In the aftermath of child-on-child violence that left victim Henry “disfigured,” four parents are forced to hammer out the finer details of the situation in God of Carnage. Town Players of Newtown is presenting Yasmina Reza's Tony and Olivier Award-winning comedy as its 2026 season opener.

Annette Raleigh (played by Annette George) and husband Alan (Rich Lamkin) are the angry, disconnected parenting-pair to aggressor Benjamin. While playing in the park, Benjamin, “furnished” with a stick, struck Henry, causing him to lose at least one tooth and damaging another.

Veronica Novak (Liesbet Theil) and her husband Michael (Matt Donovan) open their home to the Raleighs to further discuss the situation and release an “official statement” about what happened.

While discussing the issue, Alan’s phone continuously buzzes in his pocket. An attorney, Alan finds himself in the middle of a high-profile medical case. A medication his shareholders produced seems to have some nasty side effects that were leaked to media two weeks before the shareholders could get a handle on the issue.

Michael tries to support Veronica by reminding her there is a dessert in the kitchen they were saving for the Raleighs. As the four eat the dessert and continue forced pleasantries, it becomes clear Alan is not a present father. His phone constantly buzzes and he is constantly on it, answering phone calls and e-mails for work.

During the beginning of the play, the audience learns Michael recently let the family hamster loose because it was “making noise all night and Henry couldn’t sleep.” The hamster was loved by the Novaks’ daughter, who has since vowed to never speak to her father again.

When Alan is off the phone for a spare moment, Veronica tries to dispel the claim that Benjamin is a “savage,” but Alan fully agrees with the comment. His comments continue to drive a rather large wedge between the two couples.

The conversation continues, hitting notes of misogyny, the gender divide of household chores and responsibilities, and the animalistic and thuggish nature of young boys. The hamster, of course, then becomes another talking point for Annette in criticizing Michael’s actions. While these tense topics are being bounced back and forth between the four adults, Annette begins to reflect on her role as mother and homemaker and suddenly becomes very ill.

She vomits all over the coffee table the group is gathered around, which causes Veronica to lash out and express concern for her books rather than her guest. The Raleighs take a moment to clean themselves up in the bathroom, and once everyone returns to the living room, a call comes through on the Novaks’ house phone. Michael’s mother was prescribed the drug Alan is defending in court that has caused a massive media storm Alan is trying to control in the Novaks’ home through his personal cell phone.

As the group continues heated deliberations, it becomes clear the couples are pitted against each other while also being pitted against their own partners. Alan hurls insults at the Novaks and the Novaks return them.

Eventually, Michael turns to the decanter on the shelf and pours three glasses of aged rum. Veronica initially protests before eventually pouring herself a drink. The chaos then devolves into drunken chaos.

At certain points, Annette and Veronica become a team against Michael and Alan. The men, of course, play the game right back and spar with their wives. Then, Alan and Veronica seem to be on the offensive, with Annette and Michael on defense. Though the four adults should be batting in their partners’ cages, the lines get blurred, alliances are formed and broken, and no one seems to be thinking of the children anymore.

The play ends with a phone call from the Novaks’ daughter asking about the hamster and whether Veronica had found it yet. She explains that she has not, but there is no need to worry because there is plenty of food for it to eat. Veronica also soothes her daughter, saying that she will, indeed, talk to her father again. Omitted from the exchange is the previously discussed likelihood of what happened to the hamster: something bigger and faster probably ate it before daybreak.

The play examines themes of misogyny and a “woman’s place in the home” against the backdrop of a violent child. It explores the regret of parenthood, while also allowing adults to delve back into the primal nature children possess. Toward the end, with the liquid courage starting to flow between the four adults, the group starts to discuss the nature of “savages” in Africa, as Veronica studies African countries and their cultures.

God of Carnage puts two marriages on the fritz on full display and shows the audience how fast a husband and wife can turn against each other while still trying to support each other. It plays with perceived superiority, comparing the “infantile” nature of the sandbox to the “infantile” nature of adults faced with consequences and the responsibility of discipline.

Terry Sagedy is the director for the show. Sagedy has been working with Town Players since 2016, when he first directed Almost Maine. He is moving to Savannah, where he will “never be cold again.” Sagedy chose God of Carnage to be his swan song to recognize his time volunteering in Newtown.

Performances continue Fridays and Saturdays at 8 pm, and Sunday at 2, until March 28. There is also one Thursday evening performance planned for March 26. Tickets are $30, $25 for seniors, and available through newtownplayers.org.

Town Players perform at The Little Theatre, 18 Orchard Hill Road in Newtown.

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Reporter Sam Cross can be reached at sam@thebee.com.