the ATC production of God of Carnage

The Arizona Theatre Company production was good, says Handelsman, but not great. Despite being surrounded at the Herberger Theater Center by people laughing loud and proud, I’m afraid I have to concur. “God of Carnage” felt a bit of a letdown — perhaps because I went into it expecting so much. “God of Carnage” won the 2009 Tony Award for best play.

Other people whose opinions I respect felt differently. I saw Frances Smith Cohen, artistic director for Center Dance Ensemble, and her daughter Rachel Cohen in the theater foyer after the show, and both praised its artistry. Rachel loved “the writing and directing” and Frances “the contrast in characters.” My own theater baby Lizabeth, who has studied dance with both, would likely take their side.

We talked via “Skype” after I got home from the theater Saturday night, and Lizabeth was shocked when I shared my tepid response to the show. She saw “God of Carnage” in Chicago last year while touring colleges with my husband James. Both remember it being fabulously funny.

Lizabeth described it as “well written and well acted” — and shared that she loved watching the different characters evolve during the course of the story. Seems she was amused by just how “quickly the adults became the children.”

“God of Carnage” centers on two couples’ attempts at a civilized conversation after their sons spar on a playground. “You just don’t expect it to go as far as it does,” reflects Lizabeth. “I don’t think I’ve ever seen dad laugh that much,” she recalls. “He totally let loose.”

“Maybe.” she says, “it was his way of letting off steam after all the things that happened when we were little.” Seems she’s observed that the things we sometimes took too much to heart as young parents now fall into more perspective. “You used to take it all so seriously,” she told me. “You guys have learned to let go since then.”

The journey from kindergarden to college does effect profound changes. But the parents in “God of Carnage” have survived only grade school, and the perils of middle school are proving a bit more daunting. After meeting to discuss one boy’s use of a stick and another’s missing teeth, they demonstrate that words are perhaps the worst weapons of all.

The parents who seem so perfectly civilized to begin with soon dissolve into shreiking narcissism and nihilism, something that feels more believable once alcohol enters the picture. I hate to think any of us could trade “nice” for “Neanderthal” so quickly in its absence.

Handelsman, a highly-trained hypnotherapist, says the play reveals “how many different layers humans live in” — showing “the difference between the person we show, and the person we are, and the person we may be afraid we are.” Confronted with the final image in this production, we realize that humans haven’t evolved nearly as far as they imagine.

— Lynn

Note: This original production, directed by Rick Lombardo, is a co-production of Arizona Theatre Company and San Jose Repertory Theatre (which performs it next spring). Yasmina Reza has teamed with Roman Polanski to write the screenplay for a movie titled “Carnage,” directed by Polanski and scheduled for mid-December release. It stars Jodie Foster, Kate Winslet, Christoph Waltz and John C. Reilly. Click here to learn about another opportunity to see the play performed live. Please note that “God of Carnage” contains “mature content.”

Coming up: Advice for young filmmakers, Handelsman shares his “Wicked” ways, Holiday shopping “arts and culture” style, The fine “Art” of Yasmina Reza

Photos: Tim Fuller for Arizona Theatre Company

Moms in musical theater

Patti LuPone as Mama Rose in Gypsy on Broadway-Photo by Joan Marcus. LuPone performs at Scottsdale Center for the Performing Arts March 3, 2012.

I got to thinking about mothers in musical theater the other day while looking forward to the return of “Mamma Mia!” to ASU Gammage this week, which my daughter Lizabeth is eager to see for a second time. Apparently watching a fictional parent prance around in bell bottoms has more appeal than living with the real thing.

Alice Ripley as Diana in Next to Normal-Photo by Joan Marcus

We’ve seen all sorts of parents portrayed on Valley, and other, stages. We saw Alice Ripley perform the role of “Diana” in “Next to Normal” at the Balboa Theatre in San Diego. Estelle Parsons perform the role of “Violet” in “August: Osage County” at ASU Gammage. And Rich Hebert perform the role of “Dad” in “Billy Elliot” at ASU Gammage as well.

“Mamma Mia!” follows the adventures of a young daughter, “Sophie,” readying to wed. She lives on an island with her mom, “Donna,” who isn’t quite sure which of three suitors from her own youth might be Sophie’s biological father. It’s all set to music by ABBA and it’s an especially fun show for folks who like their theater upbeat and awash with bright colors.

Madalena Alberto as Fantine in Les Mis-Photo by Michael La Poer Trench

A mother facing a more serious dilemma, the care of her young daughter in her absence, is at the heart of the next musical coming to ASU Gammage — Les Miserables. As a mom named “Fantine” who has sacrificed much for her child lay dying, an ex-convict named “Jean Valjean” vows to keep the child “Cosette” safe. It proves quite a task given his own past and stirrings of revolution in early 19th century France.

The perplexing nature of parenting seems sometimes to be the only thing fueling the future of theater craft. A quick review of shows coming to Valley stages during the 2011/12 season reveals a long list of works filled with mommy or daddy issues — some set to music, others just words.

