Welcome to the “emotional cul de sac” that is Civic Theatre of Allentown’s production of “God of Carnage,” continuing at 7:30 p.m. June 23, 24 and 25 and 2 p.m. June 26, 19th Street Theatre, 527 N. 19th St., Allentown.

This is an actors’ and director’s tour de force and “God of Carnage” director Will Morris and the cast of Holly Cate (Veronica Novak), Chis Egging (Alan Raleigh), Kathleen Oswalt (Annette Raleigh) and Robert Trexler (Michael Novak) don’t disappoint. The ensemble delivers one hour and 20 minutes of verbal (and some physical) mayhem, nasty looks and even nastier laughter in “God of Carnage,” which is concluding Civic’s 2015-16 season.

The Raleighs are invited to the residence of the Novaks to resolve an alleged attack with a stick by the Raleighs’ son on the Novaks’ son that knocked out two of the boy’s teeth. What starts out as an attempt at mitigation by the parents turns into a frenzy of frantic diatribes, accusations and nothing short of mutual character assassinations by the two couples.

The fulcrum for the conflict is the cell phone of Alan Raleigh, who can’t seem to stop taking calls because they have to do with negotiations for an important and lucrative business deal. The cell phone interruptions put a fine point on the couples’ diferences, frustrations and lack of finesse. If ever there was a need for couples’ therapy or an anger management course, the Raleighs and Cates would be prime candidates.

One of the other dynamics of the emotional carnage in “Carnage,” seen June 18 for this review, is the rapport, or lack thereof, between the two women, who at first seem amicable enough before that goes all to heck.

As Veronica, Cate is forceful in a smooth, capable and professional way that belies a steel-trap mouth and Venus Fly Trap emotions. She masks the veneer and then veneers the mask most efficiently.

As Annette, Oswalt is more magnanimous, to a point. When that point is crossed, she goes ballistic in one of the play’s most startling scenes. Oswalt puts the capital C in “Carnage.”

The husbands’ characters are written to be a bit more passive.

Egging is bristlingly amusing and self-involved as the man on the phone who just wants to be left alone. His involvement in family matters extends no further than his uninvolvement.

Trexler creates an amiable presence and one that might, just might, work things out between the bickering adults if he, himself, wasn’t a big child.

Morris encourages the actors to push the limits of the dialogue in the play by Yasmina Reza as translated by Christopher Hampton (the 2009 Broadway production received three Tony Awards, including best play). Morris also has the actors push the physicality of the characters. Rendering the invective with the propery anger, resentment and snarkiness would seem to be exhausting for the actors, who give it their all.

Bill Joachim is associate director. Mary Rinfret is assistant director. Emily Heller is production stage manager. Annie Fox and Julie Sullivan are assistant stage managers. Alexander Michaels is technical director-lighting designer. Helena Confer is sound designer-audio engineer.

Scenic artist Jan Joyce uses a maze of three linear wooden frames backdropping the stage as if to represent an empty canvas. A sofa and chairs create the living room area. Other furniture suggests two additional rooms. Marilyn Loose is propsmistress. Jason Sizemore is propsmaster.

The costumes are contemporary casual suburbia. Hair and wigs are by Kim Danish.

“God of Carnage” is a slice of strife that will have you shaking your head in disbelief even as you laugh at the outrageous behavior.

Tickets: civictheatre.com, 610-432-8943