On the rarest occasion, a stellar theatre performance will leave audience members with sunken stomachs. Sock ‘n’ Buskin Theatre Company’s rendition of Elephant’s Graveyard did just this. Offering astounding cohesion to provide an uncomfortable commentary on justice and spectacle, Elephant’s Graveyard was tragically tasteful.
Based on true events in 1916, playwright George Brant shares the infamous and graphic tale of what transpires when the Sparks Travelling Circus stops in the muddy town of Erwin, Tenn. Mary, the circus’ star five-tonne elephant, immediately draws the townsfolk’s attention. When a tumultuous circus parade renders this attention unshakeable, the circus crew, Erwin townspeople and a solitary railroad engineer grapple with what it means to be human—and animal.
Recognizing the responsibility of maintaining the dignity of this real circus, town and Mary, director Andrea Makris crafted a sincere display of the Elephant’s Graveyard characters’ emotional worlds through spotlighted monologues and intentionally weathered costumes that relayed the internal depths of the townspeople and circus archetypes.
Elephant’s Graveyard is a nuanced depiction of differing views on justice, a community’s processing of shock and the dangers desensitization poses to all life forms. With powerful storytelling, the production highlighted the disparity between human ideals and the human tendency to be caught up in grandiose frenzies.
Michael Biason delivered an unnerving performance as the money feral Ringmaster. His alluring showmanship, complete with ravishing coattail flicks and a raised chin, alongside eerily calm speeches about investments, left a lasting impression. Biason’s character evoked themes of spectacle and left the audience wondering how far grandiosity can stretch when fuelled by capitalist ambition.
Each supporting cast member brought a natural individuality to the stage. The rhythmed cadence of the railroad engineer, played by Dawson Fleming, mimicked a train chug and reflected the engineer’s constancy in viewing justice in black and white. Tommy Feldman’s portrayal of the strongman was refreshing, with a flawless physical demeanour and a captivating eastern European accent. Additionally, the mature insights of the ballet girl, delivered gracefully by Lindsey Keene, guided the audience in empathizing with Mary.
The Elephant’s Graveyard ensemble was remarkably cohesive. Guided by stage manager Samuel Singarayer, the cast utilized exaggerated movements followed by still-life holds to generate an effective group stage presence. Given the graphic nature of the plot, the performers brought intense scenes to life through hectic movement, chanting and vivid eyewitness testimonies. Each flamboyant expression depicted shaken characters struggling with emotional turmoil. As a result, the crowd shared in the characters’ experiences of shock, guilt and pain.
Elephant’s Graveyard is a relevant and violent retelling of a historical encounter between an American town and an elephant named Mary. Bringing a dynamite script to life, the cast and crew grappled with the theme of justice and how Erwin served as a microcosm for humanity’s collective frailty.
Featured image by Rebekah Houter.