Kaye Tuckerman as Donna and Chloe Tucker as Sophie in Mamma Mia!-Photo by Joan Marcus

Arizona Theatre Company presents the Yasmina Rez play “God of Carnage” in Tucson and Phoenix this fall. It’s the tale of two couples brought together by a playground fight between their 11-year-old sons. I’m delighted to learn that mothers and daughters aren’t always the ones under the microscope.

Phoenix Theatre performs a classic work of musical theater about stage mothering gone horribly wrong next spring. “Gypsy” is the story of “Mama Rose” and the two daughters forced to endure her insecurity and interference. That woman needs to cut the cord already.

Arizona Jewish Theatre Company presents “The Blessing of a Broken Heart,” based on a book in which Sheri Mandell shares experiences surrounding the murder of her 13-year-old son Koby and his friend Yosef. It’s been adapted for the stage by Todd Salovey, and reviews of other productions paint it as gut-wrenching.

While I suppose it’s tempting for some to relish all those ABBA moments without experiencing more sobering reflections on parenting, I’m looking forward to doing both.

— Lynn

Look to these nuns for some serious fun... (Photo: Scottsdale Center for the Performing Arts)

Note: Looking for an additional way to enjoy mother/daughter or grown-up friend time? Head to Scottsdale Center for the Performing Arts Sat, May 21 for the “Sing-Along Sound of Music.” $12/adults, $6 children ages 3-12. Warm up & costume contest at 2pm, film and sing-along at 2:3opm. Hosted by “Sister” Patti Hannon of “Late Night Catechism.” Click here for info on costume discount available from Mardi Gras costumes in Scottsdale.

Coming up: Summer dance classes, Ode to season tickets, Seuss meets symphony, Musings on photo I.D.

Seeing red

It’s starting to feel like a bit of a conspiracy theory. Now that my daughter Lizabeth is readying to leave Arizona for college, several of the shows she’s most eager to see have started popping up around the Valley.

We were “seeing red” recently when we realized she’ll be well into her freshman year (at a college yet to be decided) before the Arizona premiere of a play that won six 2010 Tony Awards — including “best play.”

The work is John Logan’s “Red” — which is based on the true story of an artist grappling with “the commission of a lifetime.” The play is described as “a searing portrait of an artist’s ambition and vulnerability.”

Apparently matters are complicated by a new assistant who questions the artist’s “views of art, creativity and commerce.” Their master/novice dialogue explores an age-old query: “Is art meant to provoke, soothe or disturb?”

“Red” is the final work in the recently unveiled Arizona Theatre Company 2011-2012 season, which opens with a world premiere titled “Sherlock Holmes and the Adventure of the Suicide Club.” It’s a Jeffrey Hatcher work based on “The Suicide Club” by Robert Louis Stevenson and characters created by Arthur Conan Doyle.

The 45th anniversary season slate for Arizona Theatre Company also features the Southwest premiere of Yasmina Reza’s “God of Carnage,” which won the 2009 Tony Award for “best play.” Picture grown-ups trying to be civilized as they discuss their children’s misadventures on a playground — only to unravel as “political correctness” dissolves into “character assasination.”

The fact that bullying is such a hot topic of discussion these days makes this work especially intriguing. Perhaps it’ll answer one of my one burning questions: Why are parents (and politicians) who bully so suprised when children follow in their footsteps?

They’ll also present the Southwest premiere of “Daddy Long Legs” — a musical that’s based on the novel by Jean Webster. It features book by John Caird (who also directs), and music/lyrics by Paul Gordon.

“Daddy Long Legs” couples coming of age saga and love story. Told “through a series of letters,” it’s described as “a testament to the power of the written word.”

Valley theater-goers might have had more experience with the next show in ATC’s 2011-2012 season — “Alfred Hitchcock’s The 39 Steps.” Lizabeth and I first saw this one at ASU Gammage, then at the Utah Shakespeare Festival.

“The 39 Steps,” which features four actors in well over 100 roles, is described by some as “spy novel meets Monty Python.” It’s the tale of a mild-mannered man who finds himself tangled up with murder, espionage and a dash of flirtacious misadventure. When well cast (which I certainly expect to be the case with ATC), it’s one of the funniest shows around.

An additional offering in the ATC 2011-2012 season is Simon Levy’s adaptation of “The Great Gatsby” — based on the F. Scott Fitzgerald novel of the same name. It explores a world of wealth and privilege during the “jazz age” of 1920s America.

It’s hard to imagine a stronger season. And while Lizabeth is truly disappointed she won’t be here to experience these shows, ATC’s 2011-2012 offerings will serve me well by providing poignant, powerful fare and a much needed distraction as I miss my favorite theater companion.

— Lynn

Note: Arizona Theatre Company presents their “Curtains Up Cabaret 2011” Sat, April 30 at the Herberger Theater Center. Click here to learn more.

Coming up: Musings on “message” movies, Valley teen does comedy